Sundaze 2107

 Hello,  


Today's Artist is the electronic/ambient music project of Scott Morgan, from Vancouver, British Columbia, Canada. The name Loscil is taken from the "looping oscillator" function (loscil) in Csound in case you wondered, Scott Morgan was also the drummer for the Vancouver indie band Destroyer, but then studying communications and music at Simon Fraser University opened Morgan to the possibilities of experimental and electronic music and the rest as they say,is history...... N'Joy

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As Loscil, composer/producer Scott Morgan creates ambient music that drifts between the intuitive and the intellectual with deceptively easy grace. Since his 2001 debut album, Triple Point, a set of evocative tracks revolving around thermodynamics, he's shaped his masterful atmospheres and delicate, almost subliminal melodies with conceptual frameworks. The history and striking geography of southwestern British Columbia -- especially his hometown of Vancouver -- inspired some of his finest albums, including 2004's First Narrows (his first work to blend live instrumentation with electronics), 2012's Sketches from New Brighton, and 2014's Sea Island. While Morgan expanded his focus with 2016's ecologically minded Monument Builders and the meditations on creativity of 2019's Equivalents, the vast yet intimate feel of his music remained.

Born and raised in Vancouver, Morgan moved from the city's eastern suburbs to Courtenay on Vancouver Island as a boy. In his teens and twenties, he grew bored of the island's stillness, and channeled his restlessness into the bands he played with, which later included a stint as the drummer for Destroyer. However, studying communications and music at Simon Fraser University opened Morgan to the possibilities of experimental and electronic music. As he trained to be a sound designer and director, he learned about the fundamentals of computer music as well as the work of 20th century experimental composers like John Cage and Karlheinz Stockhausen.

Submers
Morgan's education shaped the music he was making on his own. Taking the term "loscil" (a combination of "loop" and "oscillate") from the audio programming language Csound, he began performing his minimalist dub/techno/ambient-inspired tracks at a friend's independent theater. He made a demo album, A New Demonstration of Thermodynamic Tendencies, named after and inspired by a physics textbook Morgan found at a used book store. After a friend suggested he send the demo to Kranky, the label signed him and, following a few tweaks, released it as Loscil's debut album. Arriving in October 2001, Triple Point introduced the conceptual basis of Morgan's music and his abstract yet vivid style. Following a European tour with Stars of the Lid, Morgan started work on Loscil's second album. This time, he looked to underwater craft for his music's emotional and thematic coherence and used heavily processed samples of classical music to convey its aqueous depth. Submers, which appeared in November 2002, included a touching requiem for the crew of ill-fated Russian nuclear vessel Kursk.

Destroyer's Rubies
For his next album, Morgan used a much wider range of sound sources. Along with samples, found sounds, and computer-generated tones, he also incorporated live instrumentation into the work. Inspired by Vancouver's Lion's Gate Bridge, May 2004's First Narrows featured Fender Rhodes courtesy of Zumpano's Jason Zumpano, along with contributions from Destroyer guitarist Tim Loewen and cellist Nyla Rany. At this point, Morgan was still Destroyer's drummer, and his remix of the band's 2006 album Destroyer's Rubies, "Loscil's Rubies," appeared on its vinyl release. That May, Morgan also issued Plume, which reunited him with Zumpano and featured xylophonist Josh August Lindstrom alongside guitarists Krista Michelle Marshall and Stephen Wood.

Endless Falls
Loscil returned in 2009 with Strathcona Variations, an EP for Ghostly International that ranged from minimalism to orchestral heights. With March 2010's somber Endless Falls, Morgan took another step forward; the album's final track showcased the vocals of his Destroyer bandmate Dan Bejar. The Italian label Glacial Movements issued Coast/Range/Arc, a piece inspired by the Coast Mountains, as a limited-edition release in June 2011. Morgan's next pair of albums showcased different sides of his hometown. Appearing in September 2012, Sketches from New Brighton took its name from an oceanside park in Vancouver that was considered to be the city's birthplace. The album spawned the following year's Intervalo, a reworking of several Sketches from New Brighton tracks with pianist Kelly Wyse. In November 2014, Morgan and Wyse reunited for Sea Island, which drew inspiration from the isle that is home to Vancouver's international airport. That year, Loscil also appeared on a split EP with Fieldhead.

Morgan's 2015 works included the For Greta EP, a benefit release for a friend's daughter who was battling bone cancer, and the interactive smartphone EP Adrift, which incorporates the elements of each track differently each time it plays. A warped VHS copy of Koyaanisqatsi, as well as the writing of philosopher John Gray and the photography of Edward Burtynsky, shaped Morgan's vision for November 2016's pensive full-length Monument Builders. The next year, collaborations with Seabuckthorn and Lost Trail arrived. In 2018, Morgan self-released Bannockburn, an extended version of one of the tracks from Adrift. In August 2019, he issued Equivalents, an album inspired by a series of moody, early 20th century photographs of clouds by renowned photographer and artist Alfred Stieglitz.

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Loscil's ambient compositions exist between worlds. Both electronic and naturalistic, drone-based and melodic, rhythmic and adrift, the Vancouver producer's three-track Strathcona Variations is both placid and filled with dread, a suite of gentle, barely-there compositions whose odd, surreal beauty can't be underestimated.

Initially, each track on Strathcona Variations appears smooth, a flawless surface whose variations are imperceptibly gradual at best. Closer inspection, though, reveals a world of subtle mood-shifts, distant blips and clicks, and orchestral flourishes disguised as synthesizer tones (and vice versa). Opener "Strathcona" is a fine slice of minimalism, spreading two alternating, undulating organ chords out over eight minutes, adding a miniscule electronic click and a series of room-temp synth passages whose cloud-like interactions become the track's focus. "Union Dusk" overlays a series of gently stuttering samples and drones, building to a vibraphone-led climax that evokes a tiny, electronic Steve Reich. Closer "Midnight on Princess" has a cinematic lift to its otherwise dirge-like swells of strings and drone. At only three tracks, Loscil's Strathcona Variations is decidedly brief, but its sense of space and emotion is bottomless.

<a href="https://multiup.org/a512b914acb15f8612c3f8c8e6d93673"> Loscil - Untitled + Versions + Strathcona Variations </a> ( flac 285mb)


01 Heptane 8:13
02 Gallium 6:23
03 Erit 5:42
04 Iodine 6:02

05 Emma 5:53
06 Estuarine 7:33
07 The Making Of Grief Point (Instrumental) 7:33

08 Strathcona     8:02
09 Union Dusk     5:02
10 Midnight On Princess     6:14

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Loscil’s fifth album takes its theme from rain; a natural choice given the reputation Morgan’s hometown of Vancouver has for precipitation.  It generally fits the tone of the album too, as it is impossible to describe Endless Falls without relying on endless water metaphors.  However, while the feel of the album certainly approximates the soothing sadness of a rainstorm, the girth and complexity of the album seems much more evocative of deep, dark waters and slow-moving currents.  This is not an album of floating, wispy, inconsequential sounds—Endless Falls is both massive and deliberate.  Scott makes everything sound simple and effortlessly flowing, but that illusion is built upon a very meticulous layering of many constantly shifting tracks.

Scott Morgan has a strong intuition for pace, sequencing, and variety.  He also understands how far he can push his sound without breaking its hypnotic spell.  It is a treacherous path to navigate, as a too-memorable melody or a too-prominent beat can easily derail an ambient piece into the realm of song (which would be distracting), while doing too little results in a boring album.  This is not boring album.  As expected, the most memorable works on Endless Falls are those that push the envelope of the Loscil sound to its farthest possible edge, such as the shambling, crackling “Dub For Cascadia,” which betrays a heavy influence from electronic dub artists such as Pole.  “Lake Orchard,” on the other hand, bolsters its spacey shimmer with an insistent throb, but forgoes percussion.  In fact, percussion of any kind only appears again in very odd and subtle ways (like the rhythmic pops and clicks in “Shallow Water Blackout” or the chimes/bells in “Showers of Ink”).  While that is not inherently odd for an ambient album, Endless Falls is markedly less rhythmic and dub-influenced than its immediate predecessor (Plume).  Also, Scott’s day job is playing drums for Destroyer.

Morgan continues his fairly recent trend of enlisting a small group of talented collaborators to flesh out his sound, though pianist Jason Zumpano is the only familiar face from earlier albums.  In particular, the inclusion of violinist Kim Koch was an especially inspired idea, as her melancholy scraping and bowing provides a very effective textural foil to Morgan’s watery shimmer on the opening title track.  That said, the big news is that Destroyer frontman Dan Bejar turned up to provide a quietly intense and enigmatic spoken-word monologue for the closing “The Making of Grief Point,” the first ever appearance of vocals on a Loscil album.  Notably, it almost did not make the final cut, as Morgan was trepidatious about “changing the listening perspective from abstract, ambient music into foreground, conscious listening.”  His concern is certainly understandable, as Bejar’s strangely halting, stream-of-consciousness rambling (“the answer to the making of Grief Point is picnic baskets filled with blood”) easily steals the show.  However, it is simply too great a track to leave on the cutting room floor and actually allows Morgan to have his cake and eat it too: Endless Falls is an excellent ambient album, but it is appended by a creepily memorable “single” that easily stands with Destroyer’s best work.





