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21. Warp9 - Purple Funkazoids

Warp9 - Purple Funkazoids

Like the track? Click the [Repost] ↻ button! Pre-order: ► http://www.addictech.com/p/188037 SUBSCRIBE: bit.ly/subscribetoadaptedrecords Follow Warp9: Facebook: https://www.facebook.com/warp999 Soundcloud: https://soundcloud.com/warp99 Twitter: https://soundcloud.com/warp99 Follow Adapted Records: Facebook: www.facebook.com/Adaptedrecords Youtube: bit.ly/subscribetoadaptedrecords Twitter: twitter.com/Adapted_Records Beatport: www.beatport.com/label/adapted-records/24915 SoundCloud: soundcloud.com/adaptedrecords The ultimate collection of glitch and funk is here!!! There's no denying the progression in Adapted's roster over the course of the past year with impressive talent and a massive evolution. It's all led to this - a collection full of tracks that was meant for covering an entire piece of time. This is a compilation to start your day with - and to enjoy life's finer moments that elude uplifting vibes and a unique taste. If the glitch and funk goes together here like peanut butter and chocolate - enter the party with Beat Fatigue's delicious "Funk Tube," rendering blues funk and oh-so-tasty glitch. Cheshire Music delivers a classic with "Sunday Drop," which blends traditional horns with vintage sounds for a tasteful groove. FarfetchD smothers us with a caramel smooth, tasty batch of electro medicine called "The Fever," which dials in a truly brilliant track from start to finish. Crazy Daylight (ft. EVeryman) Father Funk and Kybosh provide the protein with three massive tracks, " Make It Nice, Chocolate Milk and Split Minstrel." Put on your "Funk Face" with mat tha hat, whose out of control single with drop your jaw to the floor. "Wiggle Bit" by Orphic is a magnificent track that uses a sexy riff, cinematic builds, and beautiful bells which lead to a glitchy breakdown unlike any other - an authentic take on post-modern disco. SpekrFreks bring the uptempo groove and full-court press with "Juke Joint"! Squelch Music's "Spiked Punch" delivers a stomach-churning glitch groove that will make you feel extraterrestrial! And the funk keeps impressing... a separate paragraph is needed to discuss LabRat's remix of SugarBeats's hit "Pretty Young Things." This wonderful midtempo jam could not give the original more magic. Tack breaks through with "Everything's Good," full of dance-friendly melodic breaks. Thomas Vent somehow manages to get heavier, funkier, and full of more aggression.. "Squealing Funk" is no exception. Vice City and Hexsonic collab for a futuristic jam which carries weight like a Flume single, full of effortlessly catchy beats. "Purple Funkazoids" by Warp9 is Tipper in disguise, dialing back for a taste of other-wordly breaks. This a compilation for all time, make sure to clear your schedule!

nothing at of , which is


22. Don't ever

  • Published: 2014-01-03T02:33:03Z
  • By secLuse
Don't ever

Don't ever is a song about being betrayed and coming back with the resolve that you never really needed that person anyway, and to be honest they kinda had that weird thing going on with their bottom lip, which in all seriousness used to shit you to tears. So all in all it was really a blessing in disguise that they turned out to be a complete asshole and your life is soooo much better without them. You get the picture.

nothing at of , which is


23. Crazy Daylight Ft. Everyman - Make It Nice

Crazy Daylight Ft. Everyman - Make It Nice

Like the track? Click the [Repost] ↻ button! Out Now: ► Addictech: http://www.addictech.com/p/188037 Bandcamp: https://adaptedrecords.bandcamp.com/album/glitch-funk-vol-1 Beatport: https://pro.beatport.com/release/glitch-and-funk-vol-1/1537923 SUBSCRIBE: bit.ly/subscribetoadaptedrecords Follow Adapted Records: Facebook: www.facebook.com/Adaptedrecords Youtube: bit.ly/subscribetoadaptedrecords Twitter: twitter.com/Adapted_Records Beatport: www.beatport.com/label/adapted-records/24915 SoundCloud: soundcloud.com/adaptedrecords The ultimate collection of glitch and funk is here!!! There's no denying the progression in Adapted's roster over the course of the past year with impressive talent and a massive evolution. It's all led to this - a collection full of tracks that was meant for covering an entire piece of time. This is a compilation to start your day with - and to enjoy life's finer moments that elude uplifting vibes and a unique taste. If the glitch and funk goes together here like peanut butter and chocolate - enter the party with Beat Fatigue's delicious "Funk Tube," rendering blues funk and oh-so-tasty glitch. Cheshire Music delivers a classic with "Sunday Drop," which blends traditional horns with vintage sounds for a tasteful groove. FarfetchD smothers us with a caramel smooth, tasty batch of electro medicine called "The Fever," which dials in a truly brilliant track from start to finish. Crazy Daylight (ft. EVeryman) Father Funk and Kybosh provide the protein with three massive tracks, " Make It Nice, Chocolate Milk and Split Minstrel." Put on your "Funk Face" with mat tha hat, whose out of control single with drop your jaw to the floor. "Wiggle Bit" by Orphic is a magnificent track that uses a sexy riff, cinematic builds, and beautiful bells which lead to a glitchy breakdown unlike any other - an authentic take on post-modern disco. SpekrFreks bring the uptempo groove and full-court press with "Juke Joint"! Squelch Music's "Spiked Punch" delivers a stomach-churning glitch groove that will make you feel extraterrestrial! And the funk keeps impressing... a separate paragraph is needed to discuss LabRat's remix of SugarBeats's hit "Pretty Young Things." This wonderful midtempo jam could not give the original more magic. Tack breaks through with "Everything's Good," full of dance-friendly melodic breaks. Thomas Vent somehow manages to get heavier, funkier, and full of more aggression.. "Squealing Funk" is no exception. Vice City and Hexsonic collab for a futuristic jam which carries weight like a Flume single, full of effortlessly catchy beats. "Purple Funkazoids" by Warp9 is Tipper in disguise, dialing back for a taste of other-wordly breaks. This a compilation for all time, make sure to clear your schedule!

nothing at of , which is


24. Mat tha hat - Funk Face

Mat tha hat - Funk Face

Like the track? Click the [Repost] ↻ button! Out Now: ► Addictech: http://www.addictech.com/p/188037 Bandcamp: https://adaptedrecords.bandcamp.com/album/glitch-funk-vol-1 Beatport: https://pro.beatport.com/release/glitch-and-funk-vol-1/1537923 SUBSCRIBE: bit.ly/subscribetoadaptedrecords Follow Adapted Records: Facebook: www.facebook.com/Adaptedrecords Youtube: bit.ly/subscribetoadaptedrecords Twitter: twitter.com/Adapted_Records Beatport: www.beatport.com/label/adapted-records/24915 SoundCloud: soundcloud.com/adaptedrecords The ultimate collection of glitch and funk is here!!! There's no denying the progression in Adapted's roster over the course of the past year with impressive talent and a massive evolution. It's all led to this - a collection full of tracks that was meant for covering an entire piece of time. This is a compilation to start your day with - and to enjoy life's finer moments that elude uplifting vibes and a unique taste. If the glitch and funk goes together here like peanut butter and chocolate - enter the party with Beat Fatigue's delicious "Funk Tube," rendering blues funk and oh-so-tasty glitch. Cheshire Music delivers a classic with "Sunday Drop," which blends traditional horns with vintage sounds for a tasteful groove. FarfetchD smothers us with a caramel smooth, tasty batch of electro medicine called "The Fever," which dials in a truly brilliant track from start to finish. Crazy Daylight (ft. EVeryman) Father Funk and Kybosh provide the protein with three massive tracks, " Make It Nice, Chocolate Milk and Split Minstrel." Put on your "Funk Face" with mat tha hat, whose out of control single with drop your jaw to the floor. "Wiggle Bit" by Orphic is a magnificent track that uses a sexy riff, cinematic builds, and beautiful bells which lead to a glitchy breakdown unlike any other - an authentic take on post-modern disco. SpekrFreks bring the uptempo groove and full-court press with "Juke Joint"! Squelch Music's "Spiked Punch" delivers a stomach-churning glitch groove that will make you feel extraterrestrial! And the funk keeps impressing... a separate paragraph is needed to discuss LabRat's remix of SugarBeats's hit "Pretty Young Things." This wonderful midtempo jam could not give the original more magic. Tack breaks through with "Everything's Good," full of dance-friendly melodic breaks. Thomas Vent somehow manages to get heavier, funkier, and full of more aggression.. "Squealing Funk" is no exception. Vice City and Hexsonic collab for a futuristic jam which carries weight like a Flume single, full of effortlessly catchy beats. "Purple Funkazoids" by Warp9 is Tipper in disguise, dialing back for a taste of other-wordly breaks. This a compilation for all time, make sure to clear your schedule!

