RhoDeo 1844 Roots

Hello, .US's rural citizens are a fearful ignorant lot, not just those armed to the teeth rednecks, but many of those so-called chistians too, prove their lack of faith and vote for the party of me-me-me make me great again, they have been deminishing themselves by following the false prophet..


Today's artist a Mexican band from Mexicali, Baja California formed by Jesús Alberto Navarro Rosas (lead vocals), Julio Ramírez Eguía (guitar, background vocals), and Gilberto Marín Espinoza (guitar). In 2003, Abelardo Vazquez invited Jesús Navarro and Julio Ramirez to record their first demos, which were released through the Mexican underground club scene. Two of the most successful demos — "Levemente" and "Ahora Sin Ti" — brought more widespread coverage across Mexico. In early 2004, yjey invited Gilberto to join the band. They have been famous ever since, mainly in Latin America and the United States. .  .....N'Joy

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Reik is a charting, award-winning, Latin pop trio from Mexicali, Baja California famous throughout Latin America for their romantic songs and ballads. Their multi-platinum-selling albums Un Dia Mas (2008) and the Latin Grammy-winning Peligro (2011) were essentially homes for their numerous chart-topping singles that saw the band emerge from club to international success.

Forming in 2003 after recording a demo that yielded the Mexican underground club favorites "Levemente" and "Ahora sin Ti," singer Jesús Alberto Navarro Rosas and guitarist Julio Ramírez Eguía invited backing vocalist/guitarist Gilberto "Bibi" Marin Espinoza to join the lineup in early 2004. After signing to Sony Music a few months later, Reik teamed with producers Abelardo Vázquez and Kiko Cibrian to begin work on their self-titled debut LP. The album proved a phenomenon, generating three consecutive Mexican chart-toppers in "Yo Quisiera," "Que Vida la Mia," and "Noviembre sin Ti." All three singles also crossed over to the U.S. Latin pop charts, and in mid-2005, Reik mounted a brief U.S. tour; the trio also received a Latin Grammy nomination in the Best New Artist category. The pre-release single "Invierno" was issued in September, followed by the live Sesion Metropolitana DVD in November, and their sophomore album Secuencia in December. The latter peaked just inside the Top 30 on the Latin Album charts. Three additional singles from the album placed on various Latin sales and airplay charts.

2008's Un Dia Mas fared better, placing inside the Top Ten Latin Albums and netting them the number three single "Inolvidable," and three more singles that landed on lower rungs. The full-length netted them a Latin Grammy Award for Best Pop Album by a Duo or Group with Vocals in 2009. Mexican and U.S tours followed the next year. The group re-emerged with Peligro in 2011. Helmed by three different producers -- Remy Palacios, Kiko Cibrián, and Ettore Grenci -- it netted five charting singles. It was certified platinum in Mexico and hit number three on the pop charts. In the U.S., it peaked at number two on Latin Pop Albums and number three on Top Latin Albums charts. Another extended international tour -- that took them to South Korea -- culminated in the live offering En Vivo Desde el Auditorio Nacional in 2013. Two years later, the trio entered the Viña del Mar International Song Festival and won first and second place awards for their entries.

Well established with their pop songs and romantic ballads, Reik sought to shake things up when they re-entered the studio. While pre-release new single "Voy a Olvidarte," issued in January 2016, was of familiar ballad stock, it landed inside the Top 20. The bilingual second single, "Spanglish," wed vintage early-'60s rock, surf, and big-beat pop, while "Ya Me Enteré" explored both folk and reggaeton with urban star Nicky Jam as a featured guest. Des/Amor was released in June of that year and marked the band's first studio recording in five years and placed near the top of the streaming and digital charts form all major platforms. Reik returned in 2018 with the collaborative single "Me Niego," featuring Ozuna and Wisin.

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Mexican pop-rock band Reik play romantic, guitar-based love songs that draw on such influences as Marc Anthony and Enrique Eglesias. This is the 2006 follow-up to the smash debut that garnered them both Mexican and U.S. radio play and chart action. On ballads like "Invierno," lead singer Jesús Alberto Navarro Rosas's vocals are achingly seductive and rich, while guitarist Gilberto "Bibi" Marin Espinoza's bold strumming keeps things from getting too wimpy.

Reik - Secuencia      (flac  260mb)
 
01 Quien Decide Es El Amor 3:22
02 Sabes 3:41
03 Sin Conocerte 3:16
04 Me Duele Amarte 3:13
05 Vivo En Sueños 3:12
06 Invierno 3:36
07 De Qué Sirve 3:42
08 Llegó Tu Amor 3:37
09 Quédate 3:22
10 No Sé Por Qué Te Vas (I Can't Believe She's Gone) 3:49
11 Ahora Sin Ti 2:59

Reik - Secuencia (ogg  mb)

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Recorded in the remote Texan town of Tornillo, Mexican pinup trio Reik slightly deviate from their usual Latin pop/rock formula by jumping on the retro synth pop bandwagon for their fourth album, Peligro. Produced by Cachorro López (Julieta Venegas), Kiko Cibrian (Luis Miguel), and Ettore Grenci (Kalimba Marichal), the follow-up to 2008's Latin Grammy-winning Un Dia Mas still contains the driving MOR anthems ("Déjate Llevar," "No Te Quiero Olvidar," the latter of which also appears in an English-language version) and romantic ballads ("Creo en Ti," "A Ciegas") that have helped them to slowly build a following across the southern parts of the U.S. as well as their homeland. But elsewhere, its 16 tracks showcase a more adventurous streak lacking from their previous output, whether it's the dirty acidic basslines and funky guitar licks of the infectious title track (also featured here in a perfunctory Masterfrenc Remix), the shimmering Guetta-esque synths of the pulsing "Tu Mirada," or the melodic indie disco of "Irreversible." The quirky Howard Jones-esque electro-pop of "Cálido y Rojo" (one of two tracks penned by Miranda!'s Ale Sergi), the Spandau Ballet-style melodramatics of "Déjame Ir," and the chiming U2-inspired riffs on "Si Te Vas" suggest that a Now That's What I Call the 80s compilation may have been the catalyst for their change in direction. But it's ultimately a convincing one, and while its nearly hourlong running time could have done with a bit of trimming (particularly the unremarkable "Mi Tormenta Favorita" and "Adicto a Ti"), Peligro should ensure that their steady rise to the top of the Mexican pop scene remains on course.

Reik - Peligro (flac  312mb)

01 Déjate Llevar 3:17
02 A Ciegas 3:44
03 Nada 3:13
04 Peligro 3:42
05 Déjame Ir 4:11
06 Igual A Nada 3:12
07 Irreversible 4:02
08 Mi Tormenta Favorita 3:13
09 Si Te Vas 3:08
10 Cálido Y Rojo 3:19
11 Adicto A Ti 3:32
12 No Te Quiero Olvidar 3:43
13 Creo En Ti 2:44
14 Tu Mirada 3:21

Reik - Peligro  (ogg  101mb)

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The award-winning Mexican trio and fan phenomenon formed by Jesús Alberto Navarro, Julio Ramírez Eguía and Gilberto "Bibi" Marín interprets his greatest hits and his most famous romantic ballads in a location as historic and significant as the legendary National Auditorium of Mexico, recorded there November 2012 .They have shown that their music catches us, and this time is no exception.

  Reik - Reik En Vivo 1 ( flac  335mb)

01 Intro 1:43
02 Peligro 3:42
03 Inolvidable 3:47
04 A Ciegas 3:45
05 Déjate Llevar 3:23
06 No Desaparecerá 4:00
07 De Que Sirve 3:43
08 Noviembre Sin Ti 4:12
09 Medley Reik 12:26
10 Creo en Ti 3:04
11 Vuelve 2:56

  Reik - Reik En Vivo 1 (ogg   115mb)

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  Reik - Reik En Vivo 2 ( flac  315mb)

01 Con la Cara en Alto 3:37
02 Fui 4:11
03 Tu Mirada 3:28
04 Me Duele Amarte 3:21
05 De Que Me Sirve la Vida (feat Samo) 4:17
06 Te Fuiste de Aquí 3:46
07 Sabes 4:34
08 Invierno 3:44
09 Yo Quisiera 3:46
10 Qué Vida la Mía 3:45
11 Con la Cara en Alto [Versión Cello] 3:43
12 Con la Cara en Alto 3:48

  Reik - Reik En Vivo 2 (ogg   112mb)

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Des/Amor is Mexican pop trio Reik's first album of new studio material in five years. While they haven't exactly been inactive, touring (the concert set Vivo Desde el Auditorio Nacional was issued in 2013), writing, and family matters took up their time. Des/Amor may be drenched in their unmistakable blend of vocals and infectious melodies, but it does mark a risk-taking departure from previous outings -- especially the electronic synth pop of 2011's Peligro. Here the trio experiment with more urban sounds, including modern cumbia, reggaeton, and even lushly illustrated folk. Traditionally, this trio has always been a singles band, but Des/Amor flows consistently together as an album. While the pre-release track "Ya Me Enteré" did well at radio and on the charts, the album closer is an urban remix version featuring Nicky Jam that is far stronger, with a bouncy, soulful reggaeton backbeat and a popping guitar vamp to match the band's singing with Jam's rapping. Other highlights include the jaunty, punchy folk pop of "Qué Gano Olvidándote," and the bumping old-school rock & roll of the bilingual "Spanglish," with fat saxophones and doo wop choruses woven through handclaps and modern big-beat production. The other bilingual jam is "We Have Only Tonight," a hooky rocker with anthemic choruses and ringing guitars. "Vamanos Lejos" seamlessly weaves cumbia and reggae in a warm, silvery, midtempo ballad with a snappy chorus. For old-school fans, there is a handful of fine slow jams too, including the crystalline, piano-dominant "Náufragos" and the passionate "Al Fin Estás Aquí" with Ensenada duo Felix y Gil guesting on vocals. Des/Amor is the album where Reik reveal themselves as grown-up musicians and songwriters and moving past the boy band pinup image they so skillfully cultivated early on.