<a href="https://mir.cr/VVUVMA0J">   Loscil - Endless Falls  </a> ( flac 241mb)

01 Endless Falls 7:55
02 Estuarine 8:21
03 Shallow Water Blackout 7:07
04 Dub For Cascadia 6:07
05 Fern And Robin 7:11
06 Lake Orchard 7:41
07 Showers Of Ink 8:44
08 The Making Of Grief Point 8:54

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Loscil is busy during his full time job with creating sound effects for video games, but his part time hobby is devoted to sculpting ambient experiments, mostly for Kranky label. But "Coast/ Range/ Arc" is another exciting contribution to magnificent arctic soundscapes of Italian Glacial Movements label. The album unveils grandiosely with monstrous drones of "Black Tusk", where huge soundwalls are surrounded by swirling hisses. The title is taken from Scott's domestic natural sceneries of Pacific Northwest, incredibly breathtaking and scenic area of Black Tusk pinnacle of volcanic rock in Garibaldi Park. Mesmerizingly ear-bending listening journey has just begun!!! Flow of water takes "Fromme" into more organic and aerial sonic terrains with lighter drones, more textured and spiced by experimentally-infused disruptions. "Stave Peak" attracts with its strongly visualizing theme bringing back some long forgotten memories. Deeply organic and tranquil, slightly orchestral dronescapes are hauntingly inviting and majestic!!! "Névé" navigates us straightly into static, barren and menacing drone territories wrapped by arctic wind. This is Loscil at its most immersing and glacial!!! Freezing domains are explored also on "Brohm Ridge", the longest piece clocking to 11 and half minutes. Slowly expansive and cascading drone wizardry paints spectacular sonic images, filled with panoramic intensity and gracious impression. "Goat Mountain", another longer track, is strongly picturesque hike with gently evolving minimal dronescapes, and brings this album into tranquilly fascinating finale. As usual for Glacial Movements, Bjarne Riesto and Keep Adding leave their notable fingerprints on digipak's packaging. "Coast/ Range/ Arc" was my first exposure of Loscil's sound sculpting, but this album explores the beauty of the Pacific coastal range with all its majesty and grace, a must have for all drone experts!!!



<a href="https://bayfiles.com/F36d2bI4p1/Lscl_Cst-Rng-Arc_zip">   Loscil - Coast-Range-Arc </a> ( flac 207mb)

01 Black Tusk 10:02
02 Fromme 7:33
03 Stave Peak 6:38
04 Névé 8:05
05 Brohm Ridge 11:24
06 Goat Mountain 0:31

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Scott Morgan spent the two albums he made prior to Sketches from New Brighton, Endless Falls and Coast/Range/Arc, expanding on his subtle ambient approach. On this collection, however, he pulls in a bit, using the experience from those explorations to craft something just as rich as those albums in spite (or perhaps because) of its simplicity. As with all of Morgan's work, Sketches from New Brighton establishes a striking sense of place within its music, not just because it was inspired by an actual location -- in this case, an oceanside park near the Vancouver Port Authority -- but because it has so much depth. Over the course of the album, a handful of sounds combine in ways full of hushed beauty and creativity, emphasizing the sculptural nature of these tracks. "Khanahmoot" begins things with gentle but engaging gradations that prepare listeners for the more ambitious explorations to come. One of these is the eight-and-a-half-minute-long "Second Narrows" (whose name makes this album's connection to Loscil's 2004 album First Narrows more explicit). It's one of the most expansive showcases for Morgan's almost imperceptible shifts, as the dark pulse that makes up the album's heart is joined by delicately layered beats and synths that get more fractured and active as the song nears its close. On this song and the rest of Sketches from New Brighton, a watercolor softness and transparency to the sounds pull in listeners ever so gently and give an almost subliminally soothing effect to many of its tracks, such as "Container Ships," which feels nearly amniotic in its weightless intimacy, or the lulling warmth of "Coyote." However, not all of the album is so cozy: "Hastings Sunrise" boasts a sharply metallic tone that recalls a shakuhachi flute in its insistent loneliness, which envelops the rest of the track with a noir-ish glamour and mystery that make it all the more striking, and "Collision of the Pacific Gatherer"'s bassline adds an ominous undertone to the rippling electronics that overlay it. Yet these changes in mood are as subtle as everything else on the album; all the better to discover the different ways these songs flow into each other. Sketches from New Brighton may not be as immediately gripping as Endless Falls or Coast/Range/Arc, but its never-showy refinements are just as impressive in their own way.



<a href="https://www.imagenetz.de/zVq3q"> Loscil - Sketches From Brighton  </a> ( flac 231mb)

01  Khanahmoot    5:10
02  Hastings Sunrise    6:52
03  Second Narrows    8:37
04  Container Ships    4:50
05  Coyote   5:02
06  Collision Of The Pacific Gatherer    05:11
07  Cascadia Terminal    6:00
08  Fifth Anchor Span    5:51
09  Prairie Trains    7:48

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RhoDeo 2106 Grooves

 Hello, i was convinced i had posted these guys years ago, turns out I didn't, high time then for the godfathers of rap...  



Today's Artists areThe Last Poets are several groups of poets and musicians who arose from the late 1960s African-American civil rights movement's black nationalism. The name is taken from a poem by the South African revolutionary poet Keorapetse Kgositsile, who believed he was in the last era of poetry before guns would take over. The original users of that name were the trio of Felipe Luciano, Gylan Kain, and David Nelson.

The versions of the group led by Jalaluddin Mansur Nuriddin and Umar Bin Hassan had the largest impact on popular culture. The Last Poets were one of the earliest influences on hip-hop music. Critic Jason Ankeny wrote: "With their politically charged raps, taut rhythms, and dedication to raising African-American consciousness, the Last Poets almost single-handedly laid the groundwork for the emergence of hip-hop." The British music magazine NME stated, "Serious spokesmen like Gil Scott-Heron, The Last Poets, and later Gary Byrd, paved the way for the many socially committed Black [emcees] a decade later.), .........N Joy

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The Original Last Poets were formed on May 19, 1968 (Malcolm X's birthday), at Mount Morris Park (now known as Marcus Garvey Park) in East Harlem. On October 24th 1968, the group performed on pioneering New York television program Soul!.

Luciano, Kain, Abiodune Oyewole and Nelson recorded separately as The Original Last Poets, gaining some renown as the soundtrack artists (without Oyewole) of the 1971 film Right On!

In 1972, they appeared on Black Forum Records album Black Spirits - Festival Of New Black Poets In America with "And See Her Image In The River" and "Song of Ditla, part II", recorded live at the Apollo Theatre, Harlem, New York. A book of the same name was published by Random House (1972 - ISBN 9780394476209).

The original group actually consisted of Gylan Kain, David Nelson and Abiodun Oyewole. Following their get-together on May 19, 1968 (Malcolm X's birthday), at Marcus Garvey Park, the group coalesced via a 1969 Harlem writers' workshop known as East Wind. When Nelson left, he was replaced by Felipe Luciano, who would later leave to establish the Young Lords. When Kain and Nelson then began to pursue other interests (theater and ministry respectively), Abiodun Oyewole "recruited" Alafia Pudim (later known as Jalaluddin Mansur) and Umar bin Hassan in an attempt to replace the founding members of the group. Following the success of the newly refigured Last Poets first album, founding members Kain and Nelson got together with Luciano and recorded their only album Right On in 1970, the soundtrack to a documentary movie of the same name that finally saw release in 1971. (See also Performance (1970 film featuring Mick Jagger) soundtrack song "Wake Up, Niggers".) Following a legal battle between the two groups concerning ownership of the band's name, The Right On album was released under the group name The Original Last Poets to simultaneously establish the founding members' primacy and distance themselves from the other group of the same name.

Jalal Mansur Nuriddin a.k.a. Alafia Pudim, Umar Bin Hassan, and Abiodun Oyewole, along with poet Sulaiman El-Hadi and percussionist Nilaja Obabi (Raymond "Mac" Hurrey), are generally considered the best-known members of the various lineups. Jalal, Umar, and Nilaja appeared on the group's 1970 self-titled debut LP and follow-up This Is Madness. Nilija then left, and a third poet, Sulaiman El-Hadi, was added. This Jalal-Sulaiman version of the group made six albums together but recorded only sporadically without much promotion after 1977.

Having reached US Top 10 chart success with its debut album, the Last Poets went on to release the follow-up, This Is Madness, without then-incarcerated Abiodun Oyewole. The album featured more politically charged poetry that resulted in the group being listed under the counter-intelligence program COINTELPRO during the Richard Nixon administration. Hassan left the group following This Is Madness to be replaced by Sulaiman El-Hadi (now deceased)[6] in time for Chastisment (1972). The album introduced a sound the group called "jazzoetry", leaving behind the spare percussion of the previous albums in favor of a blending of jazz and funk instrumentation with poetry. The music further developed into free-jazz–poetry with Hassan's brief return on Blue Thumb album At Last (1973), as yet the only Last Poets release still unavailable on CD.