nothing at of , which is


25. SpekrFreks - Juke Joint

SpekrFreks - Juke Joint

Like the track? Click the [Repost] ↻ button! Out Now: ► Addictech: http://www.addictech.com/p/188037 Bandcamp: https://adaptedrecords.bandcamp.com/album/glitch-funk-vol-1 Beatport: https://pro.beatport.com/release/glitch-and-funk-vol-1/1537923 SUBSCRIBE: bit.ly/subscribetoadaptedrecords Follow Adapted Records: Facebook: www.facebook.com/Adaptedrecords Youtube: bit.ly/subscribetoadaptedrecords Twitter: twitter.com/Adapted_Records Beatport: www.beatport.com/label/adapted-records/24915 SoundCloud: soundcloud.com/adaptedrecords The ultimate collection of glitch and funk is here!!! There's no denying the progression in Adapted's roster over the course of the past year with impressive talent and a massive evolution. It's all led to this - a collection full of tracks that was meant for covering an entire piece of time. This is a compilation to start your day with - and to enjoy life's finer moments that elude uplifting vibes and a unique taste. If the glitch and funk goes together here like peanut butter and chocolate - enter the party with Beat Fatigue's delicious "Funk Tube," rendering blues funk and oh-so-tasty glitch. Cheshire Music delivers a classic with "Sunday Drop," which blends traditional horns with vintage sounds for a tasteful groove. FarfetchD smothers us with a caramel smooth, tasty batch of electro medicine called "The Fever," which dials in a truly brilliant track from start to finish. Crazy Daylight (ft. EVeryman) Father Funk and Kybosh provide the protein with three massive tracks, " Make It Nice, Chocolate Milk and Split Minstrel." Put on your "Funk Face" with mat tha hat, whose out of control single with drop your jaw to the floor. "Wiggle Bit" by Orphic is a magnificent track that uses a sexy riff, cinematic builds, and beautiful bells which lead to a glitchy breakdown unlike any other - an authentic take on post-modern disco. SpekrFreks bring the uptempo groove and full-court press with "Juke Joint"! Squelch Music's "Spiked Punch" delivers a stomach-churning glitch groove that will make you feel extraterrestrial! And the funk keeps impressing... a separate paragraph is needed to discuss LabRat's remix of SugarBeats's hit "Pretty Young Things." This wonderful midtempo jam could not give the original more magic. Tack breaks through with "Everything's Good," full of dance-friendly melodic breaks. Thomas Vent somehow manages to get heavier, funkier, and full of more aggression.. "Squealing Funk" is no exception. Vice City and Hexsonic collab for a futuristic jam which carries weight like a Flume single, full of effortlessly catchy beats. "Purple Funkazoids" by Warp9 is Tipper in disguise, dialing back for a taste of other-wordly breaks. This a compilation for all time, make sure to clear your schedule!

nothing at of , which is


26. Shelter me now

Shelter me now

You shed a shadow on my life Shed a shadow on a love Took the shelter out of my life Took the shelter of a lie I could see it in your restless eyes The truth I was hiding The truth you could not disguise But I never thought I'd see the day I knew I'd need a miracle to make you stay I knew I needed A miracle And I never thought I'd see the day You put a shadow on a love Took a shelter of a lie Took the shelter out of my life I wish you could shelter me Shelter me now

