Nov 5, 2019

RhoDeo 1944 Light 3

Hello,

 “If you want to find
the Secrets of the Universe,
think in terms of
Energy, Frequency and Vibration.”
– Nicola Tesla



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Sound healing is the process in which a practitioner uses music — including the emotional, psychological, spiritual, physical, social, mental, and superficial — to improve the health of their patient. It improves many facets of the patient’s life, including emotional and social development, cognitive and motor functioning, and psychological and psychiatric health.

Healing with sound happens in a number of ways. Patients listen or sing along, improvise musical acts, meditate, chant, and play musical instruments. Some practitioners subject the patient to specifically crafted sounds to induce positive brainwaves.Almost everything we experience in the universe is simply our perception of waves. When sound waves reach our ears, they are converted into electrical signals that travel up the auditory nerve into the auditory cortex, the part of the brain that processes sound. Once sound waves reach our brains, they trigger responses in our bodies. This process alters our emotions, releases hormones, and triggers certain impulses. Although research on how music changes our brains is lacking, there is evidence to suggest that musicians have different brains than those who are not musically inclined.

Research has shown that the brains of musicians are more symmetrical. And that the parts of the brain responsible for motor and cognitive functioning, coordination, and reasoning, are significantly larger. And thanks to an enlarged corpus callosum, the two hemispheres of the brain have better communication. In neurological studies, it has been proven that listening to music makes us more productive and creative. It can relieve stress and improves our moods. This is because listening to music floods our brains with dopamine. It also releases oxytocin, a natural painkiller, and hormone that allows us to bond with others. In fact, oxytocin is most commonly found in mothers during labor. Music also helps language development and improves communication. It’s even been shown to increase our IQs, so it’s safe to say that music makes us smarter. It improves our memory too, warding off brain disorders such as Alzheimer’s. Music is powerful. It can change our brains, and so it changes our bodies.

What Are The Benefits Of Sound Healing?  When listening to upbeat or cheery music, or when listening to deep, melancholy songs, our emotions flare and we can better process our feelings. The difference is that we only care to listen to sad songs when we are feeling sad because (and here’s the kicker) we know it makes us feel better. A 2006 study done by the Journal of Advanced Nursing discovered that those who listen to music feel less pain and experiences less anxiety than those who don’t. Since sounds come at different frequencies and we too emit our own waves, healing with sound happens by matching frequencies to those that are conducive to healing and relaxation. A study in the 1970s proposed that when one tone is played to one ear, and a different tone is played to the other, the two hemispheres of the brain connect and create a third (internal) tone called a binaural beat. Binaural beats synchronize the brain, providing clarity, alertness, and greater concentration. It’s solid evidence that our brains and bodies respond to sound in both a cognitive and physical way. There are a number of methods, instruments, and techniques for using sound therapy. But at its foundation is the premise of entrainment, a method of synchronizing our brainwaves by producing a stable, solid frequency that our brains adjust to and then match.

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Om Sound Healing Music: Tibetan & Crystal Bowls with Deep Mantras for Yoga offers Healing Crystal Bowls & Didgeridoo from award-winning duo Paradiso & Rasamayi; Tibetan 7 Metals Bowls from Radiancematrix, Damien Rose and Renee S. LeBeau; Healing sounds pioneer Jonathan Goldman; cellist Dave Eggar, flautist Dean Evenson, multi-instrumentalist Hans Christian and bamboo flautist Manose (Deva Premal & Miten); Deep mantra vocalists: Benjy Wertheimer, Meenakshi from Swaha, Nisha Narsai, Beth Quist and Children in a Tibetan Monastery.



Om Sound Healing Music Tibetan and Crystal Bowls with Deep Mantras for Yoga ( 234min mp3     271mb

01.Nisha Narsai — 108 Sacred Oms: Om Sound Healing (edit) 8:01
02.Benjy Wertheimer — Om Namah Shivaya: Deep Yoga Mantra 7:08
03.Renee S. LeBeau — Heyawi: Healing Tibetan Bowl Music 6:22
04.Paradiso & Rasamayi — Love: Crystal Singing Bowls 5:20
05.Jonathan Goldman — The Divine Name "Harmonic Revelations": Healing Sounds (edit) 6:54
06.Radiancematrix — Dream Healing: Tibetan Singing Bowls (edit) 6:45
07.Dudley & Dean Evenson (feat. beth Quist) — Root Tones: Chakra Healing Music 3:42
08.Hans Christian — Entering the Mystery: Deep Healing Music 6:32
09.Jonathan Goldman & Andi Hilgert — Ultimate Om: Deep Om Chant (edit) 5:15
10.Dudley & Dean Evenson (Feat. Beth Quist) — Sacral Tones: Chakra Sound Healing 3:49
11.Swaha: Meenakshi & Ron Reid — Vishnu's Dream: Deep Mantra Yoga Music (edit) 6:09
12.Paradiso & Rasamayi — Attuning to Oneness: Crystal Bowl Music 6:51
13.Radiancematrix: Paul Temple — Ancient Canyons: Overtone Healing Chant (edit) 4:19
14.Dave Eggar — Vishranti: Deep Sound Healing 6:21
15.Damien Rose — Light: Tibetan Bowls 2:26
16.Manose — Land of the Medicine Buddha: Healing Flute Music 7:14
17.Paradiso & Rasamayi — Across the Threshold: Deep Didgeridoo Music 5:37
18.Nisha Narsai — Hari Om: Mantra for Yoga Music 8:04
19.Shamans Dream — Storm of Prayers: Yoga Healing Music (edit) 5:53
20.Renee S. LeBeau — Eonde: Tibetan & Crystal Bowls 4:06


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I bought the controversial book (A New Science of Life) 30 years ago, by biologist Rupert Sheldrake, a brilliant and original thinker who has gained significant attention for his controversial theory that there exists an evolving memory behind nature which shapes the development of life, mind, and the entire universe. And it looks these days that he's been right with Morphic Resonances being like the subtle energies (electricity) orchestrating not just our lives but the whole universe..