Reik - Des-Amor   ( flac  249mb)

01 Amanecer 4:09
02 Caderas 2:56
03 Somos Dos 4:00
04 Soy Yo 2:40
05 Fiesta 3:39
06 Voy 3:16
07 Algo Está Cambiando 4:30
08 Mar (Lo Que Siento) 3:50
09 To My Love 4:00
10 Sólo Tú 4:15
11 Raíz 3:39

  Reik - Des-Amor (ogg   92mb)

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RhoDeo 1844 Aetix

Hello,


Today's artists are a Belgian synthpop group formed in 1978 by Marc Moulin, Dan Lacksman and Michel Moers, with the intention of "making something really European, different from rock, without guitar — and the idea was electronic music... ......N'Joy

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In 1979, mixing the aesthetics of disco, punk and experimental electronic music, they released a stripped-down synthesized cover version of "Twist à St. Tropez" by Les Chats Sauvages. They followed up with an ultra-slow cover of "Rock Around the Clock", a relaxed and dispassionate version of Plastic Bertrand's punk song "Ça Plane Pour Moi", and a mechanical cover of "Dance to the Music", originally by Sly Stone. Telex built its music entirely from electronic instruments, employing joyously irreverent humor. The group's debut album, Looking for Saint Tropez, featured the worldwide hit single "Moskow Diskow".

In 1980, Telex's manager asked the group to enter the Eurovision Song Contest. The group entered and were eventually sent to the finals, although they apparently hoped to come in last.

    "We had hoped to finish last, but Portugal decided otherwise. We got ten points from them and finished on the 19th spot."—Marc Moulin

The group's song "Euro-Vision" was a cheerful bleepy song with deliberately banal lyrics about the contest itself.

For their third album, Sex, Telex enlisted the US group Sparks to help write the lyrics. However, the band still refused to play live and preferred to remain anonymous—common practice in the techno music artists the group later inspired but, nevertheless, unusual in 1981. The fourth Telex album, Wonderful World, was barely distributed. In 1986, Atlantic Records signed Telex and released the album Looney Tunes in 1988. In 1989, Telex revisited their old tracks and remixed them to resemble house music and other genres then prevalent in electronic pop. The result was Les Rythmes Automatiques, released in 1989.

After a long hiatus, Telex made a comeback in March 2006 with How Do You Dance on EMI Records. It contained five original compositions as well as five covers. The group's last single was a cover of "On the Road Again", originally by Canned Heat. They also produced remixes for other artists' single releases, including "A Pain That I'm Used To" by Depeche Mode and "Minimal" by the Pet Shop Boys.

Following the death of band member Marc Moulin in 2008, the surviving members of the band announced their retirement from making music with the band's final release, a compilation album titled Ultimate.

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Telex as a band were never really meant to last, and boy didn't they know it.  Even looking at the album cover you can see a tongue-in-cheek lack of effort as a byproduct of the computer age; it's aesthetically ugly but also sort of comforting, a relic from a time when computers could only do the exact things we told them to do.  Telex have always been forward-looking but backwards-compatible.  They never had the equipment of a group like Kraftwerk and were instead forced to write their music on dinky keyboards and Commodores (compare to YMO's BGM, which contained an inlay listing all the expensive and sophisticated synthesizers that were used on the album).  Granted they were fully aware of their preposition here and I think their music has always reflected that.

Wonderful World comes at an awkward time, when digital-mania was soon to transform the entire industry and strip the very soul out of it.  Now I don't have a copy of the actual album and can't speak to what exactly is being used here but based on the sound of things I suspect they grabbed one of those early Fairlights, the crude sampling device that made everything sound like a Bop It.  The music here is tightly sequenced and full of paperthin dancefloor rhythms, the very definition of mid-80s digital shit that might've blown a few minds back in the day but sounds utterly hopeless today.  There's a lotta ugly sampling going on here, ranging from orchestra hits to off-key screeches and compressed doo-wop vocals.  In other words it's not so different from say, Shout by Devo; catchy songs performed in a lifeless way, though at least Telex seem to have some self-awareness there.  Listen to the title track, which sounds like it's lifting noises directly from a Fischer-Price See n' Say (did those exist in 1984?).  The future is here and it kinda sucks, actually.  Luckily Telex do keep things mostly fun and admittedly there are some pretty good tunes here ("So Sad", "Raised by Snakes",  "Second Hand", "Vertigo").  One standout track is probably "L'Amour Toujours", actually written a couple years prior and given to Miharu Koshi, and all I can say is you should probably listen to her version instead.  But it's one of the few tracks that actually sounds like a song to me, rather than just a dancefloor groove.  Overall, I'd say this album is merely okay.  It's very easy to like but shallow.

Telex - Wonderful World (flac  232mb)

01 L'Amour Toujours 3:19
02 So Sad 3:32
03 Raised By Snakes 3:50
04 It Could Happen To You 3:07
05 Second Hand 3:25
06 Tell Me It's A Dream 3:15
07 Vertigo 3:39
08 The Voice 3:36
09 Radio-Radio 3:47
10 Wonderful World 3:53

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 Telex - 3 Maxis  (flac  282mb)
 
Telex ‎- Spike Jones (EP)
01 Spike Jones (Maxi Version) 5:23
02 Spike Jones (Single Version) 3:24
03 Basta 3:32

Telex ‎- Peanuts (EP)

04 Peanuts 5:26
05 Peanuts (Single Version) 3:06
06 Basta (Dub) 2:06

Telex ‎- Temporary Chicken (EP)
07 Temporary Chicken (Barnyard Maxi Mix) 6:37
08 Temporary Chicken (Edit Of Remix) 3:58
09 Temporary Chicken (Remix) 6:37
10 Temporary Chicken (Dub Version) 3:23

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This album's not as bad as everyone says it is.  I mean it's total gimmick but it's actually really fun.  "Temporary Chicken" is actually pretty funny from a sonic standpoint.  The first song, "I Don't Like Music" is the singer stating 16 reasons why he doesn't like music. His 16 reasons are just 16 types of music, and if he doesn't like any music, why is he making a song about it? When you ponder this question for the first time, you realize the ironic genius that is/was Telex.

This album is up there in my favorite albums. It's an album that I will put on, and enjoy every track just as much as the last time. I own the 1988 vinyl release of the album, so some songs' mixes are different than the original 1986 European release, and after hearing both, I prefer my version (what I'm used to).

This album was a large part of my childhood. This probably contributes to my extreme love for this album. But, after hearing Telex's other music, I was disappointed. I'm not sure if it is because I'm used to the silly lyrics ("Dingo bells/when I think of you"), or if because the album is in such high regards in my mind, nothing else compares. No one should take this album seriously, seeing as if a song has any lyrics, they're very silly. "Temporary Chicken", "Peanuts", and "Spike Jones" consist of just saying the song title (along with some assorted vocal noises). The instruments/samples are comprised of a drum machine, a couple synthesizers, and an acoustic guitar. Every song is insanely catchy, and it won't be long before they have completely taken over your brain. I suggest that anyone who likes dance-pop, synth-pop, or any largely-synthesized 80's music to listen to this album.

  Telex - Looney Tunes   (flac  217mb)

01 I Don't Like Music 4:44
02 Temporary Chicken 3:56
03 Spike Jones 3:24
04 Beautiful Li[f]e 3:30
05 Dingo Bells 1:14
06 I Want Your Brain 4:18
07 Baby, When? 3:55
08 Peanuts 3:08
09 Happy End (I Wanna) 3:04
10 Rendez-Vous Dans L'Espace 4:23

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How infectious are TELEX! They've reached the country of Yellow Magic Orchestra and now 5 Japanese producer/musicians have their Telex fever transmuted into remixes. This album of 6 songs published by Alpha in 1994 with remixes of Yoshino Sunahara, Kimikata Matsumae or Seiji Toda among others proves it. Moskow Disco, Pakmovast, Twist A Saint Tropez, Rock Around the Clock or Café de la Jungle are songs mixed with good taste. The cover, in the style of Tintin, is run by Hisashi Eguchi, a Japanese manga artist. The album is Japanese, since it is a tribute to these techno-pop classics with a touch of humor.A joy for both the artwork and most of the topics that are really good

 Telex -  Is Release A Humour ~We Love Telex~ (flac  239mb)

01 Moskow Diskow (Kimitaka Matsumae Remix) 4:37
02 Twist A Saint-Tropez (Konishi's Readymade ; Twist A Tokyo Mix) 6:20
03 Pakmovast (Yoshinori Sunahara Re-Program) 5:09
04 Rock Around The Clock (Seiji Toda Remix) 6:14
05 Cafe De La Jungle ~ My Time (Yann Tomita's Pea-Pea Ga-Gabble Mix) 14:18
06 Moskow Diskow (Martian Version) 3:45

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RhoDeo 1844 Supernatural 4

Hello, I noticed that cloudyfiles is down, i'm waiting a week to see it back up, then start re-upping the lost links anew elsewhere. on request.



