320 kbps | 106 MB | UL | OB |

‘Intoxicated Women’ contains many duets and songs written by Gainsbourg, mostly during the 60s, in a period where he was focusing his songwriting on singers such as France Galle, Juliette Greco and most famously, Brigitte Bardot.

Here Harvey has enlisted the talents of guest singers Channthy Kak (Cambodian Space Project), Australian singers Xanthe Waite (Terry, Primo), Sophia Brous, Lyndelle-Jayne Spruyt and Jess Ribeiro and the German chanteuse Andrea Schroeder plus a special appearance by Harvey’s son, Solomon.

The album opens with a stunning version of ‘Je T’aime… (Moi non plus)’ – here titled ‘Ich Liebe Dich… (Ich Dich Auch Nicht)’ – rendered in the sexiest imaginable German by the divine Ms. Schroeder and culminates with ‘Cargo Cult’, the closing track from the classic ‘Melody Nelson’ album. In between we are treated to a smorgasbord of Gainsbourg gems in English (with a bit of Khmer thrown in).

“After the initial recordings for ‘Delirium Tremens’ JP Shilo and I continued investigating the duets and female songs, many of which were unknown to me. So it became a voyage of discovery into quite a lot of material I hadn’t heard before. There are even a couple of songs for which the only versions existing from the 60s are from TV performances Serge gave.” [‘The Drowned One’ (La Noyée) and ‘Wolfy Teeth’ (Dents de Lait, Dents de Loup)]

Work began on what would become Volumes 3 and 4 in late 2015. Recording in Melbourne with J.P. Shilo and the rest of his Antipodean-based live band, 10 songs were tracked at Birdland Studios. The project then relocated to Berlin where a further 9 songs were recorded with Toby Dammit (The Stooges, Residents) and Bertrand Burgalat (of French label Tricatel) who was the string arranger on the first 2 volumes.

The resultant recordings served to whet Harvey’s appetite for more and almost immediately work continued back in Melbourne in order to have enough material to fill 2 new volumes. Along with principle musical collaborator, Shilo (with whom Harvey also worked on Rowland S. Howard’s ‘Pop Crimes’) and Melbourne based musicians Glenn Lewis and Hugo Cran, Harvey enlisted the aforementioned female singers to help complete this final volume in the series.

Assai And Peter Stan-Balkan Tales Out Of Beograd-CD-FLAC-2013-CUSTODES

Release Name: Assai_And_Peter_Stan-Balkan_Tales_Out_Of_Beograd-CD-FLAC-2013-CUSTODES
Artist: Assai And Peter Stan
Album: Balkan Tales Out Of Beograd
Genre: Ethnic
Year: 2013
Tracks: 11
Duration: 00:51:23
Size: 326.54 MB

Tracklist:

1. Assai And Peter Stan – Piperkovo Kolo – 4:41 (1002 kbps , 33.54 MB)
2. Assai And Peter Stan – Out of Beograd – 6:26 (786 kbps , 36.18 MB)
3. Assai And Peter Stan – Balkan Impressions – 3:34 (802 kbps , 20.45 MB)
4. Assai And Peter Stan – Hora di Koncert – 3:24 (959 kbps , 23.28 MB)
5. Assai And Peter Stan – Hora a Lu Ionica – 4:14 (863 kbps , 26.16 MB)
6. Assai And Peter Stan – Redhook – 6:58 (842 kbps , 42.02 MB)
7. Assai And Peter Stan – Hora pe Opt – 4:26 (988 kbps , 31.32 MB)
8. Assai And Peter Stan – Mabumbe – 4:35 (833 kbps , 27.35 MB)
9. Assai And Peter Stan – Molwanien – 3:25 (914 kbps , 22.37 MB)
10. Assai And Peter Stan – Anatolische Bergblume – 4:05 (941 kbps , 27.45 MB)
11. Assai And Peter Stan – Deux gitarres – 5:39 (901 kbps , 36.41 MB)