According to the hypothesis of formative causation, all self-organizing systems, including crystals, plants and animals contain an inherent memory, given by a process called morphic resonance from previous similar systems. All human beings draw upon a collective human memory, and in turn contribute to it. Even individual memory depends on morphic resonance rather than on physical memory traces stored within the brain. This hypothesis is testable experimentally, and implies that the so-called laws of nature are more like habits.

Morphic resonance works through morphic fields, which organize the bodies of plants and animals through vibratory patterns, and underlie their abilities to regenerate and heal after damage. Morphic fields also coordinate the vibratory activities of the nervous system, and are closely connected to mental activity. Minds are extended beyond brains through these fields, and the effects of attention and intention at a distance can be detected experimentally.






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 the 3rd part of the 2nd Disc-world tale Light Fantastic..... N-Joy

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Sir Terence David John Pratchett OBE (28 April 1948 – 12 March 2015) was an English author of fantasy novels, especially comical works. He is best known for his Discworld series of 41 novels.

Pratchett's first novel, The Carpet People, was published in 1971. The first Discworld novel, The Colour of Magic, was published in 1983, after which Pratchett wrote an average of two books a year. His 2011 Discworld novel Snuff became the third-fastest-selling hardback adult-readership novel since records began in the UK, selling 55,000 copies in the first three days. The final Discworld novel, The Shepherd's Crown, was published in August 2015, five months after his death.

Pratchett, with more than 85 million books sold worldwide in 37 languages, was the UK's best-selling author of the 1990s. He was appointed Officer of the Order of the British Empire (OBE) in 1998 and was knighted for services to literature in the 2009 New Year Honours. In 2001 he won the annual Carnegie Medal for The Amazing Maurice and his Educated Rodents, the first Discworld book marketed for children. He received the World Fantasy Award for Life Achievement in 2010.

In December 2007, Pratchett announced that he had been diagnosed with early-onset Alzheimer's disease. He later made a substantial public donation to the Alzheimer's Research Trust (now Alzheimer's Research UK), filmed a television programme chronicling his experiences with the condition for the BBC, and became a patron for Alzheimer's Research UK. Pratchett died on 12 March 2015, aged 66.


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Discworld is a comic fantasy book series written by the English author Terry Pratchett, set on the Discworld, a flat planet balanced on the backs of four elephants which in turn stand on the back of a giant turtle. The books frequently parody or take inspiration from J. R. R. Tolkien, Robert E. Howard, H. P. Lovecraft, Charles Dickens and William Shakespeare, as well as mythology, folklore and fairy tales, often using them for satirical parallels with cultural, political and scientific issues.

Forty-one Discworld novels have been published. The original British editions of the first 26 novels, up to Thief of Time (2001), had cover art by Josh Kirby. The American editions, published by Harper Collins, used their own cover art. Since Kirby's death in 2001, the covers have been designed by Paul Kidby. Companion publications include eleven short stories (some only loosely related to the Discworld), four popular science books, and a number of supplementary books and reference guides. The series has been adapted for graphic novels, theatre, computer and board games, and television.

Newly released Discworld books regularly topped The Sunday Times best-sellers list, making Pratchett the UK's best-selling author in the 1990s. Discworld novels have also won awards such as the Prometheus Award and the Carnegie Medal. In the BBC's Big Read, four Discworld novels were in the top 100, and a total of fourteen in the top 200. More than 80 million Discworld books have been sold in 37 languages

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The Light Fantastic is a comic fantasy novel by Terry Pratchett, the second of the Discworld series. It was published on 2 June 1986, the first printing being of 1,034 copies. The title is a quote from a poem by John Milton and in the original context referred to dancing lightly with extravagance. The events of the novel are a direct continuation of those in the preceding book, The Colour of Magic (the only Discworld novel to follow on in this manner).

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Setting

The story takes place on the Discworld, a planet-sized flat disc carried through space on the backs of four gargantuan elephants – Berilia, Tubul, Great T'Phon and Jerakeen – who themselves stand on the shell of Great A'Tuin, a gigantic sea turtle. The surface of the disc contains oceans and continents, and with them, civilizations, cities, forests and mountains.

The Light Fantastic begins shortly after the ending of The Colour of Magic, with wizard Rincewind, Twoflower and the Luggage falling from the Discworld. They are saved when the Octavo, the most powerful book of magic on the Discworld, readjusts reality to prevent the loss of one of its eight spells, which has resided in Rincewind's head since his expulsion from Unseen University: Rincewind, Twoflower and the Luggage end up in the Forest of Skund. Meanwhile, the wizards of Ankh-Morpork use the Rite of Ashk-Ente to summon Death to find an explanation for the Octavo's actions. Death warns them that the Discworld will soon be destroyed by a huge red star unless the eight spells of the Octavo are read.

Several orders of wizards travel to the forest of Skund to try and capture Rincewind, who is currently staying with Twoflower and the Luggage in a gingerbread house in the forest. In the subsequent chaos, Rincewind and Twoflower escape on an old witch's broom, while the Archchancellor of Unseen University is killed when his attempt to obtain the spell accidentally summons the Luggage on top of him, crushing him to death. His apprentice, Ymper Trymon, uses the opportunity to advance his own power, intending to obtain the eight spells for his own good.

Rincewind and Twoflower run into a group of druids who have assembled a "computer" formed from large standing stones, and learn of the approaching red star. As Twoflower attempts to stop the druids from sacrificing a young woman named Bethan, Cohen the Barbarian, an octogenarian parody of Conan, attacks the druids. Twoflower is poisoned in the battle, forcing Rincewind to travel to Death's Domain to rescue him. The pair narrowly avoid being killed by Ysabell, Death's adopted daughter, and as they escape Death's Domain, Rincewind learns from the Octavo itself that it had arranged for its eighth spell to escape into his head, to ensure the spells would not be used before the right time.

Rincewind and Twoflower travel with Cohen and Bethan to a nearby town, where the toothless Cohen leaves to have some dentures made for him, having learned of them from Twoflower. While he is gone, Rincewind, Twoflower and Bethan are attacked by a mob of people who believe the star is coming to destroy the Discworld in response to the presence of magic. The trio escape into one of many shops that sell strange and sinister goods and inexplicably vanish the next time a customer tries to find them. The existence of these shops is explained as being a curse by a sorcerer upon the shopkeeper for not having something in stock. They are able to return to Ankh-Morpork via the shop.