nothing at of , which is


27. Master - The Witchhunt

Master - The Witchhunt

Death Metal - United States The Witchhunt Full-length 2013 http://www.master-speckmetal.net/ Paul Speckmann was born on September the 28th, 1963, in the North-West suburbs of Chicago, Illinois. From an early age, he dreamed of playing music, more specifically Rock 'n' Roll. Originally, he was inspired by the heavy sounds of Black Sabbath, Deep Purple and Led Zeppelin, among others. At age 16, Speckmann discoverd the sweet leaf a.k.a. cannabis, which he would reguarly smoke while listening to the aforementioned groups. One day, while walking the halls of Forest View High School (Arlington Heights, Illinois), Speckmann was approached by Ronald Cooke, as Cooke had heard him singing "All Good People" by prog-rock group, Yes. Ron Cooke was a guitarist in the band White Cross, and asked Speckmann to audition as singer. Speckmann agreed and, after a rather shaky audition, he soon joined the fledgling band. White Cross was mostly an all-covers band, performing songs by Sabbath, UFO, Ted Nugent and Thin Lizzy. Trying his best, Speckmann found encouragement as girls at school now looked at him in a new light. During the first year in White Cross, Speckmann began to take a serious interest in the bass guitar, something which had caught his attention since he was a child. Upon mentioning this to his band members in White Cross, and his friends, Speckmann was greeted with laughter and told that he would never be able to play. Determined to prove them wrong, Speckmann searched for a bass guitar. Around this time, he quit White Cross too, possibly because he realized they would never get anywhere just playing covers. (On a side note, after White Cross, guitarist Ron Cooke joined a band called Thrust, a heavy metal group in the Priest/Maiden-style, but they never achieved any major success, despite putting out one album and a split live LP with fellow Chicago act, Lazer). Eventually, Speckmann found a bass guitar, in the form of a cheap Epiphone, only costing around thirty dollars. (Funnily enough, future bass player for Trouble, Sean McCallister, had originally intended to buy the bass, and was upset that Speckmann got there first. McCallitster would get his chance though.) One day, while walking home from his latest "female conquest", Speckmann bumped into an old friend from grade school and Cub Scouts, Steve Ahlers. Steve revealed that he was learning to play guitar, and Speckmann mentioned his interest in the bass. The two began practicing on a regular basis, as they were both fans of the same heavy metal groups. Still in high school, Speckmann met Marty Fitzgerald, a guitar player, in addition to being a year older than Speckmann. Both being passionate fans of metal, they agreed to form a band, along with Speckmann's friend Steve Ahlers. Such was their passion, that Fitzgerald dropped out of high school his senior year, and Speckmann followed suit, dropping out in his junior year. They both promised to start jamming together every day. Unfortunately, both their parents forced them to get jobs. Not phased by this, Fitzgerald and Speckmann began jamming a few nights a week (along with Ahlers). Next task was finding a drummer, and after some gruelling work auditioning drummers over the course of 1982, the trio settled on a drummer from high school, called Joe Iaccino. Unlike the rest of the group, Iaccino did have some previous experience. For everyone else, this was their first "real band". Playing music in the vein of early Black Sabbath, the bands sound was naturally rather doomy, and the group suitably dubbed themselves "War Cry". After finding vocalist Rich Rozek, the band begun to pen their own compositions. At this time, the NWOBHM movement was in full swing, and War Cry found large amounts of inspiration in other acts from that movement, such as the great Witchfinder General and Angel Witch. Their approach became even more doomy, as a result of listening to those Sabbath-based acts. I have to mention at this point that the Chicago scene really begun to develop into something special around 1983. Emerging power metal acts such as Witchslayer, Slauter Xstroyes, Hammeron, Infra Red and Paradoxx were complimented nicely by the aggression of Zoetrope, or the doom of the godly band Trouble. A totally killer scene for sure, and one that would only get better ! War Cry made the step up to playing live shows in 1983. After calling the local club Haymakers (an infamous club in Prospect Heights, Illinois), gigs became frequent and after a while, better offers were given to War Cry. At this time, War Cry were drawing in many people, and live shows often consisted of covers of Sabbath, Priest, Angel Witch and even Twisted Sister. They soon became a fave among many people involved in the Chicago metal scene. In mid-83, War Cry entered Open Reel Studios in Lynwood, Illinois to record the legendary "Trilogy Of Terror" demo. The recording cost around 500 dollars, and contained four tracks; "The Executoner's March (Intro)", "The Executioner", "Wicked Warlock" and "Forbidden Evil". Needless to say, for the rather expensive price of 500 dollars, the tape was well worth it ! To this day, that demo remains one of the heaviest recordings ever to hit the metal scene, and for many is a totally cult piece of metal ! The demo never had a cover, and although War Cry had no clue how to promote it at the time, copies of it rapidly spread through the tape trading network, and War Cry achieved fame in the metal underground. By now, War Cry were opening all the big shows, such as Joe Perry Project and Mountain. Nobody was jealous however, as the Chicago scene (like many early scenes) had great camaraderie. As expected, the oppurtunity to appear on vinyl came calling, in the form of Brian Slagel's Metal Blade Records. His prestigious Metal Massacre compilation series featured many promising metal acts, and had helped to launch the careers of Metallica, Ratt and Slayer, among many others. By now, three Metal Massacre's had been released, and War Cry were offered the chance to appear on the fourth, aptly titled Metal Massacre 4. Metal Blade chose the song "Forbidden Evil" from the "Trilogy Of Terror" demo, to appear on the compilation, so War Cry recorded the track specially at Pierced Arrow Studios, in Evansten, a suburb of Chicago. Metal Massacre 4 featured War Cry's fellow Chicago acts Trouble, Witchslayer, Zoetrope and Thrust (Ron Cooke's band). It also included Sceptre, who would go on to become Agent Steel. Apart from Trouble, none of the acts would go on to achieve any major success, although Lizzy Borden and thrash act Abattior both recorded albums (Abattior's was quite good actually, though Lizzy Borden just suck). Despite this, Metal Massacre 4 is really one of the more consistent Massacre discs overall. War Cry recieved good response, and the disc helped them become noticed on the international scene. Future thrash act Forbidden Evil even took their name from the War Cry song (although the "Evil" bit was later dropped, and the band became known as just "Forbidden"). Despite this success, drummer Joe Iaccino had quit War Cry, and the search was on for another drummer. Bill Schmidt, a drummer who had been jamming alone in his basement with no previous experience, was eventually chosen (He had originally auditioned for War Cry the year before, but did not get the gig due to Speckmann being un-impressed with Schmidt's style). Schmidt played his one and only gig with War Cry at the infamous club Haymakers, before recieving marching orders due to an altercation with Marty Fitzgerald. It was clear he was a rather lively personality. The Legend Is Born (Master and Death Strike) It was around this time that the roots of Master would truly take shape. During his time with War Cry, Schmidt struck up a friendship with Speckmann that would prove to be the seed of Master's formation. One day, Marty Fitzgerald played Speckmann the classic Venom single "In League With Satan". This changed Speckmann's and Schmidt's lives, and rather ironically, would lead to War Cry's downfall. Almost immediately, Speckmann and Schmidt wanted to play music in a more aggressive (though none less heavy) vein than War Cry. Coupled with the rising extreme metal movement, which included acts such as Motorhead, Metallica and Slayer, the two felt this was the way to go. As early as mid-83, Schmidt began writing songs based around these bands, and the beast known as Master was beginning to rear it's ugly head. Becoming tired with War Cry, and eager to play extreme metal, Speckmann agreed to jam with Schmidt. He left War Cry in late '83. Speckmann and Schmidt began to jam reguarly in a storage unit located in Mt. Prospect, another small suburb outside of Chicago (and also Paul's home). Although it was only drums and bass at that time, energy and enthusiasm was fuelling both Speckmann and Schmidt, as they worked on many songs that were to become future classics. This new band was dubbed Master, by Rick Manson, bass player for Witchslayer. The name was taken from the line "You made me MASTER of the world where you exist" in the Black Sabbath song "Lord Of This World" (on the album MASTER Of Reality). Even though he had left War Cry, Speckmann was offered the chance to open up for Twisted Sister and Queensryche (on their U.S. tour), with War Cry, personally by phone call. Not wanting to miss this oppurtunity, Speckmann called up Marty Fitzgerald with this proposal, and fortunately Fitzgerald agreed. The show took place in Palatine, Illinois, and is generally the most well known gig War Cry played. What happened to War Cry after that ? Well, apparently a deal was offered to them by Metal Blade, but Rich Rozek (vocalist of War Cry) never told the other members. He simply took all the royalties form the song on Metal Massacre 4. Maybe if Speckmann had known about the deal, he would have stayed ? Who knows. War Cry soldiered on however, but it was really all over by then. Speckmann had undoubtedly been a huge driving force behind War Cry, and the two demos issued after his departure were much more commercial in direction, fairly Motley Crue inspired garbage. Their live shows also had a more commercial direction. War Cry eventually came to an end in late '85. Even today, War Cry are held in high regard by many, often spoken of in the same breath as doom metal greats, Witchfinder General, Trouble, Pagan Altar and Pentagram (U.S.A.). Speckmann has kept contact with Marty and Steve, and they are still friends today (ahh). It is clear that War Cry are a cult act, and in fact Lee Dorrian quit Napalm Death in the late eighties to do something in the War Cry vein. As we know, he certainly succeeded, forming Cathedral, who have left a lasting legacy on doom metal. It would be nice to see all the War Cry material issued professionally one day, with those unreleased songs "Lucifer" and "Punish The Witches". This looks unlikely to happen though, as Speckmann said not all of the master tapes remain from the "Trilogy Of Terror" demo. Maybe someone will make a bootleg of all the stuff, hey ? No matter what, War Cry will always remain doom metal gods. Anyway, back to Master. As 1983 turned into 1984, Speckmann's and Schmidt's enthusiasm was gradually