Download Links :

http://www.datafile.com/d/TWpRMk5UUTBPRFUF9/Assai_And_Peter_Stan-Balkan_Tales_Out_Of_Beograd-CD-FLAC-2013-CUSTODES.rar

or

http://rapidgator.net/file/061419c716e98d4a61d0aa81abb3fbe7/Assai_And_Peter_Stan-Balkan_Tales_Out_Of_Beograd-CD-FLAC-2013-CUSTODES.rar.html

Assai And Peter Stan-Balkan Tales Out Of Beograd-CD-FLAC-2013-CUSTODES

Release Name: Assai_And_Peter_Stan-Balkan_Tales_Out_Of_Beograd-CD-FLAC-2013-CUSTODES
Artist: Assai And Peter Stan
Album: Balkan Tales Out Of Beograd
Genre: Ethnic
Year: 2013
Tracks: 11
Duration: 00:51:23
Size: 326.54 MB

Tracklist:

1. Assai And Peter Stan - Piperkovo Kolo - 4:41 (1002 kbps , 33.54 MB)
2. Assai And Peter Stan - Out of Beograd - 6:26 (786 kbps , 36.18 MB)
3. Assai And Peter Stan - Balkan Impressions - 3:34 (802 kbps , 20.45 MB)
4. Assai And Peter Stan - Hora di Koncert - 3:24 (959 kbps , 23.28 MB)
5. Assai And Peter Stan - Hora a Lu Ionica - 4:14 (863 kbps , 26.16 MB)
6. Assai And Peter Stan - Redhook - 6:58 (842 kbps , 42.02 MB)
7. Assai And Peter Stan - Hora pe Opt - 4:26 (988 kbps , 31.32 MB)
8. Assai And Peter Stan - Mabumbe - 4:35 (833 kbps , 27.35 MB)
9. Assai And Peter Stan - Molwanien - 3:25 (914 kbps , 22.37 MB)
10. Assai And Peter Stan - Anatolische Bergblume - 4:05 (941 kbps , 27.45 MB)
11. Assai And Peter Stan - Deux gitarres - 5:39 (901 kbps , 36.41 MB)

Download Links :

https://file.al/2yb3o7q5mo1s/Assai_And_Peter_Stan-Balkan_Tales_Out_Of_Beograd-CD-FLAC-2013-CUSTODES.rar.html

320 kbps | 115 MB | UL | TB | OB | DF

Shoot The Moon is Roger Street Friedman’s just-completed album, out January 13 on The Playroom Records. Shoot The Moon, co-produced by the artist and Felix McTeigue (co-writer of Florida Georgia Line’s #1 hit “Anything Goes” and Americana chart topper “Wreck You” by Lori McKenna), is the result of a concerted woodshedding effort following Friedman’s debut album, 2014’s critically lauded The Waiting Sky.

No Depression likened Friedman’s sound and approach to that of Bruce Cockburn, Gordon Lightfoot and Fred Neil. The roots music website’s John Apice called his a “faithfully driven melodic voice,” suggesting, “this artist is someone you can explore without growing weary.”

All but one of the album’s 13 tracks were written or co-written by the artist who was joined by collaborators including Al Anderson, the veteran of NRBQ who has penned hit songs for Carlene Carter, Vince Gill, Trisha Yearwood and Tim McGraw, among others. Also contributing to the songwriting process were co-producer McTeigue and Francis Galluccio who has written for Celine Dion, Danielle Bollinger, Destiny’s Child, Marc Anthony, Mandy Moore and others. The album’s sole cover is a version of “Paradise,” written by John Prine, an artist for whom Friedman has great abiding admiration. Of his songs, Friedman comments, “I strive to tell stories, to make them as real and truthful as I can by finding the poetry in ordinary moments.” Shoot The Moon exudes an album-oriented cohesion which is to say there is a broad spectrum of feelings and genres threaded together by Friedman’s well-developed aesthetic sense. His stylistic calling card is both earthy and urbane, spanning pastoral folk, euphoric New Orleans-style horn driven pop-rock, alt-country, blues and R&B.

When I arrived in Barbados’ capital Bridgetown for the 50th anniversary of independence week, I was excited about seeing some of the veterans of the local spouge music in concert and interviewing them about why the music had died out. As far as I knew, live spouge was limited to infrequent “back in time” revues and an occasional medley thrown in by a band in between their soca selections.