The remainder of the 1970s saw a decline in the group's popularity in America, although they became quite popular in Europe. In the 1980s and beyond, however, the group gained renown with the rise of hip-hop music, often being name-checked as grandfathers and founders of the new movement, often citing the Jalaluddin solo project Hustler's Convention (1973) as their inspiration. Because of this the band was also interviewed in the 1986 cult documentary Big Fun In The Big Town. Nuriddin and El-Hadi worked on several projects under the Last Poets name, working with bassist and producer Bill Laswell, including 1984's Oh My People and 1988's Freedom Express, and recording the final El Hadi–Nuriddin collaboration, prominent Attorney Gregory J Reed reunited Original Poets in NY [ day of Nelson Mandela coincidentally is released from Prison,27 years] and recorded Poets live in Detroit's Orchestra Hall , and produced "The Return of the Original Last Poets Docudrama" Kain,Lupe,Oyewole and Nelson after 20 years in 1990,Scatterrap/Home, in 1994. The group, led by Hassan, also made a guest appearance in John Singleton's 1993 film Poetic Justice.

Sulaiman El-Hadi died in October 1995. Oyewole and Hassan began recording separately under the same name, releasing Holy Terror in 1995 (re-released on Innerhythmic in 2004) and Time Has Come in 1997. Meanwhile, Nuriddin released the solo CD's On The One (1996), The Fruits of Rap (1997) and Science Friction (2004) under the abbreviated name "Jalal."

In 2005, the Last Poets found fame again refreshed through a collaboration where the trio (Umar Bin Hassan) was featured with hip-hop artist Common on the Kanye West-produced song "The Corner," as well as (Abiodun Oyewole) with the Wu-Tang Clan-affiliated political hip-hop group Black Market Militia on the song "The Final Call," stretching overseas to the UK on songs "Organic Liquorice (Natural Woman)", "Voodoocore", and "A Name" with Shaka Amazulu the 7th. The group is also featured on the Nas album Untitled, on the songs "You Can't Stop Us Now" and "Project Roach." Individual members of the group also collaborated with DST on a remake of "Mean Machine", Public Enemy on a remake of "White Man's God A God Complex" and with Bristol-based British post-punk band the Pop Group.

In 2010, Abiodun Oyowele was among the artists featured on the Welfare Poets' produced Cruel And Unusual Punishment, a CD compilation that was made in protest of the death penalty, which also featured some several current positive hip hop artists.

In 2004 Jalal Mansur Nuriddin, a.k.a. Alafia Pudim, a.k.a. Lightning Rod (The Hustlers Convention 1973), collaborated with the UK-based poet Mark T. Watson (a.k.a. Malik Al Nasir) writing the foreword to Watson's debut poetry collection, Ordinary Guy, published in December 2004 by the Liverpool-based publisher Fore-Word Press.[9] Jalal's foreword was written in rhyme, and was recorded for a collaborative album "Rhythms of the Diaspora (Vol. 1 & 2 - Unreleased) by Malik Al Nasir's band, Malik & the O.G's featuring Gil Scott-Heron, percussionist Larry McDonald, drummers Rod Youngs and Swiss Chris, New York dub poet Ras Tesfa, and a host of young rappers from New York and Washington, D.C. Produced by Malik Al Nasir, and Swiss Chris, the albums Rhythms of the Diaspora; Vol. 1 & 2 are the first of their kind to unite these pioneers of poetry and hip hop with each other.[9]

In 2011, The Last Poets Abiodun Oyewole and Umar Bin Hassan performed at The Jazz Cafe in London, in a tribute concert to the late Gil Scott-Heron and all the former Last Poets.[10]

In 2014, Last Poet Jalaluddin Mansur Nuriddin came to London and also performed at The Jazz Cafe with Jazz Warriors the first ever live performance in 40 years of the now iconic "Hustlers Convention". The event was produced by Fore-Word Press and featured Liverpool poet Malik Al Nasir with his band Malik & the O.G's featuring Cleveland Watkiss, Orphy Robinson and Tony Remy. The event was filmed as part of a documentary on the "Hustlers Convention" by Manchester film maker Mike Todd and Riverhorse Communications. The executive producer was Public Enemy's Chuck D. As part of the event Charly Records re-issued a special limited edition of the vinyl version of Hustlers Convention to celebrate their 40th anniversary. The event was MC'd by poet Lemn Sissay and the DJ was Shiftless Shuffle's Perry Louis.

In 2016, The Last Poets (World Editions, UK), was published. The novel, written by Christine Otten, was originally published in Dutch in 2011, and has now been translated by Jonathan Reeder for English readers.

In May of 2018, The Last Poets released Understand What Black Is, their first album since 1997. The album featured tributes to late artists Prince and Biggie Smalls

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If rap could be traced to one logical source point, this exceptional piece of vinyl would be it, without question. Though the strict adherence to syncopated rhythms and standard song structures are absent, all the elements that would later become the hallmarks of hip-hop by the early 1980s (and predictable fare by the 1990s) are here: vivid depictions of street level violence, vivid apocalyptic predictions of racial genocide. All that is missing are pointless party anthems. But running through all the songs on the Last Poets' debut is an urgent sense of the need for radical action in the nation as well as the black community. In addition to railing against the injustices perpetrated by white America, the Poets' comment on the economic and social devastation of drugs ("Jones Comin' Down," "Two Little Boys"), complacency in urban families ("Wake Up Niggers," "When the Revolution Comes"), the emotional release of sex ("Black Thighs"), and the weight of oppression that leads to hopelessness ("Surprises"). At the same time, they warn of the dangers of half-hearted commitment to revolutionary change: "don't talk about revolution until you are ready to eat rats." In the same manner that Marvin Gaye's landmark album What's Goin' On depicted the problems that doomed black culture, the Last Poets are now seen by many as prophets. But also like Gaye, the realization that the problems depicted on The Last Poets are now much worse marks the record as an unheeded warning, far more than just a piece of Black Power kitsch.




<a href="https://mir.cr/HHKOROFW">  The Last Poets ‎- The Last Poets </a> (flac   183mb)

01 Run Nigger 1:11
02 On the Subway 1:31
03 Niggers Are Scared of Revolution 5:14
04 Black Thighs 1:28
05 Gashman 2:42
06 Wake Up Niggers 2:45
07 New York, New York 3:31
08 Jones Comin' Down 2:48
09 Just Because 1:30
10 Black Wish 1:43
11 When the Revolution Comes 2:26
12 Two Little Boys 1:48
13 Surprises 2:09

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A legendary set featuring a group of extremely controversial street poets. The Last Poets used offensive language brilliantly, speaking in graphic detail about America's social and racial failures, and helping expose a wider audience to the sentiments of the '70s black nationalists. They were the forerunners of today's Afrocentric rappers, and also showed the way to a jazz-rap union now being explored on both sides of the Atlantic. However, the material on "The Last Poets" and "This is Madness" deserves an ear. The energy and conviction that drives Abiodun Oyewole, Umar Ben Hassan and Jalal Mansur Nuriddin is explosive. My preference between the two discs is "This Is Madness," which I find to be more political and universal in its reach. This is not to detract from "The Last Poets" however, which has a more raw production and a tighter focus on New York and Black Revolution. Another main difference is that Abiodun Oyewole is not present on "This Is Madness" as he was serving time during the recording sessions. "This Is Madness" also has the added benefit of the Intro tracks, which are musical interludes led by percussionist Nilaja Obabi, which integrate organically into the album giving it an atmospheric effect.

<a href="https://multiup.org/e779056da18c589efed5473cf1f60900"> The Last Poets - This Is Madness  </a> (flac   272mb)

01 True Blues 2:04
02 Related to What Chant 1:12
03 Related to What 3:14
04 Black Is Chant 0:58
05 Black Is 2:33
06 Time 1:43
07 Mean Machine Chant 1:24
08 Mean Machine 4:05
09 White Man's Got a God Complex 3:41
10 Opposites 1:48
11 Black People What Y'all Gon' Do Chant 0:47
12 Black People What Y'all Gon' Do 3:25
13 O.D. 3:10
14 This Is Madness Chant 1:07
15 This Is Madness 4:54
 Bonus Tracks
16 Lightnin' Rod Sport 2:35
17 Lightnin' Rod Spoon 1:16
18 Lightnin' Rod Doriella du Fontaine (feat. Jimi Hendrix) 8:46

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Along with Gil Scott-Heron, the Last Poets' role in the creation of rap music cannot be overstated, although their 1972 album Chastisement also demonstrates that historical importance does not guarantee universal accessibility. Definitely not easy listening in any sense of the term, Chastisement presents lengthy diatribes set to stripped-down arrangements of conga, bass, and sax, creating a style which one song title dubs "Jazzoetry." The Last Poets' Afro-centric themes are often reverse-racist, but there's no denying the power and intelligence behind such material as "Before the White Man Came," which offers this closing glimpse of regretful culpability: "and now it's been 400 years since that eventful day/but if we had known what they had in mind/they all would have died in the bay/so now we are paying for our mistake/with only ourselves to blame/with memories of the good old years/before the white man came." "Black Soldier" assumes a similar position, merging a mock-marching chant with an anti-Vietnam tirade which condemns black servicemen for indirectly assisting white oppressors back home in the ghetto. Alarmingly prophetic, "Black Soldier" simultaneously reviews past civil disturbances and foreshadows those of the future by proclaiming, "their law enforcement will not work/whatever they conspire/will only serve to make us strong/we will fight fire with fire/no that was not a riot/that they saw down in the slums/that was a dress rehearsal/for things that's yet to come." Far less angry, yet no less compelling, is the musical history lecture entitled "Bird's Word," which traces the development of blues and jazz while mentioning dozens of pioneers including Ma Rainey, Max Roach, Betty Carter, and Sun Ra. The inclusion of a lyric sheet might make Chastisement easier for some to digest by reading rather than listening, but such an education would be incomplete without experiencing the passion and fury of the Last Poets' seminal performances.