As the star comes nearer and the magic on the Discworld becomes weaker, Trymon tries to put the seven spells still in the Octavo into his mind, in an attempt to save the world and gain ultimate power. However, the spells prove too strong for him and his mind becomes a door into the "Dungeon Dimensions", home to all manner of eldritch creatures. Rincewind and Twoflower manage to kill the now-mutated Trymon, and Rincewind reads all eight of the Octavo's spells aloud. This causes eight moons of the red star to crack open and reveal eight tiny world-turtles that follow their parent A'Tuin on a course away from the star. The Octavo then falls and is eaten by the Luggage.

Twoflower and Rincewind part company as Twoflower decides to return home, leaving the Luggage with Rincewind as a parting gift. Cohen and Bethan also leave to get married. Rincewind decides to re-enroll in the university, believing that with the spell out of his head, he will finally be able to learn magic.


Terry Pratchett -  Light Fantastic part 5,6 ( 71min mp3     28mb).


05 Light Fantastic 5  35min
06 Light Fantastic 6  36min


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previously

Terry Pratchett - The Colour of Magic part 1 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 2 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 3 ( 68min mp3     38mb).
Terry Pratchett - The Colour of Magic part 4 ( 69min mp3     38mb).
Terry Pratchett - The Colour of Magic part 5 ( 66min mp3     36mb).
Terry Pratchett - The Colour of Magic part 6 ( 69min mp3     36mb).
Terry Pratchett - The Colour of Magic movie ( 97min avi     698mb).

Terry Pratchett -  Light Fantastic part 1,2 ( 68min mp3     31mb).
Terry Pratchett -  Light Fantastic part 3,4 ( 68min mp3     31mb).



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Nov 4, 2019

RhoDeo 1944 Re Up 212

Hello, of cause it's all about Hamilton today and his successful defense of his F1 world title, and as he said it was the hardest yet, so well done Lewis your experience has paid. But what i want to point to is Ferrari, Vettel's car may have broken down, but Leclerc was absolutely nowhere, how come ? Well they found out how Ferrari had been cheating this last half year, they 'manipulated' the sensor that controls the oil flow, this made their cars run faster-eh presto lots of points for Ferrari, so FIA told the red guys "we're having none of that now boys-but you can keep those cheated points, because we don't need negative publicity".
Ferrari won't be on the podium anymore this season because Mercedes and Red Bull are stronger-even Albon had been in front of Leclerc if he hadn't had this unfortunate start today.



11 correct requests for this week,1 too early,  1 unavailable (aetix-roots),  whatever another batch of 42 re-ups (13.5 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 Octoberr 26th... N'Joy

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3x Burroughs Back in Flac  (William S. Burroughs - Break Through In Grey Room ,  William S. Burroughs - Dead City Radio, William S. Burroughs - Junky)



3x Aetix Back in Flac (Sonic Youth - Sonic Youth, Sonic Youth - Confusion Is Sex + Kill Your Idols, Sonic Youth - Bad Moon Rising )



5x Grooves Back in Flac ( Philadelphia International Records - 40th Ann. 06, Philadelphia International Records - 40th Ann. 07, Philadelphia International Records - 40th Ann. 08 , Philadelphia International Records - 40th Ann. 09, Philadelphia International Records - 40th Ann. 10 )



4x Beats Back In Flac (Pizzaman - Pizzamania, Fatboy Slim - Better Living Through, Fatboy Slim - You've Come A Long Way, Fatboy Slim - You've Come A Long Way Bonus)



3x Aetix Back in Flac (Danse Society - Seduction (Society Coll),  The Danse Society - Heaven is Waiting, The Danse Society - Looking Through)



5x Sundaze  Back in Flac (Hauschka - Snowflakes & Car Wrecks, Hauschka - Snowflakes & Car Wrecks, Hauschka - Salon Des Amateurs, Hauschka - Salon Des Amateurs Remixes, Hauschka & Hildur G. - Pan Tone )



4x Sundaze Back in Flac ( Iasos - Jewelled Space , Iasos - Timeless Sound, Iasos - Realms of Light, Pema Chodron - How to Meditate 1,2)



3x Sundaze Back in Flac (  Ruxpin - Radio, Ruxpin - Midnight Drive, Ruxpin - Magrathea )



3x Sundaze Back in Flac (The KLF - Chill Out, The KLF (Cauty) - Space, The KLF - Waiting For The Rites Of Mu )



5x Sundaze NOW in Flac ( Hector Zazou - Songs From The Cold Seas, Biosphere - Substrata + Man With A Movie Camera, Mari Boine - Eight Seasons,  VA - Colors Nordic, Huun-Huur-Tu - Best-Live )



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



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Nov 3, 2019

Sundaze 1944

Hello, the F1 is having their party at Austin Texas this weekend, alas the relatively new circuit isn't build on really solid land and parts of the circuit already become extremely bumpy, nevermind those driversbums. Qualifying was incredibly close today 1 tenth slower got Leclerc fourth place behind Verstappen and Vettel at 1 hundredth of Bottas. Let's face it, these F1 cars are optimized to perform at the utmost and the 3 different top teams arrive at almost the same point, which defacto let's the drivers make the difference in the race. Hamilton has proven to be best and unlike previous years when he had a far better car, these days on a more level playing field he has learned to maximize his chances very successfully. I wonder why he didn't go all out and satisfying himself with 5th, i guess he's expecting troubles upfront, anyway an eight place is all he needs to get his 6th worldtitle....