At Wendy Alleyne’s concert at the National Stadium I struck up a conversation with Chrissy Pantoja, a Florida-based Bajan culture enthusiast and rum blogger. She introduced me to her friend Trevor Wood, who is interviewed in our episode. Trevor declared me the first ever “spouge tourist.” That’s not entirely correct–I know a few collectors who’d previously gone to the island to look for out of print WIRL recordings or visit Jackie Opel’s grave–but spouge will probably never rival sun, beaches and rum as the main attraction of Barbados.

A few hours later I was in the car of podcast host and broadcaster Daveny Ellis, headed to the home studio of Simon Pipe, a Bajan singer, songwriter, guitarist, and one-third of the group Iron Pipe, which mixes spouge with contemporary sounds along with DJ Simmons and Adrian Green. What followed was a freewheeling conversation with the three members and Ellis about their music and what spouge means to Barbados.

From left: Simon Pipe, Daveny Ellis, Adrian Green, Noah Schaffer and DJ Simmons

Noah Schaffer: Can you explain what Iron Pipe is?

Simon Pipe: We are a band called Iron Pipe. We do a modernized version of spouge in that we are using the traditional spouge rhythm, but a lot of the music was very major chord, very happy sounding, so what we are doing is a little darker. A lot of the times our content is a little more minor chord so it has the infusion of some dancehall and reggae vibes as well. In truth a lot of Barbadians don’t know what spouge is so even when we’ve gone on the radio a lot of people aren’t sure what to call the music and they’ll default to dancehall or reggae, but the people who are musicians who have studied music here immediately recognize it as spouge and are excited that someone is doing something with it. It’s a big experiment because the truth is not a lot of younger people are doing spouge music. It’s a lot of fun. Serious hard work too. When you look at Jamaican music they’ve really preserved their culture. Mento is not as big as reggae obviously, but you’re seeing the “reggae revival” where artists like Jesse Royal, Chronixx, Kabaka Pyramid and Jah9 are bringing back a lot of Jamaican [roots reggae] but modernizing it a little bit and doing something similar to what we’re doing.

Daveny Ellis: I knew these guys from the spoken word/poetry scene here. All three are some of the best musicians and artists in Barbados. Simply hearing their first record when it came on out the radio made a big impact.

Simon: We’ve had a phenomenal start as a group. This really is a big experiment. Iron Pipe is a new thing but people know us individually. Honestly if we were someone else and playing spouge music I can’t tell you it would have been played ‘pon the radio.

Is spouge something you grew up with?

Daveny: No. When I found out about it, man it was the hardest thing since raw cakes.

DJ Simmons:  My father used to play the old-time music every Sunday but I couldn’t tell you who was singing. I only realized how large it was when I got to research it. My father didn’t know. Jackie Opel, he was a guy who sang ‘pon some Bob Marley records–a backing vocalist. I didn’t know him as an artist. [Note: In reality Marley was Opel’s backing vocalist!]

Daveny: When I hear people who were around when the music was big they talk about this pinnacle and Jackie was the guy and he was really gonna take off. It upsets me because I really wish this had happened. How come people couldn’t hold onto the local art form? A lot of art forms they hit these paradigm shifts where they hit a brick wall. But the way spouge disappeared with no explanation was a real problem–this art form was going to get so big for us and transcend what we were doing. Not that calypso hasn’t done a good job of carrying on, but what you found in spouge had elements of blues, funk, soul, r&b, it was able to translate to other cultures very easily. I’m interested in that death moment when spouge became a thing and then it stopped. Because we talk about reggae and we can see the path of ska to reggae to dancehall. Why don’t we see that [with spouge]?

DJ Simmons: There are local artists that like spouge but I don’t think they take it seriously enough, but they don’t see it as something they could inject into their actual brand. Some of them might get paid to sing a Jackie Opel tune at an old-time show, but they wouldn’t put out a spouge song.

Was it challenging to learn spouge rhythms?