In accordance with the upcoming autumnal days when the light is fading, the supernatural manifest and us humans start to shiverrrr


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Scott Cherry is a well-known radio writer who has also acted in many productions, including Jonathan Myerson's series "Number 10", set in Downing St. He wrote the outstanding supernatural play "The Book of Shadows", broadcast in 1995, and has a wide range of other drama to his credit, including light comedy. He writes the Woman’s Hour Crime series 'A Small Town Murder' which has had five runs since 2008 and devised (with Gregory Evans) a fact-based play in 2010 called 'Tetherdown' about the inquiry about the Muswell Hill murder in 1896. . ...... N Joy

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Possibly the best tale of the supernatural I have heard on the radio It is stunning; frightening, terrific. Journalist Ellie Rogers is sent to Norfolk to investigate rumours of witchcraft. She witnesses some terrifying events.

This BBC radio drama is a tale of the supernatural,

Music composed and played by: Anthea Gomez
Producer: Sue Wilson
John Crighton: Maurice Denham
Ellie Rogers: Jenny Funnell
Tom Bradley: Andrew Branch
Philippa Mallatrat: Janet Dale
Kevin Metcalfe: Richard Pearce
Sgt Lake: Christopher Scott
Caroline: Sunny Ormonde
Gary: James Duke
Fiona: Sandra James Young
Harriet: Jilly Bond
[Actor]: Terence Edmond
[Actor]: John Hartley
[Actor]: Gillian Goodman


Scott Cherry - The Book of Shadows ( 78min mp3  60mb)

Journalist Ellie Rogers is sent to Norfolk to investigate witchcraft. Exceedingly sceptical she soon witnesses some terrifying incidents which just can't be explained.

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previously

Robert Westall - The Stones of Muncaster Cathedral ( 87min mp3  60mb)
Robert Westall - The Wheatstone Pond ( 60min mp3  39mb)
Victor Pemberton - Dark. ( 86min mp3  60mb)

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RhoDeo 1844 Re-Up 162

Hello,


12 correct requests for this week, 1 too early and 1 too many , whatever another batch of 42 re-ups (12 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 November 3rd... N'Joy

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3x Sundaze Back In Flac (Bill Laswell - Bob Marley In Dub, Laswell Meets Scott Inna Dub Meltdown, Material – Hallucination Engine)


6x Sundaze Back In Flac (VA - Ambient Soho Vol I-1, VA - Ambient Soho Vol I-2, VA - Ambient Soho Vol II-1, VA - Ambient Soho Vol II-2, VA - Ambient Soho Vol III-1, VA - Ambient Soho Vol III-2)


3x Sundaze NOW in Flac (Cluster - Zuckerzeit, Harmonia and Eno - Tracks and Traces, Cluster and Eno - U)


5x Austria NOW In Flac (Tosca - Delhi9 Etheric, Tosca - Delhi9, Truby Trio - Elevator music, VA - Vienna Scientists II, Fennesz - Endless Summer)

3x Beats Back in Flac (Squarepusher ‎- Burningn'n Tree, Squarepusher ‎- Hard Normal Daddy, Squarepusher - Big Loada.)


3x Roots Back In Flac (Bunny Lee - King Of Dub, B Lee & Agrovators - Dub Will Change, Herman Chin Loy – Aquarius Dub)


3x Sundaze Back in Flac (Jansen Barbieri Karn - Beginning 2 Melt, Jansen Barbieri Karn - Ism, Jansen Barbieri Karn - Playing In Room)


3x Aetix Back in Flac (Chris Isaak - Silvertone, Chris Isaak - Chris Isaak, Chris Isaak - Heart Shaped World)


2x Roots NOW in Flac (Junior Murvin - Police & Thieves, Scientist - Rids The World Of The Evil Curse Of The Vampires  )


4x Grooves   Back in Flac (Rufus Feat Chaka Khan - Rags To Rufus, Rufus Feat Chaka Khan - Rufusized, Rufus Featuring Chaka Khan - Rufus, Rufus Feat Chaka Khan - Ask Rufus )


4x Aetix Back in Flac (Buzzcocks - Another Music in a Different Kitchen, Buzzcocks - Love Bites, Buzzcocks - A Different Kind+Parts 1-3. Buzzcocks - Time's Up)

3x Aetix Back in Flac (Replacements - Let It Be, Replacements - Shit Hits the Fans, Replacements - Tim)


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.

Sundaze 1844

Hello,


Today's Artist with his whimsical, melancholy music, has become a sought-after composer, not only for his soundtrack work, but in his own right. Borrowing from French folk music, chanson, musette waltz, and street music, as well as rock, avant-garde, and classical and minimalist influences, his deceptively simple style has been likened to Chopin, Erik Satie, Philip Glass, and Michael Nyman. His music involves a large variety of instruments; primarily the guitar, piano, synthesizer or violin together with instruments like the melodica, xylophone, toy piano, harpsichord, accordion and typewriter. The Paris-based composer became popular outside his native country for his score to Jean-Pierre Jeunet's Amélie, but like most seemingly overnight successes, he had been working for years before the film's success brought him international acclaim......N'Joy

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Tiersen was born in Brest in the Finistère département in Brittany in northwestern France, in 1970, into a French family of Belgian and Norwegian origins. He started learning piano at the age of four, violin at the age of six, and received classical training at several musical academies, including those in Rennes, Nantes, and Boulogne. In the early 1980s when he was a teenager, he was influenced by the punk subculture, and bands like The Stooges and Joy Division. In 1983, at the age of 13, he broke his violin, bought an electric guitar, and formed a rock band. Tiersen was then living in Rennes, home to the three-day music festival Rencontres Trans Musicales, held annually in December, which gave him the opportunity to see acts like Nirvana, Einstürzende Neubauten, Nick Cave and the Bad Seeds, The Cramps, Television, and Suicide. A few years later, when his band broke up, Tiersen bought a cheap mixing desk, an 8-track reel-to-reel tape recorder, and started recording music solo with a synthesizer, a sampler, and a drum machine.

Before releasing film scores under his own name, Tiersen recorded background music for a number of plays and short films. In the summer of 1993, Tiersen stayed in his apartment, recording music alone with an electric guitar, a violin, and an accordion, guided by his vision of “a musical anarchy”. By the end of that summer, Tiersen had recorded over forty tracks, which would form most of his first two albums. Tiersen's debut album, La Valse des monstres, limited to 1,000 copies only, was released in June 1995 by independent record label Sine Terra Firma, and then it was reissued by Nancy-based record label Ici d'ailleurs in 1998 as the second album of its catalogue. The 17-track album was inspired by and written for the theatrical adaptations of Tod Browning's 1932 cult classic Freaks, and Yukio Mishima's 1955 version of Noh play The Damask Drum. One year later, in April 1996, he released Rue des cascades, a collection of short pieces recorded with toy piano, harpsichord, violin, accordion, and mandolin. The title track, sung by French soloist singer Claire Pichet, was used the following year for the Palme d'Or nominated French drama film The Dreamlife of Angels, and several tracks received greater exposure five years later when they were featured on the soundtrack to Jean-Pierre Jeunet's film Amélie. Tiersen played almost all the instruments both in the studio and in concert, and this gave him a theatrical appeal as a one-man show, which allowed him to perform, among others, at the 1996 edition of the Avignon Festival, the oldest extant festival in France and one of the world's greatest.

Tiersen rose to domestic fame upon the release of his third studio album, Le Phare (English: The Light House) in 1998. The album was recorded in self-imposed seclusion on the isle of Ushant (Breton: Enez Eusa, French: Ouessant) at the south-western end of the English Channel which marks the north-westernmost point of territorial France, where Tiersen spent two months living in a rented house. At night, he watched the Phare du Creach, one of the most powerful lighthouses in the world, and was fascinated by the stunning scenery repeated every night. Le Phare, which featured Claire Pichet, French singer and songwriter Dominique A, and French drummer and percussionist Sacha Toorop, sold over 160,000 copies, confirming Tiersen's status as one of the most innovative artists of his generation and commencing a run of successful albums. Three songs from this album, "La Dispute", "La Noyee", and "Sur le fil" were used later for the soundtrack of Amélie, while "L'Homme aux bras ballants", written and composed by Dominique A, was also the soundtrack to Laurent Gorgiard's 1997 short animation film of the same title. Its single, "Monochrome", sung by Dominique A, was a radio hit and propelled the album. Le Phare was his first album to chart climbing to number 50 in the French Albums Chart.

In that period Tiersen provided a new arrangement and played strings, vibraphone, bell, mandolin, electric guitar, and bass guitar for the song "À ton étoile" by French rock band Noir Désir on their 1998 remix album One Trip/One Noise,[citation needed] recorded background music for the award-winning and multi-nominated film The Dreamlife of Angels,[for André Téchiné's Alice et Martin, released in 1998, and Christine Carrière's Qui plume la lune?, released in 1999, and also recorded Bästard ~ Yann Tiersen, a 3-track extended play released in 1998 in collaboration with French electronic rock band Bästard, and his first live album, Black Session: Yann Tiersen. The live album was recorded on 2 December 1998 as the opening act of the Rencontres Trans Musicales in the Salle Serreau at the Théâtre National de Bretagne in Rennes, for the C'est Lenoir show broadcast on the French public radio station France Inter. The album, which features Northern Irish singer, songwriter, and frontman of the chamber pop group The Divine Comedy Neil Hannon, singer and songwriter Bertrand Cantat of Noir Désir, singer and illustrator Françoiz Breut, anglophone French rock band The Married Monk (Christian Quermalet, Philippe Lebruman, Etienne Jaumet, Nicolas Courret), French folk rock group Têtes Raides (Christian Olivier, Grègoire Simon, Pascal Olivier, Anne-Gaëlle Bisquay, Serge Bégout, Jean-Luc Millot, and Edith Bégou), the string quartet Quatuor à cordes, guitarist and composer Olivier Mellano, and author Mathieu Boogaerts, as well as his usual collaborators and friends, Claire Pichet and Dominique A, was recorded by France International, mastered by Radio France, and released in cd format one year later on 2 November 1999.