Today's artist is the recording alias of Magnus Birgersson, an electronic musician, composer, and sound designer from Gothenburg, Sweden. Birgersson's music spans the genres of ambient, IDM, downtempo, and psy-trance, and he has also composed numerous video game soundtracks, the Swedish electronic music artist is better known by his stage name Solar Fields, As of 2019, he has released eighteen albums, and has also scored all interactive in-game music for the Electronic Arts game Mirror's Edge as well as its sequel, Mirror's Edge Catalyst. His latest album, Origin#03, was released on 1 June 2019.......N-Joy

I expected much more interest in Magnus' work he deserves it, hence i post this Discogs comment here "Wow, I definitely missed the bus on this guy, but in the last couple months, I have become well familiar with his material, and I have to say, it is just epic. Lots of percussive ambient, but with enough atmospheric pads to really flesh out the tracks and give his music a spacey but also emotional quality. Seriously, track after track after track, Solar Fields is just a joy to listen to."

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Gothenburg-based Swedish composer, sound designer, and multi-instrumentalist Magnus Birgersson created Solar Fields in the late 1990s. Birgersson was raised in a musical family and began playing piano and synthesizers in the 1970s. In the mid-1980s he began combining synthesizers with computers. In addition to his ambient work, he has also been a guitar player in rock bands, a pianist in jazz funk bands, and keyboard player in drum and bass bands."

Under the moniker Solar Fields he composed 15 albums and appeared on over 60 various compilations. His first solo release was an ambient album named Reflective Frequencies, released on Ultimae in 2001. This was followed two years later by Blue Moon Station , which also included downtempo and trance, and was designed as a single fluid story.In late 2005, Solar Fields composed Leaving Home and Extended, the latter being a limited edition. His fifth album EarthShine, launched in 2007, featured more upbeat soundscapes blending morning trance, progressive, psychedelic, tribal and ambient music. This up-tempo album was warmly received by the progressive and psytrance scenes. This led to Electronic Arts and DICE commissioning Solar Fields for the in-game score for Mirror's Edge, a first-person action adventure video game released worldwide on November 14, 2008. The soundtrack was included in the VGC's "Top 20 Original Soundtracks in Gaming".

The following year, Solar Fields composed Movements. The album was ranked in the top 10 of best albums by Echoes listeners. The album Movements was also used as the soundtrack for the indie game Capsized from the small Canadian studio Alientrap in 2011. It remains his most popular album to date. In 2010, he used the harmonies and melodies of Movements in a remix album titled Altered - Second Movements and started the Origin series, four albums which aim to present archives and unreleased songs. Until We Meet the Sky and Random Friday were composed in parallel. In 2013, he released the second album in the Origin series, Origin #02.
He released his demo song "Cluster" later that year. His song "Pulse", along with a remix of it by Airwave, was released on June 30, 2014 by Joof Recordings;

 In 2014 Birgersson started his own label, Droneform Records, and released a series of digital compilations featuring updated, remixed, and remastered tracks from his catalog; the albums were titled Red, Green, and Blue. On September 30, 2015, it was confirmed by DICE and Birgersson that he was creating the in-game score of Mirror's Edge: Catalyst, and that he had been working on said score for twelve months as of the aforementioned date. More releases on his own label now Ourdom (2018) followed by a third edition of Origens, Origin#03 (2019)

Magnus has collaborated with Vincent Villuis, a.k.a. AES Dana, on H.U.V.A. Network and T.S.R. in the company of Daniel Segerstad and Johannes Hedberg from Carbon Based Lifeforms.



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" During the last 13 years I have been composing a lot of music for different compilations around the world. I felt that today most of those tracks have fallen into shadow. I decided to collect some of the tracks, make up-to-date mixes and give them a fresh mastering to bring them back to life again. The outcome is 3 albums that are called Red, Green and Blue – the RGB collection. "

Magnus Birgersson



. Solar Fields - RED ( 449mb)

01 Jeezlh 9:14
02 Velvet Reptile 8:58
03 Confusion Illusion 7:27
04 Union Light 7:28
05 Combinations (On/Off Edit) 5:11
06 Fiat Lux 9:19
07 Electric Fluid 6:50
08 Times Are Good (Sometimes Remix) 8:06
09 Compressed Universe (Edit) 6:51
10 OnFlow (Edit) 8:28

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Solar Fields - GREEN (flac 482mb)

01 Level Out 8:55
02 Magic Eye (Remix) 10:02
03 Sol (Remix) 7:30
04 Spiritual Ocean 6:49
05 Levitate 11:23
06 Insum (Remix) 8:17
07 H.U.V.A. Network - Rain Geometry (Solar Fields rmx) 7:51
08 Respiratory Rate 7:50
09 The Sight Is White 7:26
10 Third Time (T Version) 8:16

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Wow, i definitely it is just epic. Lots of percussive ambient, but with enough atmospheric pads to really flesh out the tracks and give his music a spacey but also emotional quality. Seriously, every track has its own heart but all blend together to make a hopeful and vibrant story. . If you haven't already, check out the beautiful aural universe of Solar Fields



Solar Fields - BLUE (flac 494mb)

01 Life 6:37
02 Good Times 7:44
03 Air Song (Remix) 7:54
04 Passage 7:40
05 Water Silence 6:00
06 Blue Moon Station 7:52
07 Small Little Green Cubes 9:47
08 Something Crystal 8:40
09 Filteria - Cloud-Kingdom (Solar Fields Remix) 10:45
10 In Motion (Good Morning Edit) 11:26

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It is safe to say that by now one can firmly expect Solar Fields albums to have impeccable production, delicate care taken in sound design, subtle details in the mix and no self-indulgent technological showing off. Ourdom, is no exception - but apart from the polished technical elements, the musical aspects of the just-under 80-minutes-long album don't let expecting fans down either. In today's collapsing attention span, shrinking to almost a singularity, it is quite uplifting to see an artist trusting us with well-structured, seamlessly flowing long pieces in the vein of the epics by Klaus Schulze. Burning View, the album's opening track, is gently introducing the epic musical adventure with a floating ambience and subtle sonic ornaments. The gradual transition to solemn piano chords in Shifting Nature, then to the anthemic uplift of Into The Sun is a typical and very satisfying Solar Fields construct. One can fully expect to be gradually taken to climaxes like Mountain King and Moving Lines, which are high-octane, but perfectly economically done EDM pieces with imaginative changes and variations.