Simon: It took me quite a while and then it just clicked there’s so much we can do with this rhythm. It’s quite different. [Ex-Steel Pulse guitarist and producer] Jimmy Haynes taught me to play spouge on guitar. But I don’t think I can say on U.S. public radio how he taught me! The rhythm goes a-shit-ing-a-kitchen, a-shit-ing-a-kitchen, a-shit-ing-a-kitchen, haha! But he wanted it to be me. It was a long process before it clicked…. I also have recorded and worked with the Troubadour, and those guys have been really helpful in giving me some history on spouge, particularly their drummer Ken Jones. His home was actually Jackie Opel’s rehearsal space for a long time, so he’s been around from the inception.

Have you all studied the origins of Bajan rhythms?

Simon: All of Barbados is this mixed up thing. Given the population percentages Barbados is fairly homogenized, so basically our music is fairly African, but indentured servitude was the first thing to happen here, so you had the Irish and Scottish brought over and then the African slave trade, so it was a big mixture of these very different cultures. Tuk is a real good example, it has the pennywhistle and a snare and you can hear the tuk rhythm in Scottish music. But there are things in tuk that don’t come from Scotland!

Daveny: I fear that spouge and tuk could become something to gawk at, to use as a prop, and that is why Iron Pipe is so important–I feel comfortable because I know you guys care about art and pushing it and you’re interested in the stronger aspects of what art can do and how it can reach people.

DJ Simmons: No sane person would do what we’re doing. It’s very unlikely to be very successful. At the end of the day most of the artists want to feed their family.

Daveny: That’s right, one reason that prevents artists from doing spouge is that they want to eat. And as an artist it’s not easy to make a living when you’re doing something that’s not popular. I wish more DJs were willing to buck the trend and play this music so others could hear it, but like DJ says they have to eat.

Adrian Green: I am the elder in the group–you can tell by the gray in my beard–so I grew up as a spouge lover and one of the few that I know. Even in my age bracket, as old as I am, I spent a lot of time, many many years, trying to get other artists and other musicians interested in spouge. Even if they are interested they are more concerned with eating. And when you get involved with what many consider a dead art form like spouge you’re going to have some work to do to bring it back to life and I had not found a musician interested in doing that kind of necromancy! And I hooked up with DJ and Simon but it took some conversations. I feel very blessed to have met up with two guys who really caught a vision of what spouge can be and who don’t want to fetishize it but who want to build something fresh from it. The irony is that while people will tell you they don’t know or like spouge I’ve seen several bands incorporating it into their sets.

Simon: And we only just started experimenting. It is just starting to sound good and I know we can only improve so.

Barbados recently celebrated its 50th anniversary of independence. We look into the rise and mysterious fall of the funky Bajan spouge beat which ruled the island in the ’70s, and discover a few underground musicians who are trying to keep it alive. Calypsonians Mighty Grynner and Red Plastic Bag detail their contributions to the lyrically potent kaiso scene. Soca stars Alison Hinds and Edwin Yearwood talk about the pros and cons of the island’s competition circuit, and we learn about the hot new “soca bashment” scene. Produced by Saxon Baird and Noah Schaffer.

Iron Pipe: Spouge in the 21st Century

320 kbps | 166 MB | UL |

FM Radio Broadcast from Hard Rock Casino, Las Vegas, Nevada 16th October, 1995.

Tracklist:
1. Magic Man (4:46)
2. Straight On (4:56)
3. Roll With It (4:54)
4. Still Got The Blues (5:08)
5. Tall Dark Handsome Stranger (4:12)
6. Letting Go (4:24)
7. Alone (5:19)
8. All I Wanna Do Is Make Love To You (6:59)
9. The Road Home (3:15)
10. River Deep Mountain High (4:06)
11. Even It Up (4:49)
12. Barracuda (4:57)
13. What Is And What Should Never Be (5:29)
14. Crazy On You (6:21)

Тема на форуме

This may be one of the saddest stories you have ever read, evoking Marley-esque comparisons. It’s about a highly talented singer from a small country on the Caribbean coast, the flag-bearer of his Garifuna culture, who rose to international recognition and acclaim and was at the peak of success, only to die tragically, suddenly, at the age of 47 on Jan. 19, 2008. It is especially poignant for me, as Andy Palacio was also my dear friend and acquaintance of 20 years.