<a href="http://depositfiles.com/files/c9jd18zi9">  The Last Poets - Chastisment </a> (flac   207m)

01 Tribute to Obabi (Ogun) 10:18
02 Jazzoetry 3:47
03 Black Soldier 5:58
04 E Pluribus Unum 4:39
05 Hands Off 4:06
06 The Lone Ranger 0:29
07 Before the White Man Came 3:45
08 Bird's Word 6:14

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This is probably the most accessible Last Poets album, and also the most jazzy/funky. Not as brutal and impressive as the first albums, but well worth investigating. Here the cd reissue of a very rare Last Poets album, though this is as much Bernard Purdie's record as he is listed equally. It's A Trip is a fierce fusion of heavy afrobeat funk-futurist drumming, courtesy of the one and only Bernard Purdie, and superb pre-rap rapping and chanting from the one and only Last Poets. An exciting track, completely out of time, that still works well today.The rest of the album can't really live up to that track and I don't often play through it. The Pill is really weird as well.... highly suspect track.

 



<a href="https://www.imagenetz.de/SBNL3">  The Last Poets - Delights of the Garden  </a> (flac   230mb


01 It's a Trip 4:45
02 Ho Chi Minh 5:16
03 Blessed Are Those Who Struggle 3:41
04 The Pill 5:08
05 Delights of the Garden 3:48
06 Be 6:23
07 Yond 4:53
08 Er 7:31

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RhoDeo 2106 Expanse 29

 Hello,     Mars, ever wondered why this little planet has such a big reputation that people want to live there, really a reputation build on events 5,000 years and longer , ago. But these days no one is alowed to believe what every human that lived back then witnessed. Luckily here at Rho Xs we know the universe is electric..

 

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

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

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

— Nikola Tesla

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Original Post February 3, 2012

Fourteen years ago, Halton Arp published Seeing Red. Chapter 6, “Clusters of Galaxies,” presented his finding that the clusters were low-luminosity high-redshift—and nearby—“star piles.”

There was not then and there has not been since any discussion of the difficulties for consensus theories that Arp’s observations revealed.

    Distribution: If clusters of galaxies are like the nearby Virgo Cluster only farther away, they should be located more or less randomly around the sky. (Perhaps the most violated assumption of modern astronomy is that the universe is homogeneous.) But the clusters are grouped around bright nearby galaxies. Figure 6-16 in Seeing Red [SR, p. 158] shows the distribution of clusters in one quarter of the southern sky: three lines of clusters coincide with three of the brightest galaxies.
    Alignments: The coincidence of lines of clusters with bright galaxies also coincides with lines of quasars, BL Lac objects, radio galaxies, and x-ray sources. As an example, Arp plots all the clusters within a 28×24-degree area of the sky centered on the bright radio galaxy Fornax A. A slightly curved line of them extends to the northeast; another line to the southwest. In figure 6-18 [p. 162], he plots the BL Lac objects (high-redshift objects similar to quasars) in the region: the lines coincide. (Perhaps consensus astronomers can develop a theory of Dark Alignment to explain how objects billions of light-years away and billions of light-years ago can cause present-day bright galaxies to form in front of them.)
    Properties: Galaxy clusters are often much bluer than nearby galaxies. Few if any individual galaxies in them look like the giant spiral galaxies we see nearby. Most of the cluster galaxies have peculiar and distorted shapes. Furthermore, the galaxies in the clusters are embedded in a kind of x-ray fog, whereas nearby galaxies are individual sources. Arp writes, “They were essentially just star piles….” [p. 161]

In the image above, “[t]he LABOCA camera on the ESO-operated 12-metre Atacama Pathfinder Experiment (APEX) telescope reveals distant galaxies undergoing the most intense type of star formation activity known, called a starburst. This image reveals these distant galaxies, found in a region of sky known as the Extended Chandra Deep Field South, in the constellation of Fornax (The Furnace). The galaxies seen by LABOCA are shown in red, overlaid on an infrared view of the region as seen by the IRAC camera on the Spitzer Space Telescope.”

A recent press release perpetuates the willful ignorance of modern ossified astronomy: “[A] team of astronomers has found the strongest link so far between the most powerful bursts of star formation in the early Universe, [sic] and the most massive galaxies found today.”

The finding is “the way that bright, distant galaxies are gathered together in groups or clusters.” Where they looked to find this is the Chandra Deep Field South. Where is that? It’s ten degrees northeast of Fornax A, at the end of the line of clusters, quasars, BL Lacs, radio galaxies, and x-ray sources that Arp plotted in the figures 6-16 and 6-18. The “bright” and the “distant” in the finding are not in the sky but in astronomers’ presumptions.

Later in the press release, the cluster galaxies are called “starburst” (because they are blue and immersed in x-ray radiation) and noted to be “clustered in a very similar way to quasars.” No surprise there: They are part of the same clustering as the quasars. And the BL Lacs. And the radio galaxies. And the x-ray sources. Obviously (everything is obvious once you understand it and imperceptible until you do), the various objects have been ejected from Fornax A.

The “strongest link”—later called a “clear link”—between the alleged early galaxies and today’s massive galaxies turns out to be a computer simulation based on…presumptions about dark matter. Of course, astronomers can’t call them presumptions—that would be uncomfortably close to recognizing their willful ignorance. So they call it “measuring the masses of the dark matter halos around the galaxies,” thereby making a calculation based on a presumption spawned by denial of discrepant observations seem empirical. The “link” is no connection at all beyond that of wishful belief.

The consensus purblindness is obvious, embarrassing, and shameful. Since most of modern astronomy is funded by public monies and sold to the public as science, the enterprise is fraudulent. Fourteen years after Arp saw red, the outrage continues.

Mel Acheson

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Well Einstein was wrong, despite being a Jew which is why his nonsense is still accepted as the gospel, anyone dare to challenge can expect full on attack, specially by the likes of Jewish controlled/owned Wiki. Anyway EU's percieved weakspot is their deferance for Velikofsky, ironically the same man who won a bet with Einstein (about the electric noise Jupiter makes) which undoubtetedly hastened his demise (as he recognized how wrong he had been), but then Einstein was wrong again, his fanboys didn't want to know of electricity and kept singing the gospel of gravity to the detriment of the human race...

From now on the coming 7 high quality mini docs on the EU.. don't miss them


<a href="https://multiup.org/8b3c2029879467ad0bddcf149cf2551d">Electric Universe S01E01 The Spark of an Electric Universe</a> ( 30min  503mb)
<a href="https://multiup.org/e4695243783841c895894bd57b5aaf09">Electric Universe S01E02 Modern Understanding of Ancient Cosmology</a> ( 30min  433mb)
<a href="https://multiup.org/56ebdd38eb280c89d808002f97a16732">Electric Universe S01E03  Electric Stars</a> ( 30min  420mb)
<a href="https://multiup.org/ad571d760a940a67dd205a3d742f8a61">Electric Universe S01E04  The Birth of Venus</a> ( 26:30min  372mb)
<a href="https://multiup.org/9c069a1b16a8b6c5b67cc1ae04591348">Electric Universe S01E05  Deep Memories of Mars</a> ( 28:02min  372mb)
<a href="https://multiup.org/a9df94797a5c15e515856a98800bc6e3">Electric Universe S01E06  Our Electrical Bonds to the Universe</a> ( 26:28min  442mb)
<a href="https://multiup.org/39262ebdccf15b8988103e7bb9bceec2">Electric Universe S01E07  Saturn and the Cosmic Tale of Humanity</a> ( 31:03min  442mb)


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The subject of this video series by Dave Talbott is the ancient experience of towering celestial forms that are no longer present. From a single snapshot of the configuration, we can work backwards to the first appearance of these bodies out of an undifferentiated cloud or sea of dusty plasma. We can then follow the configuration’s evolution through phases that range from quasi-stability to earth shaking catastrophe. We can then follow the configuration’s evolution through phases that range from quasi-stability to earth shaking catastrophe.

See the three full documentaries in the Symbols of an Alien Sky series:
Episode 1, Symbols of an Alien Sky
Episode 2, Symbols of an Alien Sky: The Lightning-Scarred Planet, Mars
Episode 3, Symbols of an Alien Sky: The Electric Comet

Year by year the evidence for global electric scarring of Mars continues to grow. Bringing the facts to public attention will be among our highest priorities in coming months. Note: all of the Mars imagery involves actual maps from Google Mars.