In 1999, Tiersen with The Married Monk, Claire Pichet, and Olivier Mellano, released his first collaboration album, Tout est calme. The 26 minutes, 10 tracks mini album peaked at number 45 on the French Albums Chart. The album produced one single, "Les Grandes marées", and Tiersen also featured on The Divine Comedy's single "Gin Soaked Boy" released on that same year, on three tracks for Françoiz Breut's second studio album Vingt à Trente Mille Jours, and on Têtes Raides' Gratte-poil, both released in 2000.

Tiersen remained relatively unknown outside France until the release of his score for the acclaimed film Amélie (English: The Fabulous Destiny of Amélie Poulain) in 2001. French film director Jean-Pierre Jeunet had something else in mind for the film score, but one day one of his production assistants put on a CD of Tiersen, and the director found it absolutely superb. Jeunet bought all of Tiersen's albums, and then contacted him to see if the Breton composer was interested in writing the film score for Amélie. In two weeks, Tiersen composed nineteen pieces for the film and also allowed the production to take anything they wanted from his other records. Amélie received great critical acclaim and was a box-office success. The film went on to win the Best Film award at the European Film Awards, four César Awards, including Best Film and Best Director, two BAFTA Awards, including Best Original Screenplay, and was nominated for five Academy Awards. The soundtrack was a mixture of both new and previously released material, and Tiersen was also the recipient of the César Award for Best Music Written for a Film, and of the World Soundtrack Academy award. The soundtrack album charted in many countries, including the number one position on the French Albums Chart.

While he was writing the film score for Amélie Tiersen was also preparing his fifth studio album L'Absente. The album was characterized by several contributions including 35-member Ensemble Orchestral Synaxis conducted by Guillaume Bourgogne, viola player Bertrand Lambert, violinists Yann Bisquay and Sophie Naboulay, Natacha Régnier, and saxophonist Grégoire Simon, and long-time collaborators Dominique A, Christine Ott, Lisa Germano, Neil Hannon, Têtes Raides, Christian Quermalet, Marc Sens, and Sacha Toorop. The album, which was released on 5 June 2001 through EMI France, was preceded by two promotional singles for "A quai" and "Bagatelle" respectively. Tiersen provided strings and vibraphone to two tracks, "Roma Amor" and "Holidays", featured on R/O/C/K/Y, third studio album by The Married Monk.

At this time he was married to Belgian actress Natacha Régnier, co-star of The Dreamlife of Angels. Régnier became a singer and Tiersen wrote three songs for her including his arrangement of Georges Brassens' "Le Parapluie", a song featured on the tribute album Les Oiseaux de passage, released in 2001. That same year they went on tour in France and abroad. They have a daughter, Lise, born in 2002, but they have since been divorced. In this period, Tiersen also took his music out around the world, playing shows with a full orchestra and an amplified string quartet. From 15 to 17 February 2002, Tiersen with many of the collaborators who participated in the recording sessions for L'Absente plus Claire Pichet, violinists Nicolas Stevens and Renaud Lhoest, bassist Jean-François Assy, viola player Olivier Tilkin, and uilleann pipes, bagpipes, and low whistle player Ronan Le Bars, performed live at the Cité de la Musique (English: City of Music) in Paris. Part of these three concerts went on to form Tiersen's second live album C'était ici (It Was Here), which was released through EMI France on 30 September 2002.

Tiersen's skills as a composer of film scores were much in demand, and the soundtrack for Amélie was soon followed by the film score for Good Bye, Lenin!, a 2003 German tragicomedy film directed by Wolfgang Becker The film was both a commercial and a critical success and won several awards including the César Award for Best Film from the European Union, Best Film at the European Film Awards, the German Film Awards for Outstanding Film, Best European Film at the Goya Awards, Best Foreign Language Film for the London Film Critics' Circle, and it was also listed in the Empire magazine 2010's list of "The 100 Best Films of World Cinema" Tiersen was the recipient of the German Film Awards for Outstanding Music. On 15 November 2003, Tiersen with Stuart A. Staples, the lead singer of indie band Tindersticks, actress and singer Jane Birkin, singer and vocalist for Cocteau Twins Elizabeth Fraser, singer and songwriter Christophe Miossec, and Dominique A released 3 titres inédits au profit de la FIDH (3 New Tracks for the Benefit of FIDH), a 3-track CD that was part of the On Aime, On Aide benefit collection for raising funds for the International Federation for Human Rights (FIDH).

Tiersen's list of collaborators continues to grow album after album and in October 2004 released Yann Tiersen & Shannon Wright, a collaboration album with American singer-songwriter Shannon Wright, and, in the same year, he is featured on The Divine Comedy's album Absent Friends. In 2005, Tiersen released his fifth studio album Les Retrouvailles. The album features several collaborators including the Orchestre National de Paris, singers Elizabeth Fraser, Jane Birkin, Stuart A. Staples, Dominique A, and Miossec, strings players Jean-François Assy, Frederic Dessus, Guillaume Fontanarosa, Bertrand Causse, Anne Causse Biragnet, Armelle Legoff, Frédéric Haffner, flute player Elliott, drummer Ludovic Morillon, and ondes Martenot player Christine Ott Les Retrouvailles also includes a DVD short film entitled La Traversée, directed by Aurélie du Boys, which documents the making of the album in Ushant, and incorporates an animated video for the non-album track, "Le Train", and also live versions of a handful of songs. The album produced a single, "Kala", sung by Elizabeth Fraser, and Tiersen also played piano on Staples' solo debut album, Lucky Dog Recordings 03-04. The subsequent world tour of 2006 replaced the multi-instrumental ensemble with electric guitars and an ondes Martenot, and produced his third live album, On Tour, which was released together with a DVD, directed by Aurélie du Boys, about the tour, in November 2006. In 2006, he also released two singles, "La Mancha" and "La Rade", and he was featured on The Endless Rise of the Sun, third studio album by electronic group Smooth, Raides à la ville extended play by Katel, and 13m² by David Delabrosse.

The year 2008 saw his return after a five years absence as a composer of film scores when he provided the background music for Tabarly, a Pierre Marcel's documentary film about the French sailor, two-time champion of the Single-Handed Trans-Atlantic Race, and father of French yachting Éric Tabarly. The documentary was released on June 2008, exactly ten years after Tabarly's death. Éric Tabarly was lost on the night of 12–13 June 1998 at Irish Sea when he was struck by a gaff of his Pen Duick during heavy swell and knocked overboard from his yacht near Wales while on his way to the Fife Regatta in Scotland. His body was recovered five weeks later off the coast of Ireland by a French fishing trawler. The documentary, narrated by Tabarly himself, traces his sporting career until his last meal in Ushant. Before the end of the decade, Tiersen also contributed to Christine Ott's debut solo album Solitude Nomade, and to Miossec's seventh studio album Finistériens.

October 2010 saw the release of Tiersen’s sixth studio album titled Dust Lane. The album was two years in the making and was largely recorded in Ushant, France. Further parts were recorded in the Philippines. The album is preoccupied with mortality; during the recording sessions Tiersen lost his mother and a close friend. The recordings started out as simple song based tracks with Tiersen playing acoustic guitar, mandolin and bouzouki. New layers were added to the recordings creating a more complex sound. Then an array of vintage synthesisers and electric guitars were added to create further textures. The album was released by Mute Records in Europe and Anti Records in the US. The record was promoted in a tour beginning in October 2010, starting in New York City. Dust Lane was preceded by the release of the vinyl EP Palestine and by the single for "Ashes". In 2010, Tiersen also contributed to the tribute album to cross-genre, experimental music group Coil The Dark Age of Love by This Immortal Coil, a one-off tribute formation, and to Li(f)e, the fourth solo studio album by hip-hop artist Sage Francis.

October 2011 saw the European release of his seventh studio album, Skyline. The nine-track album, a follow on from his Dust Lane, was once again recorded at Tiersen's home on the island of Ushant in the south-western end of the English Channel, with further parts recorded in Paris, San Francisco, Berlin, and Nashville. It was subsequently mixed by producer Ken Thomas in Leeds, and mastered by Ray Staff in London. The album produced the singles for "Monuments" and "I'm Gonna Live Anyhow". On 18 February 2012, Tiersen with Lionel Laquerriere, and Thomas Poli, presented his side project, Elektronische Staubband, at La Route du Rock music festival in Saint-Malo. It was about an hour of krautrock, electronic, and experimental music involving a dozen of synthesizers and analog keyboards with the first three pieces of the set list taken from Dust Lane and the remaining five from Skyline. Tiersen was also chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival on March 2012 in Minehead, England. Skyline was released in North America via ANTI- Records on 17 April 2012, and it was followed by the Skyline Tour with dates in the United States, Canada, Iceland, Spain, Portugal, France, Slovak Republic, Austria, Finland, and the United Kingdom.

On 3 August 2016, Yann Tiersen got married to Emilie Quinquis (Tiny Feet) in the island of Ouessant, Brittany. the bride statet they got married at 31 July 2016. Since April 6th, 2017 they have a son and are awaiting a daughter....