This icon of Belize, known throughout his nation and its diaspora as “Andy P,” came from a poor, remote village named Barranco, that is more easily reached by water than road. Through his music, starting as a punta rock star in the 1980s, he became a determined activist for the protection and preservation of Garifuna history and culture. By the mid-‘90s, he had attained a the position of Deputy Minister of the National Institute of Cultural History, and was honored by the Belizean government with the title of Cultural Ambassador.

From The Beat’s annual Top Ten feature for 2007.

In November 2007, I joined an international corps of journalists on a visit to Belize sponsored by Cumbancha and Stonetree Records, which had produced Andy’s album, Watina, acclaimed as one of the best world music recordings of the year. We were privileged to experience glimpses of Belizean life rarely offered to the casual tourist, had several opportunities to see Andy perform, and attended the formal presentation, held in Barranco, of the UNESCO Artist For Peace award to Andy. Two months later, the shocking news came that he had passed away.

We encourage you to read the story, learn about the many varieties of Belizean music and the history and struggle of the Garifuna people, and explore the legacy of Andy P, which is today carried on by the Garifuna Collective, the Garifuna Women’s Project, and his protege Aurelio Martinez.

READ OR DOWNLOAD PDF (TWO PARTS) Beat27#1AndyPart1 , Beat27#1AndyPart2

ABOUT BEST OF THE BEAT ON AFROPOP

Тема на форуме

On the eve of the inauguration of a U.S. president who rode a wave of anti-immigrant sentiment and racism to the highest office in the nation, Raja Kassis wants to send a message of solidarity and support to all immigrant communities. The message is delivered in the form of music, Senegalese mbalax to be exact, the pur et dur (“pure and tough”) style even more specifically. This track, recorded by the highly skilled guitarist Raja and his band humanBEING, released Jan. 19 on Ropeadope Records, is an instrumental cover of a classic song from the late, great Senegalese singer N’dongo Lo. The music lifts spirits from the first horn and percussion blasts and climbs to new heights as the sabar drums push the tempo and Raja’s intricate guitar lines sing over the rhythm:

In the original, N’dongo Lo pleads with his brother to resolve a disagreement and not leave their family kinship behind. For Raja, the instrumental is partly a tribute to the late singer, but it also an opportunity to send a message to all immigrant communities, including those that shaped his own musical life. He writes:

“I would like to say that we in fact don’t want you to leave despite what you may hear people saying for political gain. The promise of this country has always been that, no matter where you’re from, you belong, as at some point, unless you’re Native American, we are all immigrants as well. Above all else, it is the kaleidoscope of culture that is in fact the very essence of this great American experiment. That will always be something worth fighting for.”

Raja is an atypical musician by most standards: Born in Beirut, educated at Berklee College of Music, he currently splits his time between New York and New Orleans working regularly with the likes of Blitz the Ambassador, Antibalas, Angelique Kidjo, and many others. As he told us in our 2014 interview, for many years Raja dedicated himself to Senegalese mbalax music in the U.S., touring with the likes of Fatou Guewel, Kiné Lam, Marie N’Diaye and Fatou Laobé, and also performed with famed singer Assane N’Diaye in Dakar, Senegal, and master sabar drummer Lamine Touré in Boston. When Raja founded his own group in 2014 to release an album on Ropeadope Records, he tapped his fellow mbalax players for the rhythm section: Mahanta Faye (Lemzo Diamano) on drumset, Mor Coumba Gueye (grandson of Doudou N’diaye Rose), and Magatte Fall (Angelique Kidjo) on sabar percussions; Arone N’diaye (who actually toured with N’dongo Lo) on marimba keyboards, and Patrice Blanchard on bass. This core rhythm section brings the fire of mbalax to life with the help of a first-class New York horn section: Sylvester Uzoma Onyejiaka II (Prince) on baritone sax, Nadav Nirenberg (Ikebe Shakedown) on trombone, Mike Buckley (Sharon Jones/Lee Fields) on tenor sax, Jason Colby (Lee Fields) on trumpet and Sam Hoyt (Jorge Ben) on trumpet.

Raja will be performing this Sat., Jan. 21 in Washington D.C. with Antibalas at THE ANTI-BALL: Women’s March After Party and PP Benefit.