In Symbols of an Alien Sky, Episode 2: The Lightning Scarred Planet Mars, David Talbott takes the viewer on an odyssey across the surface of Mars. Exploring feature after feature of the planet, he finds that only electric arcs could produce the observed patterns. The high resolution images reveal massive channels and gouges, great mounds, and crater chains, none finding an explanation in traditional geology but all matching the scars from electric discharge experiments in the laboratory.

As a scientific follow-up to Symbols of an Alien Sky, this documentary provides a definitive answer to the question: was Mars carved from pole to pole by intense interplanetary discharge?

Errata: The volume of Valles Marineris is estimated by the USGS (2002) to be .92 million cubic miles (3.86 million cubic kilometers).

If you see a CC with this video, it means that subtitles are available. To find out which ones, click on the Gear Icon in the lower right area of the video box and click on “subtitles” in the drop-down box.  Then click on the subtitle that you would like.  

https://youtu.be/tRV1e5_tB6Y



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

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

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

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

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


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

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

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Cibola Burn is a 2014 science fiction novel by James S. A. Corey (pen name of Daniel Abraham and Ty Franck) and the fourth book in The Expanse series. It follows the crew of the Rocinante as they join the flood of humanity out into the galaxy, using the gates built by the ancient civilization that also produced the protomolecule. At the release of Cibola Burn, Orbit Books announced that James S. A. Corey would write three additional books in the series (adding to two that were already planned) to bring the series to nine novels and various short stories.

After the events of Abaddon's Gate, humanity has gained entry to thousands of new worlds and solar systems through the gate networks. At the start of Cibola Burn the United Nations, Martian and Outer Planets Alliance governments have thus far restricted exploration and colonization efforts to one corporate scientific survey mission to one of these planets. Complicating matters is the existence of a colonial settlement already on the planet from before the military blockade of the rings came into effect. Both sides claim ownership in a confrontation reflecting many colonial interactions throughout history. Jim Holden is sent to mediate the interactions between the colonists and scientists when political and racial tensions culminate in violence.

Still dogged by the disembodied presence of Miller, who wishes to investigate the disappearance of the planet's former inhabitants, Holden arrives on a world on the verge of war. Yet the biggest danger to the colonists, scientists and Holden is not the human disagreements that they have brought with them but the frontier. As with the settling of the American West and many colonial projects of Earth's past, the frontier into which humanity has ventured is vast, uncontrolled and full of dangers. When a mysterious disease and horrific disaster strike at the same time and threaten the lives of the colonists and those in orbit, Holden and Miller must brave the ruins of an alien civilization in search of the one thing that might save them all.
Major character arcs

Basia Merton is one of the refugees from Ganymede refused safe harbor in the Solar System. His ship pushed through the gate to be the first to settle a new planet. Called Ilus by the inhabitants, they found a rich vein of lithium that could provide a valuable trading commodity with other systems. The United Nations sends a scientific party to the planet with a legal charter to the land. This drives Basia to actions he never thought he would do, and it seems like he has a never-ending set of decisions between bad choices, while he's only trying to do what he thinks is best for his family.

Elvi Okoye is a scientist on the team sent by the United Nations. Her original task was to try to survey the planet in a pristine state but events make that impossible. Later, she tries to gain insight into the incredible things happening on the planet that make it seem like the most hospitable biosphere found away from Earth may kill them all.

Dmitri Havelock was Miller's partner on Ceres and is now deputy security chief for the UN mission to New Terra. Remaining aboard the ship that brought him while the security chief relocates to the surface, he becomes increasingly concerned about the actions of his supervisor. Later, the fortunate capture of a prisoner from the Rocinante sets a chain of events into motion with long-term repercussions for humanity.

James Holden Sensing trouble brewing on Ilus/New Terra, Chrisjen Avasarala sees the need for someone perceived as unbiased to negotiate and report on events there and chooses Jim Holden. After making the journey, the crew tries their best to balance colonial claims, government priority and the awakening creatures on the planet within a crisis greater than all their earlier concerns.

Miller is still trying to figure out his role within the alien construct, while maintaining his connection with Holden. Eventual clues come together allowing him to shut down the alien machinery and potentially save everyone. However, both the remnants of Miller and the Investigator are killed in the process.

Abaddon's Gate was adapted into episodes 7 to 13 of the third season of the television series The Expanse in 2018, with its title taken for the final episode of that season. It was the last book in the series to be adapted before the show's move from Syfy to Amazon Prime. Meanwhile Amazon has signed a contract to film the complete series season 5,6 and possibly 7, btw season 5 starts this week....



<a href="https://multiup.org/a7a9a2f96fb59f3986666a9b036c24b9">James S.A. Corey - The Expanse Cibola Burn (15-20) </a> ( 134min  59mb)

James S.A. Corey - The Expanse Cibola Burn 15-20    134min



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previously

<a href="https://multiup.org/ec2507a66facbe13b61c3d6aafd8b255">James Corey - The Expanse Caliban's War 01-07 </a> ( 139min  63mb)
<a href="https://multiup.org/7c2db1bc4c8f93ff45f2df6e5a901aca">James Corey - The Expanse Caliban's War 08-15 </a> ( 173min  78mb)
<a href="https://multiup.org/d627294ce680b55a5552ee26da80628d">James Corey - The Expanse Caliban's War 16-22 </a> ( 169min  64mb)
<a href="https://multiup.org/71ffc68a701740415df5806f6db5c405">James Corey - The Expanse Caliban's War 23-29 </a> ( 165min  64mb)
<a href="https://multiup.org/2ddc5eb96cece09aafae0029a72381fd">James Corey - The Expanse Caliban's War 30-36 </a> ( 167min  67mb)
<a href="https://multiup.org/b9bbcfa99bc55b573b00e3c0287fedb7">James Corey - The Expanse Caliban's War 37-43 </a> ( 149min  67mb)
<a href="https://multiup.org/37ee50c645c467428254dcfb0092550e">James Corey - The Expanse Caliban's War 44-50 </a> ( 150min  60mb)
<a href="https://multiup.org/1d286bb56f1c77caf49144115f918da1">James Corey - The Expanse Caliban's War 51-57 </a> ( 104min  48mb)
<a href="https://multiup.org/04e5eba5ae7d0b8714c747f135e97208">James Corey - The Expanse Abaddon's Gate 01-07 </a> ( 143min  66mb)
<a href="https://multiup.org/9d31e40248b2d9b26a7d0dbd9237ecb3">James Corey - The Expanse Abaddon's Gate 08-14 </a> ( 157min  72mb)
<a href="https://multiup.org/98823e0797656130ce7e51d3569dacfb">James Corey - The Expanse Abaddon's Gate 15-21 </a> ( 139min  64mb)
<a href="https://multiup.org/bc63015bb4e75014732fbd2558d1db22">James Corey - The Expanse Abaddon's Gate 22-28 </a> ( 158min  72mb)
<a href="https://multiup.org/66e48cef9a80992a672ae47c44cf7979">James Corey - The Expanse Abaddon's Gate 29-35 </a> ( 138min  63mb)
<a href="https://multiup.org/d643ce67098f78606be3c6209f56337b">James Corey - The Expanse Abaddon's Gate 36-42 </a> ( 131min  60mb)
<a href="https://multiup.org/a8ae55abe052929db05681aa453d8c65">James Corey - The Expanse Abaddon's Gate 43-49</a> ( 131min  60mb)
<a href="https://multiup.org/62fc21d2f4526401839898a34dba8c96">James Corey - The Expanse Abaddon's Gate 50-55</a> ( 99min  45mb)
<a href="https://multiup.org/f7f2f9b4f8c292baa4a10cc975434388">James Corey - The Expanse The Vital Abyss </a> ( 146min  67mb)
<a href="https://multiup.org/a342a96876aac55f56cc4d6d19a82489">James S.A. Corey - The Expanse Cibola Burn (01-07) </a> ( 132min  61mb)
<a href="https://multiup.org/231c93090b14ff8bbc0652e462a7498d">James S.A. Corey - The Expanse Cibola Burn (08-14) </a> ( 128min  59mb)


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Sundaze 2106

 Hello,  


Today's Artist is the electronic/ambient music project of Scott Morgan, from Vancouver, British Columbia, Canada. The name Loscil is taken from the "looping oscillator" function (loscil) in Csound in case you wondered, Scott Morgan was also the drummer for the Vancouver indie band Destroyer, but then studying communications and music at Simon Fraser University opened Morgan to the possibilities of experimental and electronic music and the rest as they say,is history...... N'Joy

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As Loscil, composer/producer Scott Morgan creates ambient music that drifts between the intuitive and the intellectual with deceptively easy grace. Since his 2001 debut album, Triple Point, a set of evocative tracks revolving around thermodynamics, he's shaped his masterful atmospheres and delicate, almost subliminal melodies with conceptual frameworks. The history and striking geography of southwestern British Columbia -- especially his hometown of Vancouver -- inspired some of his finest albums, including 2004's First Narrows (his first work to blend live instrumentation with electronics), 2012's Sketches from New Brighton, and 2014's Sea Island. While Morgan expanded his focus with 2016's ecologically minded Monument Builders and the meditations on creativity of 2019's Equivalents, the vast yet intimate feel of his music remained.