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More somber and subdued than his usual work, Yann Tiersen's score for Good Bye Lenin! makes the perfect audio counterpart for the film's bittersweet but often funny story, which revolves around a family living in Communist Germany and is told from the viewpoint of the son, Alex. The family undergoes a number of hardships, including the father's escape to the West and the mother's subsequent breakdown. After she recovers, she becomes a fanatic for the Communist regime, until she sees the police beat up Alex at a pro-democracy rally. The shock gives her a heart attack, after which she lapses into a coma; when she revives, the Berlin Wall has fallen. A doctor warns Alex that any more stress could kill her, so he and the rest of the family pretend that they are still living under Communist rule. While no score could convey all of that, Tiersen's music does reflect the hesitancy and delicacy of the family's plight should their illusion be broken, as well as the comedy and the drama that ensue when it seems close to falling apart. Most of the score is dominated by thoughtful, rippling pianos that conjure up rainy days, as well as strings, woodwinds, and brass that add to the airs of urgency and madcap humor that dominate the film and its music. "Summer 78" introduces the score's main theme, a winding melody that is as lovely as it is sad. The version of "Summer 78" that is graced by Claire Pichet's ice water-pure vocals, "Watching Lara," "First Rendez-Vous," "Lara's Castle," and "Good Bye Lenin" itself all return to this theme in various ways, lending more warmth or more coolness as necessary. "Dishes," on the other hand, is the first of the sharply quirky, nearly chaotic pieces that inject some humor into the score. "The Decant Session," "The Deutsch Mark Is Coming," and "Preparations for the Last TV Fake" follow suit, with the emphasis on brass and woodwinds changing from track to track. Still other pieces, such as "Childhood 2," "Letters," and "Mother Will Die" -- which uses shimmering vibes and excerpts of hushed dialogue in a particularly striking way -- aim at a deeper level of memories and sorrow; Tiersen's subtly but significantly shifting compositions are almost always quite moving, and Good Bye Lenin! is no exception. Despite being a rather lengthy score, some of the cues are so short that it's a little difficult to enjoy them fully. This is a minor complaint, though; Good Bye Lenin! is one of those rare scores that is just as affecting and cohesive outside of the movie theater as it is inside of it.

Yann Tiersen - Good Bye, Lenin!   (flac  230mb)

01 Summer 78 (With Clair Pichet) 3:54
02 Preparation For The Last TV Fake 3:06
03 Mother's Journey 1:27
04 Good Bye Lenin 4:55
05 Father And Mother 2:53
06 Lara´s Castle 1:46
07 Childhood (1) 1:36
08 The Deutsch Mark Is Coming 1:10
09 Childhood (2) 1:43
10 Letters 1:20
11 Mother Will Die 3:09
12 Father Is Late 1:31
13 First Rendez-Vous 1:17
14 Dishes 0:46
15 I Saw Daddy Today 2:03
16 The Decant Session 0:46
17 Watching Lara 1:27
18 Summer 78 (Instrumental) 3:49

Yann Tiersen - Good Bye, Lenin!  (ogg 95mb)

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In the United States, French composer Yann Tiersen is best known for his Amélie score, but in France, he's a mainstream sensation who's dabbled in rock, punk, pop, and various works for stage and screen; a popular aesthete whose stark compositions are comparable to those of Erik Satie and Phillip Glass. In the United States, Shannon Wright is best known as the other P.J. Harvey, with a brace of Steve Albini-produced records to show for it, but in France, she's best known for collaborating with Yann Tiersen.

This is nothing short of a beautiful album. The combination of Yann Tiersen's awe inspiring instrumentation and Shannon Wright's gut wrenchingly emotional lyrics is a one of a kind masterpiece. It helps if you're already a fan of either one's work, but that certainly isn't a prerequisite to enjoy this album. There are 10 songs here and none of them disappoint in the least bit. They take turns with the instruments, but because they work so well together, it's often hard to tell who is responsible for which parts of the songs. The moods range from somber, to hopeful, to lashing out at the world, and then back to peacefulness again, whoever doesn't hear this is really missing out.

Yann Tiersen & Shannon Wright - I    (flac 200mb)

01 No Mercy For She 5:42
02 Dragon Fly 3:15
03 Sound The Bells 3:48
04 Something To Live For 4:13
05 Dried Sea 4:13
06 While You Sleep 2:33
07 Ode To A Friend 3:49
08 Ways To Make You See 4:11
09 Callous Sun 3:15
10 Pale White 3:47

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With his whimsical, melancholy music, Yann Tiersen has become a sought-after composer, not only for his soundtrack work, but in his own right. Borrowing from French folk music, chanson, musette waltz and street music, as well as rock, avant-garde, and classical and minimalist influences, Tiersen's deceptively simple style has been likened to Chopin, Erik Satie, Philip Glass, and Michael Nyman. Through his album, Yann Tiersen transports us, makes us live a pleasant and so relaxing experience, his pace seizes us and makes us travel to these places that only he knows, this album makes us have a real good time and empties our heads  we feel good and after all it's the most important!  Yannis is supported by featuring guest vocalists Liz Frazier, Jane Birkin, Stuart Stapple & Dominique A.

Yann Tiersen - Les Retrouvailles  (flac 227mb)

01 Western 2:23
02 Kala (Voc Elizabeth Fraser) 4:09
03 Loin Des Villes 3:19
04 La Veillée 3:11
05 Plus D'Hiver(Voc Jane Birkin) 2:23
06 A Ceux Qui Sont Malades Par Mer Calme 3:30
07 A Secret Place (Voc Stuart A. Staples) 3:26
08 Le Matin 1:58
09 Les Enfants 2:00
10 Le Jour De L'Ouverture (Voc Dominique A., Miossec) 3:38
11 La Boulange 2:46
12 La Plage 1:57
13 Mary (Voc Elizabeth Fraser) 3:38
14 7: PM 2:40
15 Les Retrouvailles 1:30
16 La Jetée 1:05

Yann Tiersen - Les Retrouvailles   (ogg  99mb)

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Even in the Information Age, the world still hasn't become quite so small as people like to think. Otherwise, a talent like Yann Tiersen wouldn't have avoided international recognition for so long. French composer/multi-instrumentalist Tiersen is a classically trained musician who came of age in the post-punk era, and both of those musical worlds inform his work. Despite many years of high-profile solo albums, soundtracks, and collaborations with everyone from Jane Birkin to the Divine Comedy, Dust Lane is his first album for a U.S. label. It's a rich, moody, multi-layered work that finds Tiersen showing off his instrumental prowess and playing a wide array of instruments from strings to synthesizers on his haunting classical/rock compositions. Vocal-oriented tracks like "Fuck Me" show Tiersen's poppier side, achieving an infectious, anthemic sound somewhere between M83 and Broken Social Scene, while "Ashes" seems more in line with the extensive soundtrack work he's done in the past as it builds gradually from tension-building strings and horror-film piano plunking to fuzzed-out guitar squalls and choral vocal chants. The dominant feeling on Dust Lane, though, is that of an artist who reveres Ravel and the Swans in equal measure, as exemplified by "Dark Stuff" and "Palestine," where deeply muttered spoken vocals punctuate a dark, dramatic blend of driving, rock-derived rhythms, European folk modalities, and a symphonic brand of sonic conception that sets Tiersen apart from mere murky moodmeisters. Dust Lane is the kind of record that draws you into its own little world and sweeps you along with its journey, as unsettling as it is intriguing.

Yann Tiersen - Dust Lane (flac  267mb)

01 Amy 5:01
02 Dust Lane 5:11
03 Dark Stuff 5:54
04 Palestine 4:31
05 Chapter 19 5:02
06 Ashes 5:18
07 Till The End 7:49
08 Fuck Me 7:42

Yann Tiersen - Dust Lane  (ogg 106mb)

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RhoDeo 1843 Grooves

Hello,

Tonight's Artists are an American Collective formed in 1990 In 2007 they were nominated for a Grammy Award for Best Contemporary Jazz Album of the Year for the release People People Music Music. . .....N'Joy

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The acid jazz outfit Groove Collective was formed in downtown New York City in 1990 by flutist Richard Worth, DJ Smash, and rapper Nappy G, all three staples of a nomadic dance club called Giant Step. In time, the trio was joined by keyboardist Itaal Shur, drummer Gengi Siraisi, and bassist Jonathan Maron, earning a growing cult following and eventually attracting the attention of Steely Dan vibist Bill Ware, who soon signed on along with saxophonist Jay Rodriguez, trombonist Josh Roseman, trumpeter Fabio Morgera, and percussionist Chris Theberge. After witnessing an early show, producer Gary Katz negotiated the band's signing to Reprise Records, and produced their eponymous debut album in 1993.

In 1994, they appeared on the Red Hot Organization's compilation album, Stolen Moments: Red Hot + Cool, alongside other prominent jazz artists, Herbie Hancock and Roy Ayers. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as "Album of the Year" by Time Magazine. They scored two minor dance instrumental and adult contemporary hits in 1996 with a cover of The Beatles' "I Want You (She's So Heavy)" and "Lift Off".

Groove Collective's musical style reflects the wide-ranging backgrounds and interests of its individual members. Commenting on the group's 1996 release, We the People, critic Michael Casey referred to the numerous influences at work in Groove Collective's sound, specifically the presence of Afro-pop, Latin jazz, hip-hop, and traditional jazz stylings. This mix is born of the members' varying influences, including bebop, funk, old-school hip-hop and classic soul. Bassist and co-founder Jonathan Maron has acknowledged the importance of a DJ aesthetic in the music, stating that "(Groove Collective's) goal has always been to emulate the range of music a DJ plays during the course of the night at a packed club....A great DJ knows the songs that can ignite the room and fill the dance floor. Some of my favorite musical experiences have been in clubs, where you listen and realize how well all of these styles blend together into one big idiom of its own." Central to the group's ethic is its insistence on live instrumentation and its ability to create and sustain grooves for a dance floor audience.