reduced. Master began auditioning guitarists almost straight away. 26 (!) guitarists were auditioned, yet none of them fit the style of Master, being either too rooted in the "traditional" heavy metal style, or just not having a clue what extreme metal meant. It seemed Chicago was a dead end when searching for extreme metal musicians, no matter how great the doom and traditional/power metal scenes were. 1984 proved to be a good year for extreme metal though, and emerging acts such as Hellhammer, Sodom and Bathory were truly pushing barrier's with their primitive and ugly noise, that was rooted in simple, d-beat rhythms. Speckmann has stated many times that these acts were all great bands (as if that needs saying, those acts fucking RULE). Also, the demo circuit was truly flourishing, with bands like Death, Possessed and Poison helping to shape death metal. Paul has also mentioned how he feels Death are alongside Master in creating death metal. Needless to say, Master had plenty of bands to draw inspiration from, and listening to Master's early songs, it is clear that this is what they did. Newer tunes, such as Speckmann's "The Truth" and "Pay To Die" were created in 1984, and Schmidt's songs (the ones he had been writing in mid-83), the instrumental "Terrorizer", "Master" and "Pledge Of Allegiance" made up Master's small, yet powerful repertoire. Schmidt took the vocal posistion, though no rehearsals were sent out to the underground, as they would have sounded rather silly with just bass and drums. A demo was out of the question. Speckmann began to write many of the lyrics for the future classics, and his lyric writing was quite different from other metal bands, much more punk-like, dealing with political and social issues such as war, religion and the negative impact of the media on the mind. These lyrics would reveal themselves to be absolute genius in later years, but for now, only Schmidt and Speckmann knew of them. By late '84, things were at a low. Speckmann's father had died of a brain tumor, which must have been a pretty devastating blow to Speckmann, and Schmidt had accepted an offer from (later infamous) guitarist Louie Svitek (Zoetrope, M.O.D., Ministry, Mind Funk) to join local thrash metal band, Mayhem (not to be confused with the Norwegian act). Nothing was happening with Master, so Schmidt snatched the chance up. Though Master had not been put to rest, Speckmann was on his own and it was clear Master might not be erected again. Master went on hiatus. Angry and frustrated, Speckmann realized he would have to carry things on himself. Though it may not have seemed it at the time, this would be a blessing in disguise. Still wanting to carry on in the extreme metal direction, Speckmann started looking through the Illinois Entertainer, a music publication still in existence today. It was a desperate last try. Luckily, Speckmann found an advertisment looking for an aggressive metal outfit. The ad was placed in there by none other than Chris Mittlebrun, guitarist of the legendary Transgressor, another power metal act from Chicago. Mittlebrun was one of the 26 guitarists to originally audition for Master. At the time, he was still stuck in the "twin guitar attack" of bands like Judas Priest, with his guitar partner Hawk. The fact that Mittlebrun had quit Transgressor and was now looking for a heavier metal outfit was convincing enough for Speckmann, and he called Mittlebrun immediately. Mittlebrun came over and jammed with Speckmann, who then showed him the first Deathstrike song "The Truth", one that Speckmann had just finished working on. Mittlebrun liked it, and it was clear to Speckmann that he had finally found the right guitarist. Together, they opted for the very punk sounding band name of Death Strike. Enthusiasm was back again for Speckmann, yet he still needed to find a drummer. Mittlebrun brought in John Leprich, a drunk with little playing ability. He suited the raw attack of Death Strike, a band where technical perfection was not an issue. To further balance out the sound of Death Strike, Speckmann chose second guitarist Kirk Miller. Speckmann had known Miller since he used to go out with Miller's sister. Miller was only 16 years old though, and lacked experience. However, he was needed to give Death Strike's sound that extra heaviness, and if he could play, he could play. Speckmannn's own compositions "The Truth" and "Pay To Die" became Death Strike classics, while Mittlebrun proved his songwriting skills by penning the solid thrasher "Re-Entry And Destruction". Fitting in with the general Speckmann style was the political lyrics. Mittlebrun's composition featured lyrics on nuclear war, with a rather grim outlook of "survive will the strong". Speckmann and Mittlebrun also penned a track together, and their songwriting relationship would be one that would go on to provide many classics for Master. The track "Mangled Dehumanization" had music written by Mittlebrun, and lyrics (about a being that destroyed everything around it) by Speckmann. Whereas Schmidt was the planned vocalist for Master, Speckmann had to reluctantly take over vocals in Death Strike. No-one else fit his vision. The problem was though, what did he know about singing in an extreme metal band ? His only previous experience was in White Cross, singing Sabbath and Purple covers ! This would prove to be another blessing in disguise for Speckmann though. Using the dry and throaty voice of Motorhead's Lemmy, the punk stylings of Venom's Cronos and the aggressive attack of Slayer's Tom Araya as inspiration, Speckmann carved his own voice, making it suit the political anger of Death Strike. Six weeks of intense rehearsals followed, and by early 1985, the songs were ready to be recorded. Each song had become fully developed, and Death Strike knew what they were aiming for. In January 1985, Death Strike headed into Open Reel Studios in Lynwood, Illinois (the same place War Cry had recorded the "Trilogy Of Terror" demo) and laid down four tracks. (In order): "The Truth", "Mangled Dehumanization", "Pay To Die" and "Re-Entry And Destruction". The recording was on a small budget, and the band worked with an 8-track. Engineering and producing the recording was Frank Weber. Problems arose though, when John Leprich couldn't get "Pay To Die" down at the first session. As back up, Speckmann called Schmidt and asked him to help out Death Strike if Leprich didn't pull the track off second time. Previously, War Cry had recorded in one day, but it took Death Strike longer to get their demo down, and this was annoying to Speckmann. After trying for the second time, Leprich just barely pulled it off. Schmidt didn't need to come in, but this marked the beginning of communication between Speckmann and Schmidt again. Schmidt was now aware of what Speckmann was doing, and possibly realized some future was there after all. Death Strike's cd featured a cover, with a black and white photo adorning the front. The photo (taken by Janet Reif) showed the band sitting on a car in a parking lot. Leprich has a baseball bat in his hand, and the band are decked out in black leather and black sunglasses. The picture actually came off pretty well, and Death Strike did not look like the sort of band you wanted to mess with. The bands name was written in Old English font. The demo's title was to be the rather brutal name of "Fuckin' Death". It fit the music. This too was added to the cover in Old English font. The layout was designed by Michelle M. Basso and Speckmann. Two promotional pictures were issued, both showing the band standing outside some sort of factory in Chicago, still decked out in their black leather and shades. One photo is in black and white, the other colour. The colour one has Leprich with baseball hat in hand. Once again, the band looked pretty menacing, especially the gigantic figure of Paul Speckmann. The black and white photo was the most well distributed one. From the pictures it is clear Death Strike are older than most of their underground counterparts. Bands such as Death and Possessed were all a few years younger than Death Strike, and it was really the Exodus and Metallica generation that were Speckmann's age. Speckmann's band however, were playing music far more aggressive than those bands, and he really was part of the first wave of the death and black metal bands. The demo was the first available product from Death Strike, as no rehearsals had been released prior to it, and a live show was still far off (hence no live tape). The band had given no interviews either (it was doubtful anyone knew of them), so Death Strike were a little known act for sure. Maybe followers of War Cry and Transgressor had heard of them. But outside of the Chicago metal scene, they were an unknown act. This all changed in March 1985, when "Fuckin' Death" hit the underground extreme metal scene. Almost immediately, it was met with praise and favourable reviews in fanzines (though glossy mainstream metal mags such as Kerrang and Metal Forces wrote that Death Strike were a Slayer rip-off ! Idiots !), and became wanted by many tape-traders around the globe. Through the tape trading network, Death Strike became very well known, as "Fuckin' Death" passed from person to person. Everyone was impressed, and it was not hard to hear why. From the first few seconds of "The Truth", the fury of Death Strike's music made itself apparent. Here was a band that was so devastating and brutal, that they had no contenders. Their sound was akin to a huge fucking tank rolling over a city, obliterating everything. They sounded like WAR. It was clear to the fans of the underground that Death Strike could be placed with the other death metal acts of the day such as Venom, Sodom, Slayer, Hellhammer/Celtic Frost, Possessed, Mantas/Death, Bathory and Poison (the black metal act from Germany). Death Strike's style was a little different to those acts though, as Death Strike had political lyrics. Anyway, the truly face-ripping production gave the tape it's raw edge. The guitars were HUGE buzzing noises, completely distorted and very vicious. Mittlebrun's lead work was quite distinctive, differing from the metal underground, and it is clear he too, showed much promise. Speckmann's bass gave a strong bottom end to the sound, with it's booming tone. Leprich's drums were solid sounding, with no evidence of any weakness in his playing. His double bass rolls were INSANE, and his style perfect for Death Strike. In my opinion, he's Death Strike's secret weapon. The highlight for many was Paul Speckmann's vocals, however. No other metal singer sounded like him, and his singing approach had a lot in common with punk acts such as Discharge, Anti-Cimex and Crude S.S. His voice was full of hatred for the system, and he was no doubt angry at his father's death. The vocal attack on "Pay To Die" had a cry of anguish at the end from Paul, and this is a simply spine chilling moment for me. With his groundbreaking aggressive vocals, Paul would go on to be one of the founders of the death metal vocal style, along with Jeff Becerra (Possessed), Kam Lee (Mantas/Death/Massacre), Chuck Schuldiner (Mantas/Death) and Tom G. Warrior (Hellhammer/Celtic Frost). Morbid Angel and Sepultura both asked Scott Burns (producer at Morrisound Studios, Florida) about the recording techniques of Death Strike (and Master), such as whether Speckmann used any effects or how Mittlebrun had such a heavy tone. Barney Greenway from Napalm Death cited Kam Lee and Paul Speckmann as his two main influences. It is clear "Fuckin' Death" had a big effect on the underground. Another interesting (and different) aspect to Death Strike was their punk sound. Their riffs were definitley solid, METAL riffs, but their delivery was very punk sounding. On first listens, Death Strike sounded more akin to Discharge than death metal. This was because Speckmann had begun listening to punk legends such as Discharge, G.B.H., The Exploited, Minor Threat etc. Many metalheads probably found Death Strike's style to sound quite new, but I'd recommend "Fuckin' Death" to any punk fans. It's a shame the demo didn't make it into the punk underground. 