Extreme Cardio Vol.2 (2017)
2017 | Hard Dance Coalition | Dance, Hard Dance
320 Kbps | 05:48:56 | 809 Mb

Tracks List:
01. Robbie Teeze – Go Away (original mix) 06:28
02. Karlston Khaos – The Drop (original mix) 06:32
03. Bassik – Dark Dreams (original mix) 06:56
04. Fierce DJs – Animal Funk (original mix) 06:44
05. Scott Attrill & Lazarus – Light On (original mix) 05:51
06. Andy Whitby & Energy Syndicate – Until The Grave (original mix) 04:58
07. BRK3 – L3T G0 (original mix) 06:20
08. Cut-Up – Bring It Back (original mix) 06:09
09. Sonik & Digital Mafia – I Still Love You (original mix) 06:47
10. Technikal & Andy Whitby – We Own This! (original mix) 04:41
11. Energy Syndicate & Mark Hybridz – Phattest Drop (original mix) 05:27
12. Andy Whitby/Audox & Max Mozart – Steppin' (original mix) 06:19
13. Fierce DJs & Energy Syndicate – Headlock (original mix) 06:40
14. Audio Hedz & Allan E – Bass Get Open! (original mix) 05:50
15. Energy Syndicate – Mayday (original mix) 07:07
16. Various – Extreme Cardio Vol 2 (continuous DJ mix 1) 01:05:20
17. Base Graffiti – The Hulk (original mix) 08:04
18. Paul Glazby – Motherfucker (original mix) 07:25
19. Paul Maddox – Tension (original mix) 07:17
20. Karim – Ravers Delight (original mix) 07:38
21. Marc Johnson & Testube Babies – Release The Freak (DMF remix) 07:55
22. Unknown – Cookie 7 (original mix) 08:23
23. Lucy Fur & JoJo – One Stop Chop (original mix) 07:49
24. Hilly – Let's Hear It (original mix) 07:56
25. Ben Stevens – Funked Off (original mix) 07:50
26. Gary Byrne – Dyewitness (original mix) 07:46
27. Unknown – Cookie 20 (original mix) 08:14
28. A Vs B – Mace In Your Face (original mix) 07:30
29. Henry Trotton – James & The Giant Hoover (original mix) 08:45
30. Jay Pepper & Claire Browne – Big Mama (original mix) 07:48
31. Gary Byrne – Eternal Hoover (original mix) 08:44
32. Various – Extreme Cardio Vol 2 (continuous DJ mix 2) 01:11:27
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4th Selection Of The Naughtiest Originals (2017)
2017 | Naughty Pills Records | Hard Techno
320 Kbps | 01:38:40 | 227 Mb

Tracks List:
01. A-Brothers – Rhythm Rider 08:18
02. Deh-Noizer – Abuse 07:18
03. Electrorites – XXX01 07:37
04. Darmec – Kimberlite 07:44
05. GabeeN & Peat Noise – Hardcase 05:55
06. Marika Rossa & Peat Noise – Chiseling 06:56
07. Tobias Lueke – Dominate 06:37
08. 2bee – Relapse 06:30
09. Alex Rampol – Tobacco 07:30
10. Ekomatik – Toxic Punch 07:49
11. Marika Rossa – Derailment 06:00
12. R. Cooper – Soaring 06:42
13. Marco De Luca – Negotiate 05:24
14. Lia Organa & Enrico Fuerte – Ars Diavoli 08:11
As usual we collect the finest tracks Naughty Pills Records released over the year. We are continuing with this tradition and present you the 4th selection of the naughtiest originals. We have 14 hard hitting tracks for you which perfectly sums up the year we had. A lot of familiar faces and a couple of newcomers are here to recap 2016 for us.
Enjoy!
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Midnight Sessions Vol.3 (2017)
2017 | Solo House | House, Deep House
320 Kbps | 01:49:19 | 251 Mb