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Groove Collective's completely uninhibited, party-based jazz-funk is inspired by Sly Stone, acid jazz, hip-hop, salsa, Stevie Wonder, drum'n'bass, Parliament-Funkadelic, Fania -- that is, anything or anyone from the late '60s on who knew how to get down. Their fourth album overall finds the congregation in a most jubilant mood, happy to simply stretch out on a series of infectious singalong jams, starting with the openers "Up All Night" (which trades honking sax solos with some great stuttered drum programming) and "Everything Is Changing" (a shuffling disco stomp). With no less than 14 pieces in the group, it's obvious that Groove Collective shouldn't have any trouble filling spaces, and truth to tell, just about every song on Declassified bristles with so many ideas, solos, and licks that listeners may get dizzy without a few listens under their belt. "On a Feeling," the spotlight for rapper Nappy G, isn't exactly the tightest hip-hop joint ever heard, but the sheer instrumental and musical prowess abundant all over this album makes it a joy for all to hear.

  Groove Collective - Declassified   (flac  365mb)

01 Up All Night 4:35
02 Everything Is Changing 5:49
03 On A Feeling 3:52
04 Some People 4:58
05 Valiha 1:05
06 Undercover Life 4:25
07 Guara Rumba 1:02
08 Crisis 7:24
09 End Transmission 4:12
10 Sabrosona (Song For Chucho) 3:33
11 Nature Of A Freak 6:02
12 Triage 2:05
13 Martha My Dear 3:27
14 Sabrosona (Reprise) 1:23
15 Mrs. Strangelove 3:48

Groove Collective - Declassified (ogg   132mb)

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Nearly ten years after their formation in the early-'90s New York soul-jazz scene, Groove Collective has developed into a tightly knit orchestra of highly skilled musicians full of life and danceable spirit. It's All in Your Mind is a good representation of their artistic development and, as is with any progression, Groove Collective has upped the ante just enough to ensure further progress on future records. It's All in Your Mind experiments with jazzy and spacy elements, but never veers too far to the left or right. Though the first cut, "Time Pilot," is a slow and gentle groove that initially sounds like Hooverphonic or Portishead, the band jumps right back to their rootsy Afro-beat comforts with the second track, the Fela Kuti-esque "Ransome." They dance around in techno-influenced space on "Dance With You" and even rock out on "Skye." Though it may seem as though GC bounces around a lot, they maintain their focus beautifully, drifting seamlessly from genre to genre. As well, It's All in Your Mind tests the band's technical boundaries as electronics are more prevalent than on previous records. It's All in Your Mind illustrates an evolution of sorts for the collective from their meager hip-hop/jazz beginnings to a full-on ensemble. What's more is that the Collective plays like a jazz combo, giving each player enough room to show off his considerable individual talents. There are numerous standouts on the record, but Chucho Valdes' appearance on "Stargazer" is likely the most memorable as it elevates the record to new sonic heights. Generally, It's All in Your Mind is a bit more mellow than previous recordings but a wonderful record nonetheless.

  Groove Collective - It's All In Your Mind     (flac  403mb)

01 Time Pilot 4:31
02 Ransome 5:02
03 Dance With You 5:36
04 Earth To Earth 4:22
05 You're Stepping On My Daisy 5:18
06 Stargazer 7:43
07 Winner 4:26
08 In Your Mind 6:11
09 Ocean Floor 5:00
10 Priye 4:31
11 Skye 6:45
12 Comparasa Tunina 5:33
13 Demon Chaser 4:27
14 Thank You (And See You Next Time) 1:15

Groove Collective - It's All In Your Mind   (ogg   147mb)

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For nearly a decade, Groove Collective has been transcending categories with one goal in mind: to move listeners' minds and feet. Long before the term "jam band" hit the scene, this crew of New York City-based stylistic adventurers was laying down grooves that buzzed with funk, jazz, house, Latin and every party-inducing sound in between. Jamband? Acid Jazz? These guys helped shape the modern definition of both while Collective-ly keepin' the Groove. "We're from all around the world — different countries, different backgrounds — you name it", explains drummer and producer Genji Siraisi, "but when the group plays together, life becomes simple again — we want our music to be lush, undeniable, beautiful, and of course, danceable."

  Groove Collective - New York, NY 20.12.02   (flac  613mb)

01 The Messenger 11:10
02 The Natural Kid 5:19
03 Medley 11:48
04 Self 3:59
05 Rhumba Abierta 9:18
06 Frequency Search 12:23
07 Big Beautiful You (Epic) 24:45
08 Count to Two 4:46
09 Oops You Got Caught 13:02
10 Navigator 14:02

Groove Collective - New York, NY 20.12.02 (ogg   235mb)

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The Grammy-nominated jazz-fusion ensemble Groove Collective combines elements of dance music, R&B, and funk in an eclectic brew that conjures Fela Anikulapo Kuti jams on "DFU," 1960s Miles Davis on "Centerfield," and 21st century trance music on "Eat No Space." The band knows its jazz and funk history inside out, and on cuts like the percolating Latin groove of "Mambomongo" and the sinuous Afrobeat of "6 For Fred," it proves it has the chops to back up its revelatory musical archaeology.

  Groove Collective - People People Music Music     (flac  385mb)

01 Forgotten Travelers 5:47
02 DFU 6:11
03 What If 6:02
04 Eat No Space 5:03
05 Tito 5:29
06 KOG 6:31
07 Mambomongo 5:19
08 Outermost 6:20
09 6 For Fred 5:43
10 Set Up 4:10
11 Centerfield 5:33
12 Speak Like A Child 5:29
13 Outermost (Live Bonus Version) 5:31

Groove Collective - People People Music Music (ogg   164mb)

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RhoDeo 1843 Roots

Hello, ok as a travail the South/Middle American continent, i have directories for every country, today's artists accidentally ended up in the wrong one - Mexico, they belonged in the Columbian directory, as I didn't want to pass them by i'm posting them here today.


Today's artist are a Colombian band founded in the capital, Bogotá, in 2005 by Simón Mejía. Their music has been described as "electro vacilón" (a term dismissed by the band, "electro tropical" or "psychedelic cumbia". According to Mejía, the band's name (which translates into English as "stereo bomb") is a Colombian term for "a really cool, awesome, bad ass party". .  .....N'Joy

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The origins of the group go back to 2001 when Bogotá native Simón Mejía (previously a member of 1990s Colombian alternative rock band Charconautas) was part of a loose collective of musicians and visual artists under the name A.M. 770. Their music was influenced by Colombian groups such as Sidestepper and Bloque de Busqueda who in the late 1990s had started combining traditional Colombian musical rhythms such as salsa and cumbia with modern electronic beats and dance music. A.M. 770's first musical production was the track "Ritmika" (based on a sample of a song by Venezuelan salsa band Los Blanco) on the album Colombeat, a 2002 compilation showcasing this new musical style which was put together by Colombia's foremost alternative rock band Aterciopelados for their new label Entrecasa.

By 2005 A.M. 770 had effectively become Mejía's solo project and he began to focus more on the musical side of his work, changing the name of the group to Bomba Estéreo. The first results of his new project was the seven-track mini-album Vol. 1 (2006), essentially a solo album but featuring contributions from other artists such as fellow A.M. 770 member Diego Cadavid. Having recorded Vol. 1, Mejía attended the Latin Alternative Music Conference in New York City and was able to secure an international distribution deal with California-based Nacional Records for future releases, with Colombian releases on the Bogotá independent label Polen Records.

One of the vocalists Mejía had used on Vol. 1 was Santa Marta-born[6] singer and rapper Liliana "Li" Saumet, on the track "Huepaje". Saumet had briefly been the singer for the dub reggae band Mister Gomes en Bombay before meeting Mejía at a concert.Impressed with Saumet's contribution, Mejía began to collaborate with her and Cadavid on songs for the next Bomba Estéreo album.

By the time the second album Estalla was released in 2008, Bomba Estéreo had developed into a full band, with Saumet on vocals, Cadavid on percussion, Julián Salazar on guitar, and former Sidestepper collaborator Enrique "Kike" Egurrola on drums, alongside Mejía on bass and keyboard programming. Estalla was released the following year in the US under the new title Blow Up, with the single "Fuego" helping to attract new fans outside Colombia and resulting in the group being voted "Best New Band in the World" for 2010 by viewers of MTV Iggy, the television channel's outlet for alternative world music artists.

In 2010 the band were one of a dozen artists commissioned by Levi's to cover songs from previous decades, as part of "Levi's Pioneer Sessions" marketing campaign. The group chose to record Technotronic's "Pump Up the Jam", cited by Mejía as his favourite party record. The song was later released under the new title "Ponte Bomb" as the lead track on an EP of the same name, which also featured various remixes of the tracks "Fuego" and "La Boquilla" from Estalla/Blow Up.

The song "Fuego" can be heard in the background of the 2010 episode "Circle Us" on the Showtime television series Dexter, during a scene outside of a club, and later appeared on the series' soundtrack album. "Fuego" has also been used as the theme song of the Argentine television drama series El Puntero which aired in 2011, and features on the soundtrack of EA Sports video game, FIFA 10. The Dixone Remix of the song "La Boquilla" (from the band's 2011 EP Ponte Bomb) was featured on the soundtrack of the movie Limitless that same year.

Simón Mejía was selected as one of the three finalists for the 2010–11 Rolex Mentor and Protégé Arts Initiative to spend a year working with Brian Eno, eventually losing out to Australian composer Ben Frost. He also travelled with London-based filmmaker Santiago Posada to the Colombian town of San Basilio de Palenque, where the two men spent three months in 2011 recording the music of the local Afro-Colombian community for a music and DVD box set – the town became known in the 17th century as the site of the first free slave community in Colombia, and has retained much of its African-originated language, culture and music.