19 years after the demo's release, the impact is clear. Death Strike were partly responsible for the emergence of grindcore, and acts such as Terrorizer, Repulsion and Napalm Death all cite Death Strike (and Master) as a big influence. Terrorizer in particular, owe a lot of their style to Death Strike/Master. In my mind, Paul Speckmann never bettered the hate-filled fury of "Fuckin' Death", and I highly recommend you hunt that demo down and play the fuck out of it. An essential piece of extreme metal history for sure, and my favourite release from Speckmann. The Beginning Of The End (The re-formation of Master and their eventual demise) Just one of the many people impressed by the demo was Bill Schmidt, who made sure to get his hands on a copy. Upon listening to it, he no doubt was blown away and realized that Speckmann had managed to capture the sound they had originally intended to create with Master. A few months after the demo's release, Bill called Speckmann and begged him to let him join Death Strike. (On a side note, Schmidt had been offered a place in Megadeth, but when he asked Mustaine what he was in the music for, Mustaine said "you know, the chicks". Schmidt hung up immediately. I bet he regrets that now !) Death Strike were now hot property in the underground, and Mayhem (Schmidt's present group) had a smaller following than Death Strike. (Mayhem only ever managed to issue a few demos, which were fairly good). Bill was anxious to join Death Strike. Speckmann knew of Schmidt's songwriting and drumming skills already from the early Master days, and as John Leprich was a drunk and incapable of delivering all the time, Schmidt was accepted into Death Strike. Another change was kicking out guitarist Kirk Miller, who was inexperienced to say the most, and really just a session musician for Death Strike. On July the 4th (Independence Day in America), Bill was let into the fold. In that time, a 15 minute Death Strike rehearsal had been released (that had been taped by Troy Dixler of Devasation (a Chicago death metal band)) and spread around the underground. Death Strike were on the map ! Despite this, the threesome decided to re-name the band Master, as they felt this stood above Death Strike. So Death Strike was put to rest. Master were back ! Another side-effect of Death Strike's impact was the emergence of extreme thrash/death metal act's in Chicago (Death Strike's home). What had previously been a haven for power metal bands now became a promising hot-bed of thrash acts. Bands such as Mayhem (Bill Schmidt's former group), Macabre (pioneers in the death/grind field), Mutilation, Aftermath, Solemn, Natas (later called Not-Us, and thanked in the re-issue of the "Fuckin' Death" demo on Nuclear Blast Records in 1991), Orsis or the godly Devastation (who released the classic "Creation Of Ripping Death" demo in 1986, a totally killer death metal band to say the least), all made up the thrash scene. Lastly, Terminal Death, who were good friends with Master, Devastation and Mayhem. One of their member's Shaun Glass would go on to trade a Master rehearsal without Speckmann's permission. Cheers Shaun ! In a few years, ego's would come in to play and wreck the scene, but for now, Chicago was booming. With a line-up now in place, Master continued to write new songs. Schmidt was eager to keep Mittlebrun in the band, having witnessed his songwriting talent, and the classic team of Speckmann/Mittlebrun worked together to come up with new songs. Two new ones emerged from them, namely "Unknown Soilder" and the classic "Funeral Bitch". Schmidt brought his three tracks that he had wrote for Master in the early days ("Terrorizer","Pledge Of Allegiance" and "Master") and Speckmann planned to use the Death Strike songs for Master, as both bands were in the same style, and some Death Strike songs were originally written for Master. Not wanting to record a home made demo (as many death metal bands did. Those were the days !), and wanting to keep up with the studio recordings of Death Strike, Master opted for a more professional approach (they were older than many death/thrash acts after all). After Paul's father passed away, he had left Paul an inheritance of quite a bit of money, and Paul chose to invest this in Master. With the money, Master decided to record an album in a proper studio, then wait for a deal from a label interested in producing and releasing the album. Speckmann made Schmidt promise to sign the first decent deal they recieved. The band headed into the more professional Seagrape Studios in Chicago, Illinois, and began recording tracks to make up their debut album. The tracks decided upon were "Master", "Unknown Soldier", "Funeral Bitch", "Terrorizer", "Pledge Of Allegiance" and the Death Strike tunes "Mangled Dehumanization" and "Re-Entry And Destruction". In a stroke of genius, Master released rough mixes of the tracks to the extreme metal scene. The tracks could be bought from the band themself, but once they got out, they were traded around at the speed of light. Firstly, 5 of the tracks were released, followed by the other 2 later on. Without a doubt, these were the recordings that made Master in the underground. Since their name change from Death Strike, people realized that Master were the same band, and more fans were picked up along the way. Once again, its easy to hear why. These 7 tracks were the unchallenged ultimate in heaviness and power, and no other band could stand up to the collosal force of Master. In comparison to Death Strike, the tracks were now slower, but this only made them heavier. Speckmann realized that, rather than the all out thrashing aggression of Death Strike, by keeping the hatred firmly under control, immense power and heaviness could be achieved. "Re-Entry And Destruction" became a limb-crunching monster, with a HUGE booming bottom end. "Mangled Dehumanization" seethed with new vigour. Bill Schmidt's drumming was far superior to Leprich's, and actually quite different. With his style, Schmidt created the classic "Master-Beat", a head pounding rhythm that gave a solid backbone to the brutality of the riffs. There were drawbacks however. As the recordings were carefully laid down over a period of a few months, some of the original fury in Death Strike was lost as a result. That demo had been recorded in one day with the adrenalin pumping. Master had as much time as they wanted, so the music was bound to be less furious. It was, but it gave Master time to develop their sound to it's full potential. One let down though (for me) was Speckmann's vocals. In Death Strike he sounded aggressive as fuck, angry and hate filled. In Master, some of the aggression was missing. His vocals were also recorded differently, double-tracked in some cases, and his voice sounded akin to Jeff Becerra's at times, while sounding like a low-tone growl like Kam Lee's at others. There was no problem with this, I just preferred the punk sounding Speckmann of Death Strike. Either way, his vocals in Master (more so than Death Strike), were massively influential to death metal. Production was still raw, although Speckmann's bass was buried a bit, merging with the drums (only making the "Master-Beat" sound heavier). Mittlebrun's guitars were buried a bit too, and once again, I preferred them on Death Strike ! This time round however, he had created his own tone, which was painfully sharp, almost razor-blade like. One hell of a tone for sure ! The ultimate highlight was Schmidt's drumming, which dominated the recordings, going boom-boom-boom-boom, pounding as fuck ! He also contributed vocals on his own tracks (excluding the instrumental "Terrorizer", for obvious reasons), and came out sounding more passionate than Speckmann and just as brutal. His voice is maybe overlooked in the creation of death metal. The catchy Funeral Bitch was immediately heralded as a classic, and the lyrics were still political too. The song "Master" dealt with being yourself, free of any boundaries imposed by idols, church, state etc. Some inspirational stuff there. The delivery was once again very punk sounding, though maybe less so than Death Strike. It was clear Master were a metal band. Mittlebrun's guitar playing was only better, highly original and standing out from the metal pack. Master were now the ultimate in heaviness, and I recommend you get your hands on these tracks and play them loud, VERY LOUD. I garuantee your neighbours will think a bomb has exploded in your house. You have no idea about brutality until you play Master at maximum volume. They are brutality in it's simplest, purest form! The impact of those seven tracks is what made Master famous. Majesty (who's name is a piss-take on Master) featured a HUGE Master influence in their demos. They later changed their name to Terrorizer (taken from the Master song, yes) and pioneered the grindcore movement, with their music heavily in the Master-style. Their live shows often included a cover of "Funeral Bitch" too. Napalm Death credit Master (and are set to cover them on their Leaders Not Followers Pt.2 disc) as an influence. Repulsion were inspired by Master. Righteous Pigs, as fans of Master, helped Speckmann get a deal with Nuclear Blast Records (but that's another story). Benediction (check out their logo. Master, anyone ?), Carcass (Bill Steer often praised Master in his Phoenix Militia fanzine). Even Nihilist (later Entombed) from Sweden are influenced by Master. Listening to Death circa October '85, one can hear a large Master influence in songwriting and vocals (although admittedly, those songs were later dropped). Nausea (related to Terrorizer) are other Master followers. Master's impact was largely on the grindcore genre, even though Master play death metal. All this would become apparent in later years though, and for now Master continued to crush everybody with their awesome power. Fanzines around the globe gave the band praise and favourable reviews, after hearing the rough mixes. Eventually, Don Kaye (later of Kerrang and Roadracer records fame) invited Master down to his college radio show on WBCR in New York to promote the advance tape of the LP. Master agreed to come, and Speckmann and Schmidt made the journey to New York in a broken down car without windscreen wipers. Unfortunately, they were caught in a downpour. A friend Wally Hall tagged along as he had family in Long Island, New York. While there, Wally and Speckmann walked around