Born and raised in Vancouver, Morgan moved from the city's eastern suburbs to Courtenay on Vancouver Island as a boy. In his teens and twenties, he grew bored of the island's stillness, and channeled his restlessness into the bands he played with, which later included a stint as the drummer for Destroyer. However, studying communications and music at Simon Fraser University opened Morgan to the possibilities of experimental and electronic music. As he trained to be a sound designer and director, he learned about the fundamentals of computer music as well as the work of 20th century experimental composers like John Cage and Karlheinz Stockhausen.

Morgan's education shaped the music he was making on his own. Taking the term "loscil" (a combination of "loop" and "oscillate") from the audio programming language Csound, he began performing his minimalist dub/techno/ambient-inspired tracks at a friend's independent theater. He made a demo album, A New Demonstration of Thermodynamic Tendencies, named after and inspired by a physics textbook Morgan found at a used book store. After a friend suggested he send the demo to Kranky, the label signed him and, following a few tweaks, released it as Loscil's debut album. Arriving in October 2001, Triple Point introduced the conceptual basis of Morgan's music and his abstract yet vivid style. Following a European tour with Stars of the Lid, Morgan started work on Loscil's second album. This time, he looked to underwater craft for his music's emotional and thematic coherence and used heavily processed samples of classical music to convey its aqueous depth. Submers, which appeared in November 2002, included a touching requiem for the crew of ill-fated Russian nuclear vessel Kursk.

Destroyer's Rubies
For his next album, Morgan used a much wider range of sound sources. Along with samples, found sounds, and computer-generated tones, he also incorporated live instrumentation into the work. Inspired by Vancouver's Lion's Gate Bridge, May 2004's First Narrows featured Fender Rhodes courtesy of Zumpano's Jason Zumpano, along with contributions from Destroyer guitarist Tim Loewen and cellist Nyla Rany. At this point, Morgan was still Destroyer's drummer, and his remix of the band's 2006 album Destroyer's Rubies, "Loscil's Rubies," appeared on its vinyl release. That May, Morgan also issued Plume, which reunited him with Zumpano and featured xylophonist Josh August Lindstrom alongside guitarists Krista Michelle Marshall and Stephen Wood.

Loscil returned in 2009 with Strathcona Variations, an EP for Ghostly International that ranged from minimalism to orchestral heights. With March 2010's somber Endless Falls, Morgan took another step forward; the album's final track showcased the vocals of his Destroyer bandmate Dan Bejar. The Italian label Glacial Movements issued Coast/Range/Arc, a piece inspired by the Coast Mountains, as a limited-edition release in June 2011. Morgan's next pair of albums showcased different sides of his hometown. Appearing in September 2012, Sketches from New Brighton took its name from an oceanside park in Vancouver that was considered to be the city's birthplace. The album spawned the following year's Intervalo, a reworking of several Sketches from New Brighton tracks with pianist Kelly Wyse. In November 2014, Morgan and Wyse reunited for Sea Island, which drew inspiration from the isle that is home to Vancouver's international airport. That year, Loscil also appeared on a split EP with Fieldhead.

Morgan's 2015 works included the For Greta EP, a benefit release for a friend's daughter who was battling bone cancer, and the interactive smartphone EP Adrift, which incorporates the elements of each track differently each time it plays. A warped VHS copy of Koyaanisqatsi, as well as the writing of philosopher John Gray and the photography of Edward Burtynsky, shaped Morgan's vision for November 2016's pensive full-length Monument Builders. The next year, collaborations with Seabuckthorn and Lost Trail arrived. In 2018, Morgan self-released Bannockburn, an extended version of one of the tracks from Adrift. In August 2019, he issued Equivalents, an album inspired by a series of moody, early 20th century photographs of clouds by renowned photographer and artist Alfred Stieglitz.

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The drummer from Destroyer, a fellow named Scott Morgan, moonlights as Loscil. With Triple Point, it appears he's made a laptop ambient concept record about thermodynamics. Some hints: "Hydrogen," "Discrete Entropy," "Fuel Exergy," "Enthalpy," and "Vapour." Wait -- the record isn't even close to being that boring. (And at least Morgan uses actual pronounceable words as titles for his compositions, rqkght? Rqkght.) Snagging the listener early on with the sublime pulsing of "Hydrogen," Morgan regularly finds a central texture or rhythm and applies as little ornamentation as possible for maximum impact. Throughout the remainder of these 60 minutes, the listener is treated to finely detailed and rather glitch-free ambient. Aside from the relatively amiable and forward flow of the opener, Triple Point vacillates between the haunting and the soothing. It's almost a shame that the record doesn't bear the logo of a label that's more known for delivering this type of thing. Having been released by Kranky -- a label that's nonetheless established and as forward-looking as they get -- their logo probably won't be able to attract the attention of experimental techno fans who remain loyal to a few select labels and choose not to venture outside of that tiny realm. Pay no mind to the label and pay no mind to the producer's locale (Vancouver isn't Cologne or Detroit); Triple Point is one of the finest -- and most varied -- ambient techno releases of 2001.

<a href="https://multiup.org/33449b91c00f499c435daef35f5cab0a"> Loscil - Triple Point </a> ( flac 285mb)

01 Hydrogen 3:35
02 Ampere 7:27
03 Pressure 4:33
04 Zero    4:14
05 Discrete Entropy 5:20
06 Fuel Exergy 6:00
07 Enthalpy 5:01
08 Conductivity 7:37
09 Vapour5:09
10 Absolute 9:58

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Clearly a producer with an unapologetic love for the conceptual, Scott Morgan's second album for Kranky as Loscil takes on an aquatic theme -- each track is named after a submarine. However, not a whole lot has changed in Morgan's approach from his debut. These tracks sound only a little more aqueous than the ones on Triple Point, continuing to carry wide-open spatial qualities, with the odd hint of dub occasionally thrown in for variation (with its lathery suds of dubspace, "Le Plongeur" rivals Rhythm & Sound's best work). The only significant difference is the emphasis on waves of rhythm over thumps and pulses. "Triton" is the most wonderful thing Morgan has produced yet, an elegantly dramatic, filmic composition based on a submerged two-note bass hum, a series of rhythmic noise effects, and what sounds like a sampled and drastically altered orchestral arrangement. The notes are emitted lucidly, but they resemble a string arrangement as heard through some type of mildly muffling filter -- a body of water, perhaps? If the only track on the disc that follows it hadn't been produced in honor of the 118 people who died on the Kursk, a Russian sub, it would've been the perfect closing. Submers tops Morgan's impressive debut and provides further proof that the field of ambient techno continues to have plenty to offer. If Markus Guentner's In Moll was 2001's surrogate Gas record, Submers is the 2002 edition.



<a href="https://www.imagenetz.de/PEE52">   Loscil - Submers </a> ( flac 234mb)

01 Argonaut I 7:07
02 Gymnote 5:57
03 Mute    7:31
04 Nautilus 6:59
05 Diable Marin    4:13
06 Resurgam 7:35
07 Le Plongeur 7:07
08 Triton 6:43
09 Kursk 7:10


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Scott Morgan's -- aka Loscil -- third full-length is titled for the first gap in the entrance to the Burrard Inlet spanned by the Lion's Gate Bridge into Vancouver, his hometown, from the Pacific Ocean. The title is not an accident, as the notions of gap, time span, and movement in Morgan's new pieces offer a nocturnal view of the transition of fluid inner space. First Narrows also marks a first for Morgan: this is his first collaborative recording with live instruments. Morgan's generated sounds, from varied sources both organic and electronic, both musical and found atmospheres, were custom programmed and processed with the notion of time displacement built in -- the programs were designed as "flawed" so that no two performances of his sonic patches would ever be the same. Morgan then asked Jason Zumpano (Rhodes), Nyla Raney (cello), and Tim Loewen (guitar) to improvise over his aural constructions, and then edited and mixed the constructed electronic sounds with the live ones. The end result feels unlike anything he's ever done before, but retains his trademark moodiness -- in spades. Pulses and sequences flit by through the middle of washes of white noise and played sound, phrases become long passages and then disappear as gradually as they appeared, channels blend, drop out and shift, giving a form to the formless and then dissembling it into the ether. Over five tracks, this heartbeat ambience and alien soundscape architecture layer, dissemble, stretch, float, commingle, and undulate through the ears of the listener who is, in turn, taken out of her or his own time-space continuum. Spooky, lush, warm, watery, and even moving, First Narrows is a glorious experiment in aural atmospherics.



<a href="http://depositfiles.com/files/cetjy2k2i">   Loscil - First Narrows </a> ( flac 227mb)

01 Sickbay 6:13
02 Lucy Dub 7:19
03 First Narrows 10:19
04 Emma 7:31
05 Modo 5:42
06 Brittle 7:33
07 Cloister 8:59


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The immediately noticeable thing about Loscil's Plume is how engaging it is right from the first waves of quiet static that so aptly complement the smoke stack artwork. Instantly "Motoc" sets the tone for the remainder of the album, whose gentle percussion and pulses of static supply the rhythm bed, which other artists using organic instruments (xylophone, vibes, guitar, Rhodes piano) quietly improvise over. The band are disciplined in their freedom, playing melodic passages with sparseness and attention to timing. This creates a tranquil and melancholic mood music that not only runs throughout Plume, but helps to carry over some continuity from the serenity and density of Loscil's previous releases. The wispy nature of "Steam" is not unlike the sounds found on labelmate Christopher Bissonette's debut recording Periphery, while "Chinook" is the perfect soundtrack for a rainy spring afternoon. An impressive release from an artist who never fails to deliver the goods.