Bomba Estéreo performed at the South by Southwest and Roskilde festivals in 2009, and in 2010 undertook a world tour that visited 32 cities as well as the Bumbershoot festival and Bonnaroo Music Festival. In 2011 they performed at the Coachella Festival and Austin City Limits Music Festival in the US, as well as Lollapalooza Chile and the Vive Latino festival in Mexico City, one of the major worldwide festivals for "rock en español".

The band's third full-length album, Elegancia Tropical, was released in 2012 on Polen Records in Colombia and on Soundway Records worldwide. The album was engineered and mixed by producer Joel Hamilton. To promote the record the band undertook a tour of Colombia, followed by Mexico and the US throughout 2012 and 2013. Band members have said they miss suero while on tour away from Colombia.Their fourth full-length album, Amanecer, was released on June 2, 2015, on Sony Music. One song, "Soy Yo", was selected for the soundtrack of FIFA 16. The music video for "Soy Yo", released in September 2016, featured the debut of Sarai Gonzalez as a nerdy-looking Latina girl with a spunky personality standing up to bullies on the "mean streets" of Brooklyn, New York.[19][20] The video received over 6.5 million views as of early November 2016. "Soy Yo" also featured in the soundtrack to the 2017 feature film Pitch Perfect 3.

The album Amanecer was placed 50th in Rolling Stone's list of the 50 best albums of 2015. In late 2016, the band went on a 12 city tour, featuring multiple US cities featuring music from their latest album.[22]

The group headlined the FM Festival in Miami, Florida in January 2017.[23]

In August 2017, guitarist Julian Salazar confirmed in an interview with POUSTA.com that he was completely separated from the group

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The group was formed by Bogotá native Simón Mejía out of his A.M. 770 project, a recording outfit that utilized salsa, cumbia, electro beats, and dance music. He renamed the group Bomba Estereo in 2005. The group's debut album, Vol. 1, appeared in 2006 as a solo record, with contributions from several musicians and singers including singer/rapper Liliana "Li" Saumet. This pair remain the band's central members, and based on the album's strength, Mejía was able to secure a distribution deal with Nacional Records.

Bomba Estéreo - Vol.1      (flac  178mb)
 
01 Caminito 3:43
02 Huepajé 3:59
03 Corinto 4:26
04 Tambora 2:21
05 Bomba 5:08
06 Ataole (Rmx) 3:56
07 Las Siete Potencias 2:56

  (ogg  mb)

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This Colombian group mixes live instruments with computerized loops, throwing rock and Latin grooves together with environmental sound effects and unexpected sounds like the flauta de millo, a cane flute with a high-pitched, keening sound. Vocalist Li Saumet, whose nasal voice is reminiscent of Calle 13 backing vocalist PG-13, has a punky hip-hop delivery that's somewhere between M.I.A. and Mala Rodríguez. She floats above the cumbia-meets-electronica rhythms generated by multi-instrumentalist Simón Mejía and the percussion of Diego Cadavid and Kike Egurrola, chanting choruses that are equal parts party anthem and political call to action. Early Bomba Esteréo singles like "Corinto" and "Huepaje" (neither included on this album) were more overtly radical; the group seems to have tempered its sloganeering slightly, though a political edge remains in songs like "Raza" and "Música Acción." But the music is what matters most, and it's multifaceted and compelling. Slower tracks like "Agua Salá" bump up against hard-grooving anthems like "Fuego" and "La Niña Rica." Saumet even switches back and forth between Spanish and English -- sometimes mid-phrase -- on "Feelin'." The album's cover art, with its crude lettering and collage of radios and speakers, recalls Clash singles like "Complete Control" and "Radio Clash," and the music is similar in spirit, combining political engagement with irresistible rhythms and hooky choruses. An excellent album for the heat of summer.

Bomba Estereo - Blow Up/Estalla (flac  294mb)

01 Cosita Rica 4:34
02 Fuego 4:37
03 La Boquilla 3:57
04 Juana 3:30
05 Camino Evitar 2:12
06 Agua Salá 4:06
07 Feelin' 4:00
08 La Niña Rica 3:30
09 Música Acción 4:21
10 Palenke 2:14
11 Pa'ti 3:38
12 Raza 3:58

Bomba Estereo - Blow Up/Estalla  (ogg  104mb)

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The follow up to 2009’s Blow Up, was recorded in their native Colombia, near the coastal city of Barranquilla. Elegancia Tropical has been greeted with critical acclaim in the US - glowing reviews have come from the New York Times, Rolling Stone, NPR and the Washington Post. Lead singer and MC, Li Saumet’s fiery vocals are underpinned by Colombian rhythms and contemporary electronica as supplied by Julián Salazar and Kike Egurrola. Originally formed by visual artist Simón Mejía in 2005, Rolling Stone Magazine has hailed Bomba Estereo as leaders of a Latin American scene that is “fusing old school folk sounds with more modern and electronic rap styles.

Eventhough it has a slightly different sound from their previous work, this album has more electronic influences than the last one. It stemmed from their live performances where the electronic influences were well received by the public. It is another eclectic and refreshing product by Bomba Estereo.

  Bomba Estéreo - Elegancia Tropical ( flac  319mb)

01 Bosque 4:55
02 Bailar Conmigo 4:05
03 El Alma Y El Cuerpo 5:03
04 Sintiendo 4:01
05 Pure Love 4:36
06 Rocas 3:04
07 Caribbean Power 5:42
08 Mozo 3:58
09 Pájaros 5:29
10 Lo Que Tengo Que Decir 3:27
11 Pa’ Respirar 5:14

  Bomba Estéreo - Elegancia Tropical (ogg   141mb)

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Amanecer earned Bomba Estéreo a Latin Grammy Award nomination for Best Alternative Music Album and a Grammy Award nomination for Best Latin Rock, Urban or Alternative Album. It peaked at number 17 on the Billboard Top Latin Albums chart. It includes the viral hit "Soy Yo", which features actress Sarai Gonzalez, and received over 23 million views on YouTube. The song and video were called a "celebration of self and a symbol of proud Latinidad" and "an ode to brown girls"

Bomba Estéreo - Amanecer ( flac  276mb)

01 Amanecer 4:09
02 Caderas 2:56
03 Somos Dos 4:00
04 Soy Yo 2:40
05 Fiesta 3:39
06 Voy 3:16
07 Algo Está Cambiando 4:30
08 Mar (Lo Que Siento) 3:50
09 To My Love 4:00
10 Sólo Tú 4:15
11 Raíz 3:39

  Bomba Estéreo - Amanecer (ogg   94mb)

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RhoDeo 1843 Aetix

Hello,


Today's artists are a Belgian synthpop group formed in 1978 by Marc Moulin, Dan Lacksman and Michel Moers, with the intention of "making something really European, different from rock, without guitar — and the idea was electronic music... ......N'Joy

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In 1979, mixing the aesthetics of disco, punk and experimental electronic music, they released a stripped-down synthesized cover version of "Twist à St. Tropez" by Les Chats Sauvages. They followed up with an ultra-slow cover of "Rock Around the Clock", a relaxed and dispassionate version of Plastic Bertrand's punk song "Ça Plane Pour Moi", and a mechanical cover of "Dance to the Music", originally by Sly Stone. Telex built its music entirely from electronic instruments, employing joyously irreverent humor. The group's debut album, Looking for Saint Tropez, featured the worldwide hit single "Moskow Diskow".

In 1980, Telex's manager asked the group to enter the Eurovision Song Contest. The group entered and were eventually sent to the finals, although they apparently hoped to come in last.

    "We had hoped to finish last, but Portugal decided otherwise. We got ten points from them and finished on the 19th spot."—Marc Moulin

The group's song "Euro-Vision" was a cheerful bleepy song with deliberately banal lyrics about the contest itself.

For their third album, Sex, Telex enlisted the US group Sparks to help write the lyrics. However, the band still refused to play live and preferred to remain anonymous—common practice in the techno music artists the group later inspired but, nevertheless, unusual in 1981. The fourth Telex album, Wonderful World, was barely distributed. In 1986, Atlantic Records signed Telex and released the album Looney Tunes in 1988. In 1989, Telex revisited their old tracks and remixed them to resemble house music and other genres then prevalent in electronic pop. The result was Les Rythmes Automatiques, released in 1989.

After a long hiatus, Telex made a comeback in March 2006 with How Do You Dance on EMI Records. It contained five original compositions as well as five covers. The group's last single was a cover of "On the Road Again", originally by Canned Heat. They also produced remixes for other artists' single releases, including "A Pain That I'm Used To" by Depeche Mode and "Minimal" by the Pet Shop Boys.

Following the death of band member Marc Moulin in 2008, the surviving members of the band announced their retirement from making music with the band's final release, a compilation album titled Ultimate.

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If you are interested in this album, I suspect that you are probably one of 1% of all music listeners in the world who ever heard of this band and I don't need to tell you about this band. Belgium-based Telex is one of maybe 4 or 5 music groups that planted the seeds of modern day electronica. Until Telex came along in the late 70's and early 80's, most recordings with synthesisers/keyboards fell under the categories of space rock or prog-rock or were just filler/background for the guitars. Sure Gary Wright was proud to tell the world that all of his musical sounds were created by keyboards. But Telex took the keyboards, added a toe-tapping beat and a few quirky lyrics to create such early dance classics as "Moskow Diskow" and "Twist A Saint Tropez." Both of those songs are in this affordable compilation. They didn't have the visual (sort of glam) image of some of their contemporaries such as Visage or Human League. They didn't experiment as much as some of their contemporaries like Ultravox and Depeche Mode. They most definitely didn't have the production qualities of today's electronica. You won't hear any heavy reverb, heavy compression, or bass-boosted electronic drumbeats on this album. You will hear a band that had a whole lot fun making music. They didn't have much commercial success outside of the French speaking nations, which is why a majority of the songs on this album are sung in French. But there were a few English translations and some of those are here.