Tracks List:
01. Ava Blaxland – Oxana (original mix) 03:26
02. Tribal Kong – A Beast (Black Jam mix) 05:35
03. Van Mark – Tree Cherry Pits (original mix) 05:48
04. Jay Indo – One Two (original mix) 06:14
05. Karisma – Time To Play (original mix) 05:02
06. Laga Maravilla – I Can Oh (original mix) 05:47
07. Ralphie Boss – Fighting Against (original mix) 05:14
08. Blue Square – For An Angel (Jazzatronique mix) 03:41
09. Chris Weber – 90 Sounds (original mix) 03:39
10. Tony Guitarra – Fiesta Latina (Tribal Groove mix) 06:48
11. James Palmer – Go (original mix) 03:30
12. Sonik Jay – Rose (Sj Club mix) 05:43
13. Ribera – First Sweetheart (Club mix) 05:47
14. Plastique Soul – Star Hotel (original mix) 03:43
15. Colorful Blink – Time Vacant (original mix) 03:39
16. Ramon Torres – Synapsy 8 (original mix) 03:22
17. Criminal Of Glaze – Pablo Escobar (original mix) 03:04
18. Sander Gaggo – Rise (original mix) 03:08
19. Florian Vagun – Clipper Fire (original mix) 03:10
20. The Fabulous – House Attitude (original mix) 03:24
21. Jeff Pasha – Professionals Around The World (feat Dune) 05:36
22. Jason Molvik – Women Only (original mix) 03:08
23. Platin Groove – Deep Water (original mix) 03:43
24. Rumble Rumble – Paranoise (original mix) 03:24
25. Tony Rojal – Final (Nu Fragrance mix) 03:31
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In Da Houz – Vol.16 (2017)
2017 | Houzier | House
320 Kbps | 01:39:28 | 228 Mb

Tracks List:
01. Andy Pitch – Aom (Club mix) 07:08
02. EKODEK – So Many People (original mix) 08:19
03. Andy Pitch – Habibie (original mix) 07:20
04. Dave Pedrini – Sweet (Joseph Matera remix) 05:40
05. Robert Babicz – All The Things Around (original mix) 07:11
06. CJ Kovalev – I Can't Get No Sleep (original mix) 04:29
07. Mess Me – Basement Affair Pt 2 (original mix) 06:08
08. Daviddance – SEXO (original mix/remastered) 07:06
09. Andy Pitch – Horney (original mix) 06:22
10. Andy Pitch – Let It Flow (original mix) 07:02
11. Andy Pitch – Pitch The Bitch (original mix) 05:57
12. Andy Pitch – Sos (original mix) 06:17
13. Joe Dominguez – Feels Good (original mix) 07:09
14. David Sichinawa & Ween Ween – I'm Gonna Funk (original mix) 07:10
15. Flagman DJs – Huli Trali Vali (original mix) 06:04
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Pepote – Two Years Glooms (2017)
2017 | Glooms Records | Techno
320 Kbps | 02:33:19 | 351 Mb

Tracks List:
01. Pepote – Pituta-A1 (original mix) 06:00
02. Pepote – Ho-Oponopono (original mix) 06:10
03. Pepote – Relic One (original mix) 06:52
04. Pepote – The Saint (original mix) 06:46
05. Pepote – Description (original mix) 06:19
06. Pepote – X3 (original mix) 05:41
07. Pepote – X2 (original mix) 05:41
08. Pepote – Z3 (original mix) 06:19
09. Pepote – Z1 (original mix) 06:19
10. Pepote – Swing (original mix) 06:03
11. Pepote – Subrreal 2 (original mix) 05:42
12. Pepote – Spook (original mix) 05:12
13. Pepote – Impressionism (original mix) 06:50
14. Pepote – Fears (original mix) 06:03
15. Pepote – Starting (B1 remix) 05:14
16. Pepote – Factory (original mix) 06:15
17. Pepote – Whistle (original mix) 06:50
18. Pepote – Xhw (original mix) 05:45
19. Pepote – Code1 (original mix) 07:26
20. Pepote – A – B1 (original mix) 06:50
21. Pepote – A – A1 (original mix) 05:30
22. Pepote – Tool1 (original mix) 06:47
23. Kapeg – Ka002 (original mix) 06:16
24. Kapeg – Rec (Kapeg remix) 04:44
25. Pepote – Rec (original mix) 05:30
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