<a href="https://mir.cr/1NQ2H2S6"> Loscil - Plume  </a> ( flac 251mb)

01 Motoc 6:27
02 Rorschach 8:17
03 Zephyr 5:17
04 Steam 6:53
05 Chinook 6:55
06 Bellows 6:24
07 Halcyon 8:19
08 Charlie 8:47
09 Mistral 6:00



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RhoDeo 2105 Grooves

 Hello,


Today's Artists are is an American husband-and-wife songwriting-production team and recording duo, that besides having great successes in the music industry maneged a successful mariage in the showbusinessworld (no mean feat), .........N Joy

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Ashford & Simpson were an American husband-and-wife songwriting-production team and recording duo of Nickolas Ashford (May 4, 1941 – August 22, 2011 and Valerie Simpson (born August 26, 1946).

Ashford was born in Fairfield, South Carolina, and Simpson in the Bronx, New York City. Afterwards, his family relocated to Ypsilanti, Michigan, where he became a member of Christ Temple Baptist Church. While there, he sang with a group called the Hammond Singers (named after the founding minister, James Hammond). Later, Nickolas attended and graduated from Willow Run High School in Ypsilanti, Michigan, before pursuing his professional career, where he would ultimately meet his wife, Valerie. They met at Harlem's White Rock Baptist Church in 1964. After having recorded unsuccessfully as a duo, they joined an aspiring solo artist and former member of the Ikettes, Joshie Jo Armstead, at the Scepter/Wand label, where their compositions were recorded by Ronnie Milsap ("Never Had It So Good"), Maxine Brown ("One Step at a Time"), as well as the Shirelles and Chuck Jackson. Another of the trio's songs, "Let's Go Get Stoned," gave Ray Charles a number one U.S. R&B hit in 1966. That same year, Ashford & Simpson joined Motown, where their best-known songs included "Ain't No Mountain High Enough," "You're All I Need to Get By," "Ain't Nothing Like the Real Thing," and "Reach Out and Touch (Somebody's Hand)." Ashford and Simpson wrote many other hit songs, including Chaka Khan's "I'm Every Woman" (1978) and Teddy Pendergrass's "Is It Still Good to You?"

As performers, Ashford & Simpson's best-known duets are "Solid" (1984) and "Found a Cure" (1979). The duo were inducted into the Songwriters Hall of Fame in 2002. They are also recipients of The Rhythm & Blues Foundation's Pioneer Award, ASCAP Founders Award, and the Grammy Trustee Award.[4][5] Rolling Stone ranked them No. 19 on its list of the 20 Greatest Duos of All Time
The Budos Band were also willing to assist on others' recordings. They backed Blundetto (Max Guiguet) on "Mustang," the B-side of his 2011 "Voices" single. They also contributed "Black Venom" to the Resistencia Soul compilation that also featured Nicole Willis, Lee Fields, Alice Russell, Charles Bradley, and others in 2012. Speaking of Bradley, in 2013 the group backed him on his cover of Black Sabbath's "Changes" on the A-side of a non-LP single. In October 2014, the Budos Band re-emerged with Burnt Offering, an album that diverged from the path they'd previously carved for themselves; the set was deeply steeped in psychedelia and soundtrack grooves as well as Afrobeat and funk. A four-continent world tour followed and kept the band on the road for more than two years.

The duo essentially had two careers: one as a successful writing and producing team and the other as singers and performers themselves. They started their career in the mid-1960s, writing for artists such as the 5th Dimension ("California Soul"), Aretha Franklin ("Cry Like A Baby"), and Ray Charles ("Let's Go Get Stoned" and "I Don't Need No Doctor"). Their work with Charles brought them to the attention of Motown chief Berry Gordy.

Upon joining the Motown staff in 1966, Ashford & Simpson were paired with the vocal duo Marvin Gaye and Tammi Terrell, and they wrote and/or produced all but one of the late-1960s Gaye/Terrell singles, including hits such as the original version of "Ain't No Mountain High Enough", "Your Precious Love", "Ain't Nothing Like the Real Thing", and "You're All I Need to Get By". According to Gaye in the book Divided Soul, Simpson did most of the vocals on the last album he did with Terrell, Easy, as a way for Terrell's family to have additional income as she was battling an ultimately fatal brain tumor. Though Louvain Demps, singer of the Andantes, has stated that she saw Terrell recording the album, and Simpson is quoted as saying, in a book written by Terrell's sister Ludie Montgomery, what they saw was her singing the guide tracks for the album, which were later replaced by Tammi's own vocals.

Ashford & Simpson wrote and produced almost all the songs on three 1970s albums for former Supreme Diana Ross, including her first solo album Diana Ross ("Reach Out and Touch (Somebody's Hand)")[7] and "Ain't No Mountain High Enough", Surrender ("Remember Me"), and The Boss. All three albums were critically acclaimed with Diana Ross, her 1970 album debut, and The Boss being certified platinum and "Surrender" certified Gold.

Other Motown artists whom Ashford & Simpson worked with include Gladys Knight & the Pips ("Didn't You Know You'd Have to Cry Sometime", and after Motown they wrote and produced for this group "Landlord", "Bourgie, Bourgie", and "Taste of Bitter Love"), Smokey Robinson & the Miracles ("Who's Gonna Take the Blame"), Syreeta Wright ("I Can't Give Back the Love I Feel for You"), the Marvelettes ("Destination: Anywhere"), Martha Reeves & the Vandellas ("Tear It On Down"), the Dynamic Superiors ("Shoe, Shoe Shine"), Blinky Williams ("I Wouldn't Change the Man He Is"), and the Supremes with the Four Tops (original duets, plus the production of a hit cover of Phil Spector's "River Deep-Mountain High").

Other artists with whom Ashford & Simpson had hits were Teddy Pendergrass ("Is It Still Good to You"), the Brothers Johnson ("Ride-O-Rocket"), Stephanie Mills ("Keep Away Girls"), Chaka Khan, both on her own ("I'm Every Woman" and "Clouds"), and with Rufus ("Keep It Comin'" and "Ain't Nothin' But a Maybe").
Performers

Ashford & Simpson's career as recording artists began in the early 1960s as part of the gospel group the Followers, with whom they recorded the album Gospel Meeting (on Forum Circle), later issued as Meetin' The Followers (on Roulette Records). The LP contains their vocals and also four Ashford compositions. In 1964, they recorded "I'll Find You", as "Valerie & Nick". That was followed by several obscure singles recorded by Ashford on the Glover, Verve and ABC labels, such as "It Ain't Like That" (later recorded by Martha Reeves & the Vandellas), "California Soul", and "Dead End Kids", backed by his own version of "Let's Go Get Stoned".

Simpson appeared (with Melba Moore) as part of the "Blood, Sweat & Tears Soul Chorus" on the band's debut album Child Is Father to the Man in 1968. After concentrating on working with other artists, Simpson was the featured soloist on the songs "Bridge Over Troubled Water" and "What's Going On" on the Quincy Jones albums Gula Matari in 1970, and its follow-up, Smackwater Jack.

Simpson subsequently recorded two solo LPs for Motown: Exposed in 1971, and, the following year, Valerie Simpson, which included the single "Silly, Wasn't I", which was later sampled on 50 Cent's "Best Friend" from the movie Get Rich or Die Tryin'. The song was also sampled by 9th Wonder on Murs's "Silly Girl" in the album Murray's Revenge. Ashford & Simpson were featured singing selections from Simpson's solo albums on the PBS TV show Soul!, hosted by Ellis Haizlip in 1971. In 1973, they left Motown after the albums Simpson recorded for the label received poor promotion and the company refused to release an album of the duo recording a collection of their most famous songs for other artists.

In 1974, Ashford and Simpson married after resuming their career as a duo with the Warner Bros. album Gimme Something Real released in 1973, followed in 1974 by I Wanna Be Selfish. In 1975 Simpson sang backing vocals on Paul Simon's number-one hit "50 Ways to Leave Your Lover", and in 1976 they released Come As You Are. 1977 saw the release of two albums – So So Satisfied and Send it. This was followed by the hit singles "Send It", "Don't Cost You Nothin'" (1977), "It Seems To Hang On" (1978), "Is It Still Good To Ya" (1978), "Found a Cure" (1979), "Street Corner" (1982), and their biggest hit, "Solid", released in 1984.

In 1978, they were featured as vocalists, along with Chaka Khan, on the hit single "Stuff Like That" from Quincy Jones' Sounds... And Stuff Like That album and contributed to the writing of the soundtrack to The Wiz. The duo appeared as themselves in "Nocturne", a 1986 episode of the popular television series The Equalizer.