town, but Schmidt opted to sit in the car with a baseball bat ?! Anyway, halfway through the radio interview, Master were escorted out of the building for using too much foul language on air ! The college police took them off the campus. This may have seemed a loss, but it was not. After the interview, Don Kaye set them up with Combat Records. It appeared Master had a deal ! One of the major factors instrumental in Master's downfall was their meeting with Kim Fowley. Fowley was a major name in the music scene, having produced/managed/co-wrote songs for bands and spotted many up and coming groups. He had worked in many genres of music, but rock had remained his big talent. The group The Runaways (featuring Joan Jett and Lita Ford) were completely his creation. Alice Cooper and Kiss had songs co-written by him on their albums. As for the more aggressive side of rock, Fowley had produced a live record for legendary punk band, the Germs. It is still a wonder why he ended up working with Master, a brutal death metal band. Anyway, through Seagrape Studios Master were introduced to Fowley. Being a big name in the rock world, this was no doubt pure luck for a band like Master to end up with him. Fowley became friends with Schmidt (no doubt impressed by Schmidt's rock star-like ego), and offered to help manage Master, despite having no experience with extreme metal. Rather suspiciously, Schmidt's mother entered the picture here (probably because she realized her son was going on to big things), and started working with Fowley and Schmidt on Master. Odd, isn't it ? An intrusive mother/wife/girlfriend always leads to a bands downfall it seems. It was also around this point that Schmidt persuaded Speckmann to invest in huge amounts of equipment with the money from Speckmann's inheritance from his father. Leather, studs, a Simmons electronic drum set, mikes, mikestands, headphones and a Tascam recorder were bought with the promise from Schmidt that they could jam in his mother's basement. It seemed Master were becoming a professional band ! Around this time, Speckmann was also becoming aware of Master's popularity across the world. The band were receiving letters from all around the globe, each one filled with praise for Master. It became clear to Speckmann, Schmidt and Mittlebrun that they were part of the uprising death/black metal movement, and key figures like Chuck Schuldiner wrote to him reguarly. Acts like Kreator (Speckmann has said how old Kreator (the best Kreator) is one of his fave bands), Morbid Angel and Death were breaking boundaries with their extremity, and it must have been pleasing to know Master were part of this. On the streets of Chicago, people would come up to Speckmann yelling "MASTER !". All this without having released an album and played live. Thirdly, the band hardly did interviews and no pictures were seen of them. The band were a bit mysterious in ways. Unlike acts such as Death and Repulsion, who reguarly released rehearsal tapes, Master never did. The only Master rehearsal (like Death Strike's one) had been recorded by Troy Dixler of Devastation when they were hanging with Master, then traded around the underground. It's of note that the tunes "Rabid Anger" and "Live For Free" were on these tapes, tunes never heard in their studio versions. The prestigious deal from Combat finally arrived on December the 31st 1985. Master were on a high. The contract offered Master a five album deal (incidentally, this was the same contract Death signed the following year). However, when Fowley read it, he saw that little money was offered to the band for five albums, and he strove to change it. The thing he didn't realize was this was an INDEPENDENT label, and Master were an extreme metal band. They weren't about to get a major label deal. Although they had a deal, one problem that would have to be sorted was Chris Mittlebrun. He had become too caught up with girls, dope and partying, and seeing as Schmidt and Speckmann were doing most of the work for Master, he was let go. By now it was 1986, and a new death/thrash metal group were forming in Chicago. The group featured Troy Dixler (ex-Devastation), Shaun Glass (ex-Terminal Death) and Tony Ochoa (ex-Solemn). Mittlebrun was invited to join them, and he did. As a result, the new band, known as Sindrome, became a "super-group", because all their members were already big names in the underground. The band would go on to big things, issuing two AMAZING demos, but never getting a major label deal. (Ironically, Mittlebrun was kicked out of the group in '88, as he was into partying etc.). With Mittlebrun gone, the search was on for another guitarist for Master. It would not be too hard to find a guitarist this time, as Chicago had a booming thrash scene, not to mention thrash being much more popular across the globe in '86, than it was in the early days of 83/84. Finally, gutarist Alex Olvera of the thrash band Assault was selected. Master said in an interview that they knew Alex was the right guitarist for Master for a while, but just kept it low. When the time came, he would join. (Personally, I think Mittlebrun rules his ass, and I think Master knew that too.) The new line-up were ready to record, but the deal still hung in the air. Combat offered them a deal for an EP, which would feature two of Speckmann's songs, and two of Schmidt's. Due to good planning, Speckmann also owned the many songs he'd penned with Mittlebrun, so they could be used later. The idea was to shelve the recordings originally intended for the LP/EP (the recordings now floating around the underground), and record tracks for Combat specially, as they were going to give them money to record. Then, the EP would be released to build up a following (outside of the underground). Based on how much it sold in each city, Master would know where to tour. A tour of Europe was also in the works too. In the meantime, Master planned to do one show in Chicago, in which they knew EVERYONE would be there. The band hardly ever practiced, but when they did, their live show was shaped up. Master were now bigger than ever, young and hungry for success. The success though, would never come. Fowley, convinced Master were being ripped off, added changes to the deal, along with Schmidt and his mother. Schmidt, being an only child with a big ego, believed Master could do better. When the deal was presented to Combat, they laughed and tore it up. Master had lost their deal. This didn't seem a problem at the time though, as plenty of other record labels were around. Master had created their own death though, as time would prove. They were young, and had made a vital mistake. Even if they were to look for another deal, the relationship between Speckmann and Schmidt was worsening each day. Speckmann, obviously bitter at Schmidt causing Master to lose their deal, had also noticed that Schmidt was overly reliant on him. When Speckmann's inheritance ran out, so did Schmidt. Speckmann had been giving money to Schmidt's mother to keep Schmidt residing at her house. Without a home, Schmidt wouldn't be able to operate properly, and Master would be killed ! Secondly, Schmidt had mood swings that were that of a manic depressant, and Paul had to keep a lot of pot on hand for him. It all came to a head when Schmidt traded one of Speckmann's power amps to the bassist of Iron Cross (another Chicago act) for a quarter of pot. Speckmann, obviously enraged at these problems, coupled with Schmidt having lost the deal, decided to break Master up. (Another little known factor was that people had sent money for the advance LP to Schmidt, but never got it as Schmidt kept the cash. As a result, Master lost some of it's credibility in the underground.) In the fall of '86, Master came to an end. Looking back, it was a mistake to get involved with Kim Fowley, but even if they had not, Schmidt would still have caused trouble later on, and Master would have ended there and then. The large amount of money invested in equipment for Master was lost. Despite this, Speckmann still says he believes Schmidt is a genius when it comes to music, even if his ego gets in the way. One last mystery, and after-thoughts on Master's existence. Master's break-up was not reported in the underground for quite some time, as Master were never one to keep in contact with fanzines. After a while though, fanzines accepted that Master had broke up, even though no confirmation of this ever reached the underground. In October of '86, a live tape emerged, dating from Ocotber the 11th and at a place called "The Warehouse" in Chicago. The line-up was Speckmann/Schmidt/Mittlebrun, and it appeared the band had reformed. Their set was a short one lasting only 35 minutes, and I still am yet to hear this tape so I can't offer anymore info on it. The gig was supported by death metal legends Devastation, with the place being (as predicted) packed, with all the cool metal fans from Chicago attending. To this date, this remains the only gig the original line-up have ever played, so it's fairly legendary. A flyer with a live picture on it had been spread around (only 100 copies), and that picture is now a rather infamous one, featuring Speckmann and Mittlebrun thrashing around on stage, with Schmidt barely visible behind his drum kit. The Master mystery would continue for the duration of the year, but by early '87, it was once again clear Master were dead. Why the band reformed to play the gig is still unsolved (anyone know ?), but what I suspect happened is Speckmann just wanted this to be the swansong from Master, and what better way to go out than playing a gig with the classic line-up ? Master were gone for sure in 1987, and that marks the end of the classic days of Master. In retrospect, Master's influence is certainly overlooked. They would eventually get their chance to record a debut album, but it arrived in 1990, way too late to make any impact on the death metal scene, as fans were engrossed in Obituary, Athiest, Morbid Angel and Death. Throughout the 1990's, Master stayed together, going through many line-up changes and have managed to issue 5 albums to this date (2004). If Master had managed to release their debut in 1986, they would no doubt be held in high regard. But history is done, and Master's early recordings live on in the underground, and perhaps it's better that way. Like ALL of their fellow death metal acts in the first wave, the material Death Strike/Master recorded in their early days remains their best. I strongly recommend you hunt any recordings from 1984-1986 down, and grab them without hesitation. To sum up Master's impact, they helped invent grindcore and death metal, and for many death metal bands (REAL death metal bands, not the Cannibal Corpse clones), listing Master as an influence is almost second nature. X-Ecutioner/Obituary never hid their Master influence, and bands like NunSlaughter, Exhumed and Pentacle all list Death Strike/Master as inspirational to their noise. Majesty/Terrorizer/Nausea, Napalm Death, Righteous Pigs, Repulsion, Benediction, Entombed and Obituary all owe their bit to Master. Even if your not a fan of those bands, if your a punk or whatever, have a listen to Master, and I'm sure you'll like them. For fans of heavy, face-ripping music, Master are mandatory.