Tracks like Wave Cascade provide a repose and a chance for introspection between the energetic currents of the aforementioned tracks, and Ourdom is very capable of shifting us between inner states as it does so with musical epochs, too...Joshua's Shop with its ascending playful notes is taking us from electronic ambiences to a classical period, when the first glassy harp-like notes appear... As a delicate, nostalgic and exquisitely economic piece, it again shows how sound design, musical elements and thinking in structures can produce a concise and evocative sonic picture. If one was not convinced by the range of imaginings heard so far, then A Green Walk and Parallel Universe can show us how eminently ambient atmospherics and spacey harmonies can fit in with the more soaring and driven passages of the album. One can appreciate in some perfectly put-together long mixes the way in which different moods and tempos can be combined into a whole sonic journey, the mix becoming greater than the sum of its parts.

However, to state the obvious, here we have original material composed of 13 tracks, each seemingly conceived to be organic parts of the greater unit: just inspect closely the subtle way in which musical elements of a track can reference other sections they build up from or dissolve into... It is a rare treat, and in a rushing world it is perhaps outrageous to strongly emphasise that this album is best enjoyed as a single musical journey - and not track by track. Having said that, each track perfectly functions on its own, and, again, in typical Solar Fields fashion, each is a little electronic gem, on Ourdom, there are no right angles nor sharp edges, only ascending and descending waves and curves...



Solar Fields - Ourdom ( flac   446mb)

01 Burning View 7:28
02 Shifting Nature 2:40
03 Into The Sun 6:40
04 Forgiveness 9:20
05 Mountain King 14:24
06 Wave Cascade 5:04
07 Moving Lines 5:02
08 A Long Tailed Bird Whispered 1:37
09 Joshua's Shop 5:28
10 A Green Walk 1:52
11 Parallel Universe 8:08
12 The Daylight Carrier 6:32
13 Siren Song Of Glass 5:04

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Nov 1, 2019

RhoDeo 1943 Grooves

Hello, the horror, the horror let's frighten our kids has become let's frighten the young and gullible too, there's much more money to be made there, all the while the origens of Halloween and it's co-opted catholic version has gone astray. Instead of honoring those that had died , it's turned into a commercialised sick fright fest, what an infantile species homo superstitionis still is....

Today's Artists are arguably one of the most critically acclaimed and influential groups of all time, they brought their own brand of politics and sonic innovation into hip-hop in the 80s, and some would say, changed it forever.Their first four albums during the late 1980s and early 1990s were all certified either gold or platinum and were, according to music critic Robert Hilburn in 1998, "the most acclaimed body of work ever by a hip hop act  ...... N Joy

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 Public Enemy rewrote the rules of hip-hop, becoming the most influential and controversial rap group of the late '80s and, for many, the definitive rap group of all time. Building from Run-D.M.C.'s street-oriented beats and Boogie Down Productions' proto-gangsta rhyming, Public Enemy pioneered a variation of hardcore rap that was musically and politically revolutionary. With his powerful, authoritative baritone, lead rapper Chuck D rhymed about all kinds of social problems, particularly those plaguing the black community, often condoning revolutionary tactics and social activism. In the process, he directed hip-hop toward an explicitly self-aware, pro-black consciousness that became the culture's signature throughout the next decade. While Public Enemy's early Def Jam albums, produced with the Bomb Squad, earned them a place in the Rock and Roll Hall of Fame, they continued to release relevant material up to and beyond their 2013 induction.

Musically, Public Enemy were just as revolutionary, as their production team, the Bomb Squad, created dense soundscapes that relied on avant-garde cut-and-paste techniques, unrecognizable samples, piercing sirens, relentless beats, and deep funk. It was chaotic and invigorating music, made all the more intoxicating by Chuck D's forceful vocals and the absurdist raps of his comic foil, Flavor Flav. With his comic sunglasses and an oversized clock hanging from his neck, Flav became the group's visual focal point, but he never obscured the music. While rap and rock critics embraced the group's late-'80s and early-'90s records, Public Enemy frequently ran into controversy with their militant stance and lyrics, especially after their 1988 album It Takes a Nation of Millions to Hold Us Back made them into celebrities. After all the controversy settled in the early '90s, once the group entered a hiatus, it became clear that Public Enemy were the most influential and radical band of their time.

Chuck D (born Carlton Ridenhour, August 1, 1960) formed Public Enemy in 1982, as he was studying graphic design at Adelphi University on Long Island. He had been DJ'ing at the student radio station WBAU, where he met Hank Shocklee and Bill Stephney. All three shared a love of hip-hop and politics, which made them close friends. Shocklee had been assembling hip-hop demo tapes, and Ridenhour rapped over one song, "Public Enemy No. 1," around the same time he began appearing on Stephney's radio show under the Chuckie D pseudonym. Def Jam co-founder and producer Rick Rubin heard a tape of "Public Enemy No. 1" and immediately courted Ridenhour in hopes of signing him to his fledgling label.
Chuck D initially was reluctant, but he eventually developed a concept for a literally revolutionary hip-hop group -- one that would be driven by sonically extreme productions and socially revolutionary politics. Enlisting Shocklee as his chief producer and Stephney as a publicist, Chuck D formed a crew with DJ Terminator X (born Norman Lee Rogers, August 25, 1966) and fellow Nation of Islam member Professor Griff (born Richard Griffin) as the choreographer of the group's backup dancers, the Security of the First World, who performed homages to old Stax and Motown dancers with their martial moves and fake Uzis. He also asked his old friend William Drayton (born March 16, 1959) to join as a fellow rapper. Drayton developed an alter ego called Flavor Flav, who functioned as a court jester to Chuck D's booming voice and somber rhymes in Public Enemy.