On his own, Ashford (along with Frank Wilson) produced the hit "I'm Gonna Make You Love Me", which Diana Ross & the Supremes recorded in collaboration with the Temptations in 1968. He also appeared in the movie New Jack City (1991), as Reverend Oates, an ordained minister who was part of Nino Brown's entourage.

Simpson's brothers were in the record business as well: Ray Simpson replaced Victor Willis in the Village People and their brother Jimmy Simpson produced the group GQ (which had big hits with "Disco Nights (Rock-Freak)" and "I Do Love You"), and was in great demand as a mixing engineer during the disco era.
Recent years and Ashford's death

In latter times, Ashford & Simpson recorded and toured sporadically, and in 1996, they opened a restaurant and live entertainment venue, Sugar Bar in New York City, with an open mic on Thursday nights, where performers included Queen Latifah, Vickie Natale and Felicia Collins. Ashford & Simpson recorded the album Been Found with poet Maya Angelou in 1996. Around that time, they were also featured disc jockeys on New York radio station WRKS.

On August 16, 2006, Playbill Online reported that they were writing the score for a musical based on E. Lynn Harris's novel Invisible Life. In January 2007, they, along with Tina Turner, Mary J. Blige, Mariah Carey, Sidney Poitier, director Spike Lee, and comedian Chris Rock accompanied Oprah Winfrey when she opened her Leadership Academy for Girls in South Africa.

They were given writing credit on Amy Winehouse's 2007 CD Back to Black for the single "Tears Dry on Their Own". The track is based on a sample of Marvin Gaye and Tammi Terrell's 1967 Motown hit "Ain't No Mountain High Enough". They had begun performing their act in small, intimate venues, such as Feinstein's at the Regency in New York and the Rrazz Room in San Francisco, and in January 2009, they released a CD and DVD of their live performances titled The Real Thing. On June 22, 2009, they made a guest performance at a party at Tribeca Rooftop, New York, to celebrate Virgin Atlantic's birthday party. They also made their first appearance in Tokyo, Japan, in November 2009, and performed eight shows in four days at Blue Note Tokyo.

At President Barack Obama's 2009 inauguration, Ashford and Simpson rewrote their song, "Solid", as "Solid as Barack". They dedicated it to him at his inaugural festivities.

Ashford died in a New York City hospital on August 22, 2011, four days before Valerie Simpson's 65th birthday, of complications from throat cancer. His publicist, Liz Rosenberg, said that he had undergone radiation therapy to treat his illness.

Simpson released a new solo album in June 2012, called Dinosaurs Are Coming Back Again, which also features the last recorded performance of Nina Simone, a second duet with Roberta Flack and an instrumental version of "Ain't No Mountain High Enough".

In 2014, Simpson made a guest appearance on the title track to Kindred the Family Soul's album A Couple Friends.

In May 2014, Simpson was awarded an Honorary Doctorate of Music from Berklee College of Music.
Personal life

Nick Ashford and Valerie Simpson have two daughters, Nicole (born in 1975), and Asia (born in 1987). Nicole graduated from Wesleyan University in 1997.
Awards and nominations

In 1969, Ashford and Simpson won three BMI Awards for the songs "Ain't No Mountain High Enough," "Ain't Nothing Like the Real Thing," and "Your Precious Love."

Ashford and Simpson were inducted Songwriters Hall of Fame in 2002. They were also recipients of The Rhythm & Blues Foundation's Pioneer Award in 1999, and ASCAP's highest honor, the Founders Award, which they received in 1996
 

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Released on 14/03/11. Ashford & Simpson are quite simply one of the best song writing duos the world has ever known. Being former Motown hit writers and having written a string of hits for greats like Aretha Franklin, Ray Charles, Marvin Gaye and Diana Ross, its little wonder that they were inducted into the Songwriters Hall Of Fame in 2002. Their Capitol debut, and it starts strong, with the irresistably funky "Love It Away" and yearning "Make It Work Again." Side two is turned over to the 13-minute title suite, telling the story of a relationship strained by poverty. It works surprisingly well, tugging at heart strings on "Who Will They Look To" and "Times Will Be Good Again" - they still have a knack for describing situations everyone can relate to without descending into cliché. Mostly the arrangements are slow and stately, except for the bouncy funk "Street Corner," which became a successful single. It's not a masterpiece, but it's quite enjoyable, and I don't see why this wasn't more successful. The band is mostly the same as Still Good, with Yogi Horton on drums and Leon Pendarvis arranging strings and horns; Richard Tee appears on the ballad "I'll Take The Whole World On." 1982’s Street Opera  was the first album to be recorded by Ashford & Simpson on Capitol after nine years with Warner Records and is considered by many fans to be their best offering from the 80s. Written and produced by Ashford & Simpson, the album gained a top 50 Pop chart position reaching #45 and a top ten R&B spot getting all the way to #5 and served as a warm up to the massive success they later enjoyed with Solid in 1984.



<a href="https://www.imagenetz.de/hyQqa"> Ashford & Simpson - Street Opera </a> (flac   304mb)

01 Love It Away 04:27
02 Make It Work Again 04:16
03 Mighty Mighty Love 04:44
04 I'll Take The Whole World On 05:11
05 Working Man 02:04
06 Who Will They Look To 03:02
07 Street Corner 04:21
08 Times Will Be Good Again 02:40
09 Working Man (Reprise) 01:12
10 Street Corner (Single Version) 03:42
11 Love It Away (Single Version) 03:43
12 Street Corner (12'' Long Version) 04:34

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It was lucky album #13 for Ashford & Simpson with the late ‘84 release of ‘Solid’ (UK#42/US#62), acknowledged as one of, if not the, most consistent collection of high quality R&B songs for the couple. The #1 R&B chart album realised three hit singles during 1985 with ‘Babies’ (UK#56), ‘Outta The World’ (US#4-R&B) and the aforementioned ‘Solid’ (US#12/UK#3/OZ#21), finally giving the duo a much warranted major hit on their career c.v.

<a href="https://multiup.org/1200b7080ba0f525a1645efa2bad93ed"> Ashford & Simpson - Solid plus seven and three  </a> (flac   489mb)

01 Solid 5:04
02 Outta The World 5:48
03 The Jungle 2:51
04 Honey I Love You 3:58
05 Babies 5:00
06 Closest To Love 4:10
07 Cherish Forever More 3:48
08 Tonight We Escape (We Make Love) 3:14
09 Side Effect 4:10
10 It's A Rush 4:48
11 My Kinda Pick Me Up 3:14
12 Still Such A Thing 5:16
13 Make It Work Again 4:20
14 Mighty Mighty Love 5:47
15 Part 1: Working Man/ Reprise: Working Man 3:02
16 Solid (Special Club Mix) 6:13
17 Street Corner 4:38
18 Outta The World (Francois Kevorkian Mix) 6:08

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Despite its having been released in 1989, this CD has far more in common with 1970s Soul than with '80s Urban R&B. The absolutely gorgeous ballad "I'll Be There For You" more than justifies buying this CD but it's by no means the only great song on this underrated effort. While I don't know just how well (or how poorly) this album was promoted I can say it was one of 1989's best R&B releases.



<a href="http://depositfiles.com/files/ply5xhwly">  Ashford & Simpson - Love Or Physical</a> (flac   245m)

01 Love Or Physical 4:25
02 I'll Be There For You    4:40
03 Comes With The Package 4:16
04 Til We Get It Right 5:05
05 Something To You 5:00
06 In Your Arms 4:39
07 Cookies And Cake 4:44
08 Timing 4:52

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Backed by a small band in an modest setting (a Manhattan nightclub with 140 seats, one of which was occupied by Freddie Jackson, who joins in at one point), Ashford & Simpson roll through 14 of their best known songs, whether they were written for others or themselves. Since they throw in a couple crowd-pleasing curveballs, like opening with "It's Much Deeper" (a relatively low-charting single off 1983's High-Rise), it's not quite a greatest-hits set, but it's both rich and unpredictable enough to leave any follower satisfied. Though Nickolas' upper register isn't quite as durable as it once was (he was in his mid-sixties here, after all), he and Valerie put on an enjoyable show where it's apparent they're feeding off the appreciative energy of the crowd. The material spans 20 years, from "Let's Go Get Stoned" (written for Ray Charles), to "Ain't No Mountain High Enough" (Marvin Gaye and Tammi Terrell), to "Stay Free," to "I'm Every Woman" (Chaka Khan), to "Solid," and all of it is timeless.



<a href="https://bayfiles.com/x7had9G6p2/Ashfrd_Smpsn_Th_Rl_Thng_zip">  Ashford & Simpson - The Real Thing  </a> (flac   408mb

01 It's Much Deeper 4:04
02 Your Precious Love 4:48
03 Stay Free 5:00
04 Found A Cure 5:04
05 Still Such A Thing 5:47
06 Solid 6:01
07 Gimme Something Real 8:35
08 I'm Every Woman 5:21
09 I'm Not That Tough 3:58
10 Let's Go Get Stoned 2:55
11 Ain't Nothing Like The Real Thing 5:14
12 You're All I Need To Get By 2:24
13 Reach Out And Touch (Somebody's Hand) 2:02
14 Ain't No Mountain High Enough 4:17

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