Telex - Looking For Saint Tropez (flac  323mb)

01 Moskow Diskow 4:12
02 Pakmoväst 3:42
03 Café De La Jungle 1:07
04 Ça Plane Pour Moi 5:25
05 Some Day - Un Jour 1:12
06 Something To Say 5:02
07 Rock Around The Clock 3:56
08 Victime De La Société #2 3:54
09 Twist À St Tropez 3:19
10 Moskow Diskow (Maxi) 4:12
11 Le Fond De L'Air Est Rouge 3:21
12 Victime De La Société #1 3:53
13 Quelque Chose À Dire 5:11
14 Ave Fifi 3:58

Telex - Looking For Saint Tropez   (ogg  135mb)

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The production here is awesome vintage early 80s. It's vocoder, drum machines, and R2-D2 blips and bleeps swirling everywhere. However, the great pop songwriting that these sounds seem to demand bubbles up only occasionally, such as the beautiful "My Time".  Still, this album is worth a spin or twom very good and solid technopop - it is cheaper sounding than their contemporaries (Kraftwerk and YMO) but the catchiness and well-written tunes hold up well.  I'd almost say this is an early technopop classic.  Bonus tracks include some really great material that was released as singles or B-sides ("Soul Waves", "Lakele", which is my favorite Telex track) and a lot of alternate English versions of the album tracks ("B sides", the English "A/B", just sounds so much better).

 Telex - Neurovision  (flac  422mb)
 
01 We Are All Getting Old 3:42
02 My Time 4:22
03 Tour De France 4:05
04 Euro-Vision 2:43
05 Plus De Distance 3:31
06 Dance To The Music 4:16
07 Réalité 3:34
08 Cliché 0:45
09 A/B 3:23
10 En Route Vers De Nouvelles Aventures 3:38
11 Finale 0:12
Bonusses
12 "Belgium, One Point" 0:03
13 Troppical 1:50
14 Colonel Olrik Ha Ha Ha 2:12
15 Soul Waves (Version 1) 3:44
16 More Than Distance 3:25
17 My Future 3:36
18 Neurovision 3:19
19 Lakelele (Laquelle Elle Est) 3:19
20 B Sides 3:22
21 Soul Waves (Version 2) 3:38

Telex - Neurovision   (ogg 177mb)

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Perhaps a little explainer is in order.  "Sex" is Telex's third album, released in 1981.  A year later, it was re-released in Britian as "Birds and Bees" with a different tracklisting, though not different enough that I'd consider them two different albums.  The 2003 CD is "Sex", plus the extra tracks from "Birds and Bees", then some B-sides and unreleased stuff at the end (including an early version of "L'amour Toujours").

Anyway, this album is perhaps best known for the fact that the lyrics were written by Sparks, which is why the lyrics are wittier and more complex than usual.  If you are familiar with Sparks then you will probably notice their presence right away ("If that guy weren't so black, he'd look just like me").  They sound odd coming from Michael Moers, not exactly a natural English speaker, sometimes putting emphasis on the wrong bits.  But they still add an entertaining aspect to this album that isn't really present on the other albums.  Particularly since a couple tunes here sound like they could have easily appeared on a de facto Sparks album ("Sigmund Freud's Party", "Carbon Copy", "Dummy").  Would've beat the piss out of Pulling Rabbits Out of a Hat, that's for sure.

Unfortunately, the music itself is a bit droll and mechanical.  Like Sparks I think they kind of dialed down the excitement after they'd become "veterans", especially since sucking the life out of things was kind of Telex's gimmick.  But I'm not sure that works so well on a quirky pop album like this one.   Now, that said, I think the hooks are generally good enough to survive that, particularly on cuts like "Dream-O-Mat" (one of their best tunes), "The Man With the Answer", and "Long Holiday".  I guess it depends on how much you dig Telex's Commodore-heavy synth noises, which still sound like nothing else.

 Dan Lacksman, lead vocalist for the group, does not have what you could call a particularly distinctive singing voice, and the bands rhythms or music are far from groundbreaking, but this album easily hits the spot if you are looking for a representative for the eighties synth-pop genre. Quite cleverly writen 'english' lyrics(from a man who's natural language is not English) coupled with some damn catchy pop hooks, earns this highly polished and cleanly produced album a degree of dignity in the world of synth music. Even though (strangely enough) the record resembles the kind of shit digital pop we'd see a lot of in 1986 and 1987.  Overall I think this is a solid 3-star record, but with the Birds And Bees album here there's enough good stuff to up it a notch.  Like with Neurovision it gives the full story of what the group was up to around this time.  Though I think "Basta" is actually from '87, probably included here cuz none of the other CDs had it.

  Telex - Sex + Birds And Bees   (flac  442mb)

01 Brainwash 4:28
02 Drama Drama 3:57
03 Haven't We Met Somewhere Before? 4:06
04 Long Holiday 2:12
05 The Man With The Answer 3:15
06 Carbon Copy 6:34
07 Exercise Is Good For You 3:35
08 Dream-O-Mat 4:13
09 Sigmund Freud's Party 2:53
Birds And Bees
10 Mata Hari 3:43
11 Dummy 3:46
12 L'Amour Toujours 3:50
13 Loops 3:24
14 Cloches Et Sifflets 3:00
15 Don't Put All Your Dreams In One Basket 2:23
16 I Can't Turn You Loose 3:13
17 Brainwash (Long Version) 5:12
18 The Look Of Love 3:36
19 Basta 2:43

Telex - Sex + Birds And Bees  (ogg   174mb)

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RhoDeo 1843 Supernatural 3

Hello, in accordance with the upcoming autumnal days when the light is fading, the supernatural manifest and us humans start to shiverrrr


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Victor Pemberton was a British writer and television producer. His scriptwriting work included BBC radio plays, and television scripts for the BBC and ITV, including Doctor Who, The Slide and The Adventures of Black Beauty. His television production work included the British version of Fraggle Rock (second series onwards), and several independent documentaries including the 1989 International Emmy Award-winning Gwen: A Juliet Remembered, about stage actress Gwen Ffrangcon-Davies. He died on August 13, 2017 in Spain. ...... N Joy

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Tormented by the spirit of her dead husband – Virginia Preston seeks help from a young medium Simon Elliot. But as questions commence and the investigation begins; Simon uncovers the real truth behind the events leading up to the murder of her younger lover and the execution of her husband, in this intense psychological paranormal thriller from Victor Pemberton.


This BBC radio drama is a treat for fan of old-school supernatural horror. Starring Judith Paris, Tracey Childs, and James McNicholas


Victor Pemberton - Dark. ( 86min mp3  60mb)

A lover murdered ... her husband hanged ... Then inexplicable events occur in the room in which, years ago, the murder took place. A young man called in to explore the happenings becomes possessed by people from the past. Can the dead really return to control the lives of the living?

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previously

Robert Westall - The Stones of Muncaster Cathedral ( 87min mp3  60mb)
Robert Westall - The Wheatstone Pond ( 60min mp3  39mb)

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RhoDeo 1843 Re-Up 161

Hello, well as predicted Maxico took the bull by the horns right from the start, Hamilton had a great start but knew not to mess with Max he was there to become World Champion, it certainly wasn't his best race as he got overtaken by Vettel and Ricciardo latter never saw the finish as his car quit in 2nd place but with old tires-cars don't like that Daniel-Anyway, Max had his engine turned down to stop him overtaking Hamilton again after overtaking everyone twice except Bottas in 5th who only got lapped once. Ole



10 correct requests for this week, and 1 too early, whatever another batch of 33 re-ups (10 gig)


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

Looka here , requests fulfilled up to October 28th... N'Joy

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3x Roots Back In Flac (VA - Irie Irie I, VA - Irie Irie 2, VA - Reggae Refreshers)


4x Roots Back In Flac (Lalo Schifrin - O.S.T. THX 1138, Lalo Schifrin - O.S.T.Enter the Dragon, Lalo Schifrin - O.S.T. The 4 Musketeers, Lalo Schifrin - Black Widow )


3x Sundaze NOW in Flac (Midnight Syndicate - Born Of The Night, Midnight Syndicate - Realm of Shadows, Midnight Syndicate - Gates of Delirium)


2x Sundaze NOW In Flac (Gil Scott-Heron - The Best Of, Disposable Heroes- Hypocrisy is the Greatest Luxury)


3x Beats Back in Flac (Jeff Mills -  Waveform Transmission V 1, Jeff Mills -  Waveform Transmission V 3, Jeff Mills - Purpose Maker Comp.)


4x Grooves Back In Flac (Kool & The Gang - As One, Kool & The Gang - In The Heart, Kool & The Gang - Emergency, Kool & The Gang - Forever)


3x Sundaze Back in Flac (Cluster - Cluster 71, Cluster - Cluster II , Cluster - Sowiesoso)


4x Aetix Back in Flac (Frank Tovey - Snakes & Ladders, Frank Tovey - Civilian, Frank Tovey - Tyranny And The Hired Hand, Frank Tovey - Grand Union)

4x Beats Back in Flac (VA - Macro Dub Infection vol 1-1, VA - Macro Dub Infection vol 1-2, VA - Macro Dub Infection vol 2-1, VA - Macro Dub Infection vol 2-2  )


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

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wasn't available in flac 2 weeks ago but found it

1x Sundaze Back In Flac (VA - Unidentified Floating Ambience)















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