Public Enemy's debut album, Yo! Bum Rush the Show, was released on Def Jam Records in 1987. Its spare beats and powerful rhetoric were acclaimed by hip-hop critics and aficionados, but the record was ignored by the rock and R&B mainstream. However, their second album, It Takes a Nation of Millions to Hold Us Back, was impossible to ignore. Under Shocklee's direction, PE's production team, the Bomb Squad, developed a dense, chaotic mix that relied as much on found sounds and avant-garde noise as it did on old-school funk. Similarly, Chuck D's rhetoric gained focus and Flavor Flav's raps were wilder and funnier. A Nation of Millions was hailed as revolutionary by both rap and rock critics, and it was -- hip-hop had suddenly become a force for social change. As Public Enemy's profile was raised, they opened themselves up to controversy. In a notorious statement, Chuck D claimed that rap was "the black CNN," relating what was happening in the inner city in a way that mainstream media could not project. Public Enemy's lyrics were naturally dissected in the wake of such a statement, and many critics were uncomfortable with the positive endorsement of black Muslim leader Louis Farrakhan on "Bring the Noise." "Fight the Power," Public Enemy's theme for Spike Lee's controversial 1989 film Do the Right Thing, also caused an uproar for its attacks on Elvis Presley and John Wayne, but that was considerably overshadowed by an interview Professor Griff gave The Washington Times that summer. Griff had previously said anti-Semitic remarks on-stage, but his quotation that Jews were responsible for "the majority of the wickedness that goes on across the globe" was greeted with shock and outrage, especially by white critics who previously embraced the group. Faced with a major crisis, Chuck D faltered. First he fired Griff, then brought him back, then broke up the group entirely. Griff gave one more interview where he attacked Chuck D and PE, which led to his permanent departure from the group.

Public Enemy spent the remainder of 1989 preparing their third album, releasing "Welcome to the Terrordome" as its first single in early 1990. Again, the hit single caused controversy as its lyrics "still they got me like Jesus" were labeled anti-Semitic by some quarters. Despite all the controversy, Fear of a Black Planet was released to enthusiastic reviews in the spring of 1990, and it shot into the pop Top Ten as the singles "911 Is a Joke," "Brothers Gonna Work It Out," and "Can't Do Nuttin' for Ya Man" became Top 40 R&B hits. For their next album, 1991's Apocalypse 91...The Enemy Strikes Black, the group re-recorded "Bring the Noise" with thrash metal band Anthrax, the first sign that the group was trying to consolidate its white audience. Apocalypse 91 was greeted with overwhelmingly positive reviews upon its fall release, and it debuted at number four on the pop charts, but Public Enemy began to lose momentum in 1992 as they toured with the second leg of U2's Zoo TV tour and Flavor Flav was repeatedly in trouble with the law. In the fall of 1992, they released the remix collection Greatest Misses as an attempt to keep their name viable, but it was greeted to nasty reviews.

Public Enemy were on hiatus during 1993, as Flav attempted to wean himself off drugs, returning in the summer of 1994 with Muse Sick-n-Hour Mess Age. Prior to its release, it was subjected to exceedingly negative reviews in Rolling Stone and The Source, which affected the perception of the album considerably. Muse Sick debuted at number 14, but it quickly fell off the charts as it failed to generate any singles. Chuck D retired Public Enemy from touring in 1995 as he severed ties with Def Jam, developed his own record label and publishing company, and attempted to rethink Public Enemy. In 1996, he released his first debut album, The Autobiography of Mistachuck. As it was released in the fall, he announced that he planned to record a new Public Enemy album the following year.

Before that record was made, Chuck D published an autobiography in the fall of 1997. During 1997, Chuck D reassembled the original Bomb Squad and began work on three albums. In the spring of 1998, Public Enemy kicked off their major comeback with their soundtrack to Spike Lee's He Got Game, which was played more like a proper album than a soundtrack. Upon its April 1998 release, the record received the strongest reviews of any Public Enemy album since Apocalypse '91...The Enemy Strikes Black. After Def Jam refused to help Chuck D's attempts to bring PE's music straight to the masses via the Internet, he signed the group to the web-savvy independent Atomic Pop. Before the retail release of Public Enemy's seventh LP, There's a Poison Goin' On..., the label made MP3 files of the album available on the Internet. It finally appeared in stores in July 1999.

After a three-year break from recording and a switch to the In the Paint label, Public Enemy released Revolverlution, a mix of new tracks, remixes, and live cuts. The CD/DVD combo It Takes a Nation appeared in 2005. The multimedia package contained an hour-long video of the band live in London in 1987 and a CD with rare remixes. The studio album New Whirl Odor also appeared in 2005. The "special projects" album Rebirth of a Nation -- an album with all rhymes written by Bay Area rapper Paris -- was supposed to be released right along with it, but didn't appear until early the next year. The odds-and-ends collection Beats and Places appeared before the end of 2006.

In 2007, the group released an album entitled How You Sell Soul to a Soulless People Who Sold Their Soul?. Public Enemy's single from the album was "Harder Than You Think". Four years after How You Sell Soul ... , in January 2011, Public Enemy released the album Beats and Places, a compilation of remixes and "lost" tracks. On July 13, 2012, Most of My Heroes Still Don't Appear on No Stamp was released and was exclusively available on iTunes. In July 2012, on UK television an advert for the London 2012 Summer Paralympics featured a short remix of the song "Harder Than You Think". The advert caused the song to reach No. 4[ in the UK Singles Chart on September 2, 2012. On July 30, 2012, Public Enemy performed a free concert with Salt-N-Pepa and Kid 'n Play at Wingate Park in Brooklyn, New York as part of the Martin Luther King Jr. Concert Series. On August 26, 2012, Public Enemy performed at South West Four music festival in Clapham Common in London. On October 1, 2012 The Evil Empire of Everything was released. On June 29, 2013, they performed at Glastonbury Festival 2013. On September 14, 2013 they performed at Riot Fest & Carnival 2013 in Chicago, Illinois. On September 20, 2013 they performed at Riot Fest & Side Show in Byers, Colorado.