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28. Transdance (GC1 Version)

Transdance (GC1 Version)

BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/night-moves-transdance-ep/ Dark Entries is proud to present all four mixes of “Transdance” by Night Moves as a tribute dedicated to the lives lost in the Oakland Ghost Ship fire on December 2, 2016. Night Moves was the brainchild of Michael Guihen, from South London. Inspired by seeing Tubeway Army perform on Top of the Pops in 1979 he placed an ad to form a synth-based band in the NME. In November 1980 he was introduced to Denis Haines, formerly Gary Numan’s keyboardist on the ‘Telekon’ album. Denis and Michael worked closely together, writing a number of backing tracks. One of these was the farewell song from Gary Numan to his band Tubeway Army, "Love Needs No Disguise”. In exchange for this backing track, Denis gave Michael the studio time needed to develop "Transdance". The first version of "Transdance" was recorded in late Spring 1981 at Ridge Farm Studio in Surrey and within the week Michael had a recording deal with GC Recordings. This mix of "Transdance" was pressed onto a white label GC1 and was sent to clubs around Britain and Europe. In Summer 1981 he met John Davis aka John Darc also part West London’s New Romantic scene. They recorded the second mix of "Transdance" at Matrix Studios in London early 1982, and John added the new bass line. This was titled “U.K. Disco Mix” and released by GC Records. On this mix the backing vocals were sung by Eve Goddard, Adam Ant's ex-wife. In March 1983 Michael and John turned to New York's budding Electro & Hip Hop scenes to have Jay Burnett remix the “New York Disco Mix”. Back in London, the duo disappeared into the cutting rooms at Utopia studios with Francis Usmar and emerged with the final dub edit “Robot Rock”. All three later mixes were programmed with a Roland TR-808, some live drums, and one homemade handclap machine. "Transdance" was embraced by Chicago’s WBMX, Hot Mix 5 and Ron Hardy as well in New York at Larry Levan’s Paradise Garage and Tony Humphries’ Club Zanzibar in New Jersey. It is considered a blueprint that traces the line from UK Synthpop to Chicago House and Detroit Techno. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a black and white photograph of two mannequins dancing set against a cantaloupe hue. Each copy includes a 2-sided 11” square insert with lyrics and drawings of all 36 victims of the Oakland Ghost Ship fire. Also included is a 6 page booklet with liner notes, original press kit sheets and photographs from the band’s archive. 100% of all profits will be donated to the Oakland Fire Immediate Relief Fund.

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29. Kybosh - Split Minstrel

Kybosh - Split Minstrel

Like the track? Click the [Repost] ↻ button! Pre-order: ► http://www.addictech.com/p/188037 SUBSCRIBE: bit.ly/subscribetoadaptedrecords Follow Kybosh: Soundcloud: https://soundcloud.com/kybosh-2 Follow Adapted Records: Facebook: www.facebook.com/Adaptedrecords Youtube: bit.ly/subscribetoadaptedrecords Twitter: twitter.com/Adapted_Records Beatport: www.beatport.com/label/adapted-records/24915 SoundCloud: soundcloud.com/adaptedrecords The ultimate collection of glitch and funk is here!!! There's no denying the progression in Adapted's roster over the course of the past year with impressive talent and a massive evolution. It's all led to this - a collection full of tracks that was meant for covering an entire piece of time. This is a compilation to start your day with - and to enjoy life's finer moments that elude uplifting vibes and a unique taste. If the glitch and funk goes together here like peanut butter and chocolate - enter the party with Beat Fatigue's delicious "Funk Tube," rendering blues funk and oh-so-tasty glitch. Cheshire Music delivers a classic with "Sunday Drop," which blends traditional horns with vintage sounds for a tasteful groove. FarfetchD smothers us with a caramel smooth, tasty batch of electro medicine called "The Fever," which dials in a truly brilliant track from start to finish. Crazy Daylight (ft. EVeryman) Father Funk and Kybosh provide the protein with three massive tracks, " Make It Nice, Chocolate Milk and Split Minstrel." Put on your "Funk Face" with mat tha hat, whose out of control single with drop your jaw to the floor. "Wiggle Bit" by Orphic is a magnificent track that uses a sexy riff, cinematic builds, and beautiful bells which lead to a glitchy breakdown unlike any other - an authentic take on post-modern disco. SpekrFreks bring the uptempo groove and full-court press with "Juke Joint"! Squelch Music's "Spiked Punch" delivers a stomach-churning glitch groove that will make you feel extraterrestrial! And the funk keeps impressing... a separate paragraph is needed to discuss LabRat's remix of SugarBeats's hit "Pretty Young Things." This wonderful midtempo jam could not give the original more magic. Tack breaks through with "Everything's Good," full of dance-friendly melodic breaks. Thomas Vent somehow manages to get heavier, funkier, and full of more aggression.. "Squealing Funk" is no exception. Vice City and Hexsonic collab for a futuristic jam which carries weight like a Flume single, full of effortlessly catchy beats. "Purple Funkazoids" by Warp9 is Tipper in disguise, dialing back for a taste of other-wordly breaks. This a compilation for all time, make sure to clear your schedule!

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30. Cauldron of Ghosts by David Weber and Eric Flint, Narrated by Peter Larkin

  • Published: 2014-04-14T16:36:45Z
  • By Audible
Cauldron of Ghosts by David Weber and Eric Flint, Narrated by Peter Larkin

Cauldron of Ghosts by David Weber and Eric Flint on Audible: http://www.audible.com/pd/Sci-Fi-Fantasy/Cauldron-of-Ghosts-Audiobook/B00J5RCL1A?source_code=SCLGB907JWS101413 Get this audiobook for free when you try Audible: http://www.audible.com/offers/30free?asin=B00J5RCL1A&source_code=SCLGB907JWS101413 Summary: Sequel to national best sellers Torch of Freedom and Crown of Slaves, book three in the Crown of Slaves-Honor Harrington universe. Secret agent Anton Zilwicki and Victor Cachat return in this classic tie-in series set in David Weber's Honorverse. Toil and trouble in the cauldron of ghosts The Mesan Alignment: a centuries-old cabal that seeks to impose its vision of a society dominated by genetic rank onto the human race. Now the conspiracy stands exposed by spies Anton Zilwicki and Victor Cachat - one an agent of Honor Harrington’s Star Kingdom of Manticore, the other a Havenite operative. The outing of the Alignment has turned the galaxy’s political framework topsy-turvy. Old coalitions have disintegrated. New alliances have been born. For starters, the long and hard-fought war between the Republic of Haven and the Star Empire of Manticore is not only over, but these bitter enemies have formed a new pact. Their common foe: the Mesan Alignment itself. But more information is needed to bring the Alignment out of the shadows. Now, defying the odds and relying on genetic wizardry themselves for a disguise, Zilwicki and Cachat return to Mesa - only to discover that even they have underestimated the Alignment’s ruthlessness and savagery. Soon they are on the run in Mesa’s underworld, not only hunted by the Alignment but threatened by the exploding conflict on the planet between Mesa’s overlords and the brutalized slaves and descendants of slaves who have suffered under their rule for so long. But if Zilwicki and Cachat succeed in rooting out the ancient conspiracy, a great evil may be finally removed from the galaxy - and on a long-oppressed planet, freedom may finally dawn.

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31. Squelch - Spiked Punch

Squelch - Spiked Punch

Like the track? Click the [Repost] ↻ button! Pre-order: ► http://www.addictech.com/p/188037 SUBSCRIBE: bit.ly/subscribetoadaptedrecords Follow Orphic: Facebook: https://www.facebook.com/squelchanoiseya Soundcloud: https://soundcloud.com/squelch-music Follow Adapted Records: Facebook: www.facebook.com/Adaptedrecords Youtube: bit.ly/subscribetoadaptedrecords Twitter: twitter.com/Adapted_Records Beatport: www.beatport.com/label/adapted-records/24915 SoundCloud: soundcloud.com/adaptedrecords The ultimate collection of glitch and funk is here!!! There's no denying the progression in Adapted's roster over the course of the past year with impressive talent and a massive evolution. It's all led to this - a collection full of tracks that was meant for covering an entire piece of time. This is a compilation to start your day with - and to enjoy life's finer moments that elude uplifting vibes and a unique taste. If the glitch and funk goes together here like peanut butter and chocolate - enter the party with Beat Fatigue's delicious "Funk Tube," rendering blues funk and oh-so-tasty glitch. Cheshire Music delivers a classic with "Sunday Drop," which blends traditional horns with vintage sounds for a tasteful groove. FarfetchD smothers us with a caramel smooth, tasty batch of electro medicine called "The Fever," which dials in a truly brilliant track from start to finish. Crazy Daylight (ft. EVeryman) Father Funk and Kybosh provide the protein with three massive tracks, " Make It Nice, Chocolate Milk and Split Minstrel." Put on your "Funk Face" with mat tha hat, whose out of control single with drop your jaw to the floor. "Wiggle Bit" by Orphic is a magnificent track that uses a sexy riff, cinematic builds, and beautiful bells which lead to a glitchy breakdown unlike any other - an authentic take on post-modern disco. SpekrFreks bring the uptempo groove and full-court press with "Juke Joint"! Squelch Music's "Spiked Punch" delivers a stomach-churning glitch groove that will make you feel extraterrestrial! And the funk keeps impressing... a separate paragraph is needed to discuss LabRat's remix of SugarBeats's hit "Pretty Young Things." This wonderful midtempo jam could not give the original more magic. Tack breaks through with "Everything's Good," full of dance-friendly melodic breaks. Thomas Vent somehow manages to get heavier, funkier, and full of more aggression.. "Squealing Funk" is no exception. Vice City and Hexsonic collab for a futuristic jam which carries weight like a Flume single, full of effortlessly catchy beats. "Purple Funkazoids" by Warp9 is Tipper in disguise, dialing back for a taste of other-wordly breaks. This a compilation for all time, make sure to clear your schedule!