In 2014 Chuck D launched PE 2.0 with Oakland rapper Jahi as a spiritual successor and "next generation" of Public Enemy. Jahi met Chuck D backstage during a soundcheck at the 1999 Rock & Roll Hall of Fame and later appeared as a support act on Public Enemy's 20th Anniversary Tour in 2007. PE 2.0's task is twofold, Jahi says, to "take select songs from the PE catalog and cover or revisit them" as well as new material with members of the original Public Enemy including DJ Lord, Davy DMX, Professor Griff and Chuck D. PE 2.0's first album People Get Ready was released on October 7, 2014. InsPirEd PE 2.0's second album and part two of a proposed trilogy was released a year later on October 11, 2015. Man Plans God Laughs, Public Enemy's thirteenth album, was released in July 2015. On June 29, 2017, Public Enemy released their fourteenth album, Nothing Is Quick in the Desert. The album was available for free download through Bandcamp until July 4, 2017

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They may go in and out of fashion, fall out of critical favor, have comebacks and slumps, but even at their worst, the truly great artists have flashes where their brilliance shines through. Public Enemy is one of those bands. When they released Revolverlution in 2002, they had been out of favor for a full decade, and throughout that time in the wilderness, the band fluctuated between brilliance (He Got Game) and unfocused meandering (Muse Sick), but the one constant remained -- even when they were bad, it was a thrill to hear them, especially Chuck D, whose voice is one of those intangible, transcendent thrills in all of popular music; it's as magical and undefinable as John Coltrane's sheets of sound, Jeff Beck's head-spinning guitar, Duke Ellington's piano, Frank Sinatra or Hank Williams' singing, Keith Richards' open-G chords -- no matter the quality of the material at hand, it's worth listening just to hear him rap. That was true when the Bomb Squad was producing PE, but, as subsequent recordings have proved, Chuck and PE could still sound shatteringly good without them. True, they built on that sound, but they did find ways to expand it, and, unlike their peers and many new artists, they were restless, not afraid of falling on their face by trying something new. Indeed, Chuck D made a point of trying something new, as he says in the liner notes for Revolverlution. Given the state of the industry and hip-hop, he's decided that there's no reason for Public Enemy to release a new album unless it covered uncharted territory. Unlike many veteran artists, he's acutely aware that new product directly competes with the band's classic albums, and that the new audience has changed, looking for individual tracks instead of full-fledged, cohesive albums -- and that might mean that they want killer new songs, live tracks, contemporary remixes, old remixes, whatever sounds good. So, Revolverlution is an attempt to craft a record along those lines. Cohesion has been thrown out the window in favor of new tunes, live tracks from 1992, new remixes by fans, remixes of songs debuted on this album, PSAs, and interviews -- the kind of album you'd burn if you spent some time on a really good artist's MP3 site. There's a bunch of good stuff here, whether it's new stuff ("Gotta Give the Peeps What They Need," the title track, the fiercely political "Son of a Bush," and "Get Your Sh*t Together"), remixes or archival material (great live versions of "Fight the Power" and "Welcome to the Terrordome"), along with collector-bait interview snippets that don't amount to much. But, there's a lot to be said for old-fashioned, cohesive albums -- they keep a consistent tone and message, delivering an album that felt unified, and thereby easier to listen to at length. This is deliberately the opposite of that kind of record, which is an admirable artistic move, but it does make the album feel like a bewildering hodge-podge, even after you understand the intent behind the entire thing. Even so, it's a worthwhile listen because, no matter what, it is still a thrill to hear Public Enemy. They might not be hip, they're not as innovative as they used to be, but they still make very good, even great music, and that's evident on Revolverlution. If only it were presented better.



Public Enemy - Revolverlution    (flac   499mb)

01 Give the Peeps What They Need 3:32
02 Revolverlution 3:01
03 Miuzi Weighs a Ton (Live San Francisco 10/21/1999) 1:47
04 Put It Up 3:11
05 Can a Woman Make a Man Lose His Mind? 3:34
06 Public Enemy Service Announcement #1 0:21
07 Fight the Power (Live Winterthur Switzerland 1992) 3:55
08 By the Time I Get to Arizona (The Molemen Mixx) 3:57
09 Post-Concert Arizona Interview (U2 Zoo Tour) 1:03
10 Son of a Bush 5:52
11 54321... Boom 4:47
12 Welcome to the Terrordome (Live Winterthur Switzerland 1992) 3:38
13 B Side Wins Again (Scattershot Remix) 4:54
14 Get Your Shit Together 3:37
15 Public Enemy Service Announcement #2 0:30
16 Shut 'Em Down (The Functionist Version) 5:28
17 Now a Daze 3:25
18 Public Enemy No. 1 (Jeronimo Punx Redu) 4:48
19 The Making of Burn Hollywood Burn (feat. Big Daddy Kane, Chuck D, Flavor Flav 1989) 2:46
20 Give the Peeps What They Need feat. Paris (DJ Johnny Juice - Paris Revolverlution Mix) 3:30
21 What Good Is a Bomb 6:17


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Alright! New Whirl Odor is the first proper, no-gimmicks LP for Chuck and co. for the 2000s. What surprised me most is that a number of cuts have a kind of chill-out funk groove to them. Starting with "Preachin' to the Quiet" (one of the highlights), it gives a very different sound to Public Enemy. Personally, I really like it. It gives the record a lot of growth, and makes it stand out in PE's lengthy discography. Unfortunately, there's some up and down for the LP. On one hand, you have standouts like the title track, "Preachin' to the Quiet," and "Check What You're Listening To," and the closing "Superman's Black in the Building," but then there are some missteps like "66.6 Strikes Again" (which feels redundant), the equally extraneous "Either You Get It by Now or You Don't," and some weaker cuts like "As Long as the People Got Something to Say" and "Y'all Don't Know." Even so, things are largely positive. The biggest shocker here is the final track, "Superman's Black in the Building," a 12-minute epic that features rapping, spoken-word, and then a lengthy live instrument outro. It definitely outweighs any and all missteps for me.



Public Enemy - New Whirl Odor.  (flac   415mb)

01 ...And No One Broadcasted Louder Than... (Intro) 0:33
02 New Whirl Odor 3:24
03 Bring That Beat Back 4:17
04 66.6 Strikes Again 1:45
05 MKLVFKWR 3:20
06 What a Fool Believes 3:07
07 Makes You Blind 5:34
08 Preachin' to the Quiet 5:27
09 Either We Together or We Ain't (S1W Stepstrumental) 1:44
10 Revolution 4:19
11 Check What You're Listening To 5:46
12 As Long as the People Got Something to Say 3:23
13 Y'all Don't Know 4:04
14 Either You Get It By Now or You Don't 1:45
15 Superman's Black in the Building 11:50

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If the title of Rebirth of a Nation consciously recalls the title of Public Enemy's 1988 masterwork, It Takes a Nation of Millions to Hold Us Back, that shouldn't be taken as indication that the music on Rebirth is a revival of the dense sound of Nation as masterminded by the Bomb Squad. Nevertheless, Rebirth is certainly a throwback to the sound of the golden age, when hardcore rap was not defined solely by the sonics or subjects of gangsta rap, and that's a deliberate move on PE's part -- they want to re-create the sound of the time, but not the sound that was identified with them, and in order to do that they've entered into a full-fledged collaboration with Paris, who produced and wrote all of Rebirth of a Nation. This is the first time that Chuck D did not have a hand in writing either the music or the words on a Public Enemy album (he did write some verses on four songs on the record), which is initially disarming, since he's always been the sound and vision of PE. But he explains the project clearly in his liner notes, comparing the album to Muddy Waters' psychedelicized blues on Electric Mud -- Muddy may have been reluctant to work in a rock setting, but it was an artistic challenge, and Chuck wanted Public Enemy to take the same kind of risk. Even if all PE fans may not be pleased with the results, Rebirth of a Nation isn't nearly as divisive as Electric Mud -- Paris to Public Enemy isn't as big a stretch as Chicago blues to psychedelia, after all, and they have an audience more willing to go along with change, which this certainly is. But change is often welcome for artists, nowhere more so than for PE, whose last album, New Whirl Odor, was their first to feel truly tired, something that Rebirth can not be called. Not that it's especially daring sonically -- Paris did construct this as a self-consciously old-school record, dropping in samples of old PE records and adhering to the sound of 1990 -- but the group, particularly Chuck D, sounds engaged by the project, which at the very least makes for a listen that's more gripping than its immediate predecessor. And if the sound of the record is a throwback, Paris' subjects are nervy and politically charged, directly addressing the state of the world in a way few records do in 2006. All of this makes Rebirth of a Nation an admirable effort -- perhaps the music gets a little monochromatic, but that's merely a byproduct of its narrowly targeted goals, and as a whole, it's an ambitious and successful artistic detour for PE. Besides, it's hard not to be impressed by a record that sounds like a blast from the past while playing like a news bulletin from today -- not an easy trick to pull off, but Paris and Public Enemy manage it with Rebirth of a Nation.



Public Enemy - Rebirth Of A Nation .  (flac   311mb)

01 Raw Shit feat. Paris & MC Ren 4:16
02 Hard Rhymin' feat. Paris & Sister Souljah 4:41
03 Rise 4:08
04 Can't Hold Us Back feat. Paris, Dead Prez, Kam 5:07
05 Hard Truth Soldiers feat. Paris, MC Ren, Dead Prez, The Conscious Daughters 4:18
06 Hannibal Lecture feat. Paris 3:50
07 Rebirth of a Nation feat. Professor Griff 3:27
08 Pump the Music, Pump the Sound 2:28
09 Make It Hardcore feat. Paris 5:16
10 They Call Me Flavor 3:09
11 Plastic Nation 3:03
12 Coinsequences feat. Paris 4:19
13 Invisible Man 4:28
14 Hell No (We Ain't Alright) (Paris Remix) 4:31
15 Watch the Door 3:35
16 Field Nigga Boogie (XLR8R Remix) 5:10

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A collection of "the unleashed and the unreleased," Public Enemy's Beats and Places gets back to the outrage, back to the immediacy of the early days, and turns out to be the most satisfying full-length this crew has released since the millennium turned. Unfortunately, it's released at a time when the hip-hop community is PE-saturated with a remix album (Bring That Beat Back) and an album with lyrics written by Paris, not Chuck D (Rebirth of a Nation) both landing within the last 12 months. Beats and Places looks even less vital than the Paris album since it's marked as a compilation of remixes and tracks looking for a proper home, but as the short liner notes infer, these lost tracks aren't really leftovers. Instead they're venom-filled, immediate cuts originally set free on the Internet in hopes of viral destruction. "Hell No, We Ain't Allright" deals with "the son-of-a-Bush nation" and the Katrina aftermath while "Grand Theft Oil" manipulates said Bush's speeches into a doublespeak nightmare through the power of Johnny Juice Rosado's turntables. Rosado worked on both Yo! Bum Rush the Show and It Takes a Nation of Millions to Hold Us Back and adds to the old-school flavor, as does "The Flavor Flav Show" which repeats everything great about Nation's "Cold Lampin' with Flavor"." It's unfortunate all the highlights are pushed upfront, but a bonus DVD of plenty of late-era videos and extras makes up for that, leaving only the lack of helpful track-by-track information to complain about. A great deal of the album doesn't seem to have been leaked or released in any shape or form before, but there's no telling why it was recorded or what for. This sure sounds like half to two-thirds of a proper, vital album with some exciting extras tacked on. Guessing what would have happened had they finished this possible album instead of the other projects is both interesting and frustrating, which has been par for the course with PE as of late. Beats and Places at least suggests the future could be much, much brighter. ....And it would



Public Enemy - Beats and Places (flac   348mb)

01 Here We Go Again (PE Tour Intro: 2007) 1:34
02 Air Conditioning 3:12
03 Who's Your Hero? 3:56
04 The Flavor Flav Show 3:21
05 Electric Slave 3:30
06 Grand Theft Oil 3:17
07 Hell No, We Ain't Allright 5:23
08 Vidiot1:22
09 Like It Is 5:48
10 $hit 2:17
11 PE, Break It To P.E.ACES 0:40
12 All Aboard The New Nighttrain 3:01
13 Do You Wanna Go Our Way Human Beatbox – Professor Griff  (Live At The Filmore, 2002) 3:55
14 If I Gave You Soul (What Would You Do With It?) 5:43
15 Air Conditioning (Revisited) 4:23


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