nothing at of , which is


32. Father Funk - Chocolate Milk

Father Funk - Chocolate Milk

Like the track? Click the [Repost] ↻ button! Out Now: ► Addictech: http://www.addictech.com/p/188037 Bandcamp: https://adaptedrecords.bandcamp.com/album/glitch-funk-vol-1 Beatport: https://pro.beatport.com/release/glitch-and-funk-vol-1/1537923 SUBSCRIBE: bit.ly/subscribetoadaptedrecords Follow Adapted Records: Facebook: www.facebook.com/Adaptedrecords Youtube: bit.ly/subscribetoadaptedrecords Twitter: twitter.com/Adapted_Records Beatport: www.beatport.com/label/adapted-records/24915 SoundCloud: soundcloud.com/adaptedrecords The ultimate collection of glitch and funk is here!!! There's no denying the progression in Adapted's roster over the course of the past year with impressive talent and a massive evolution. It's all led to this - a collection full of tracks that was meant for covering an entire piece of time. This is a compilation to start your day with - and to enjoy life's finer moments that elude uplifting vibes and a unique taste. If the glitch and funk goes together here like peanut butter and chocolate - enter the party with Beat Fatigue's delicious "Funk Tube," rendering blues funk and oh-so-tasty glitch. Cheshire Music delivers a classic with "Sunday Drop," which blends traditional horns with vintage sounds for a tasteful groove. FarfetchD smothers us with a caramel smooth, tasty batch of electro medicine called "The Fever," which dials in a truly brilliant track from start to finish. Crazy Daylight (ft. EVeryman) Father Funk and Kybosh provide the protein with three massive tracks, " Make It Nice, Chocolate Milk and Split Minstrel." Put on your "Funk Face" with mat tha hat, whose out of control single with drop your jaw to the floor. "Wiggle Bit" by Orphic is a magnificent track that uses a sexy riff, cinematic builds, and beautiful bells which lead to a glitchy breakdown unlike any other - an authentic take on post-modern disco. SpekrFreks bring the uptempo groove and full-court press with "Juke Joint"! Squelch Music's "Spiked Punch" delivers a stomach-churning glitch groove that will make you feel extraterrestrial! And the funk keeps impressing... a separate paragraph is needed to discuss LabRat's remix of SugarBeats's hit "Pretty Young Things." This wonderful midtempo jam could not give the original more magic. Tack breaks through with "Everything's Good," full of dance-friendly melodic breaks. Thomas Vent somehow manages to get heavier, funkier, and full of more aggression.. "Squealing Funk" is no exception. Vice City and Hexsonic collab for a futuristic jam which carries weight like a Flume single, full of effortlessly catchy beats. "Purple Funkazoids" by Warp9 is Tipper in disguise, dialing back for a taste of other-wordly breaks. This a compilation for all time, make sure to clear your schedule!

nothing at of , which is


33. Blessings in Disguise

Blessings in Disguise

blessings in disguise this nightmares almost over been almost 2 years since ive seen you Gods been working in the background tho leaving everything in his hands cant wait to hold you both in my arms dont know why she put me thru this i was such a good daddy and trying even more to be a good husband yeah we had problems but who doesnt quitting wasnt the right step here but i know theres purpose here I know theres a plan here after all this i still wish you nothing but the best even if you are with someone else i just hope youre happy even after you aliented my kids from me threw me out on the strret with nothing did everything you could to hurt me well you did but God turned this into good a blessing in disguise maybe i needed this to get me out of my slump to get me where i needed to be to be the person i was meant to become Now this nightmare is close to an end and ive been so blessed thank you father for always watching out without your presence i dont know where i would be what i would be doing but at the end of this Im happy these trials and tribulations I welcome them with open arms Remember Failure is part of success just embrace it and keep moving youll hit it one day dont lose faith God has you He always has and always will I love you father In your name for your will i commit myself to you USe me as your vessel as you see fit thank you for inspiring me again and again you have me in such awe such an amazing God thank you for these blessings in disguise Ive never been the one to worry but lately its been trying and now i know I can walk through that fire without a scar on me thanks to you yourre amazing father when it comes down to it i always make the right decisions and i know you are the one pulling the strings the puppet master for you know what is best for your children you know what we need to learn in life obstacels are just steps to mold us we need to learn how to turn negative into positve once we learn that theres not stopping us this spiritual war is real but i have the armor on to keep me focused to keep me straight all we have to do is call out our father hears our distress calls just call out to him he has so much mercy and love got me through my divorce and my homelessness it must be real, i know it is thank you father to you be all the glory

nothing at of , which is


34. pipe down⬇(ft. dii tii + skylarallen)

pipe down⬇(ft. dii tii + skylarallen)

featuring @djdiitii + @skylar_allen produced by @djdiitii + @maxltaylor free download - theartistunion.com/tracks/022faf 💨 ★★★★ [hook: dii tii] money calling, i've been balling, bitch i need that right now heavy flossing, steady saucing, bitch you need to pipe down (x2) [verse 1: skylarallen] it's the young king with the gold in his hair, seen them dudes talking down but i don't really care i got everything i needed just to cope with despair, took my talent to the south, left the cold and i'm here and i'm rolling a cone, about to smoke on my own, write some hits about some chicks and i be bringing one home off the top of my dome, see i ain't popping a chrome, or copping a loan, cock it, i just lock and reload, check it what it means to be, everything i need to be, knowing i don't have to do it peacefully, breathe and see picking up the waves and the frequencies, equally, y'all could know exactly what it means to me, please believe i always have the grind on my mind, i'm super inclined to do just what i say every time i'm just saving the vibe, from all these other lames in disguise, they hate from aside, and complicate with stories and lies, like you saying what you do in the song, fucking bitches you just lying man you doing it wrong with the heat that i've been spitting you could light up a bong, i'm writing my wrongs, they go'n see it when i get on, check it [bridge: skylarallen] you know that she tryna' get down, light it up, pass it around i'm sipping and spilling that brown, call up a plug and get down that shit just smell so loud it need to pipe down and if she want it bad she get that pipe now [hook: dii tii] money calling, i've been balling, bitch i need that right now heavy flossing, steady saucing, bitch you need to pipe down (x2) [verse 2: maxtaylor] i picked up and never called back, when i heard em' say it wasn't all that then i watch em run it til' they fall flat on their mother fucking face and now they're tryna' call back hittem' with the fuck that, you just need to cut back, i don't need the money, competition or the comebacks i don't need you fucking running to me tryna' confess that it wasn't worth it so your scummy ass is upset i'm not half as foul as the man that you make me to be, acting wild, in denial that you're fake as can be i don't need the recognition that you're craving to seek, i see through it, little doofus, better change your routine or get through with it, fuck all that ludicrous, making this music you're proving your uselessness stupid young hooligan, thought you were smooth as this, edges are rough you could use some more lubricant, fuck all these duplicates [hook: dii tii] money calling, i've been balling, bitch i need that right now heavy flossing, steady saucing, bitch you need to pipe down (x2)

nothing at of , which is


35. Glitch & Funk Vol. 1 [Out Now!]

Glitch & Funk Vol. 1 [Out Now!]

Like the track? Click the [Repost] ↻ button! Out Now: ► Addictech: http://www.addictech.com/p/188037 Bandcamp: https://adaptedrecords.bandcamp.com/album/glitch-funk-vol-1 Beatport: https://pro.beatport.com/release/glitch-and-funk-vol-1/1537923 SUBSCRIBE: bit.ly/subscribetoadaptedrecords Follow Adapted Records: Facebook: www.facebook.com/Adaptedrecords Youtube: bit.ly/subscribetoadaptedrecords Twitter: twitter.com/Adapted_Records Beatport: www.beatport.com/label/adapted-records/24915 SoundCloud: soundcloud.com/adaptedrecords The ultimate collection of glitch and funk is here!!! There's no denying the progression in Adapted's roster over the course of the past year with impressive talent and a massive evolution. It's all led to this - a collection full of tracks that was meant for covering an entire piece of time. This is a compilation to start your day with - and to enjoy life's finer moments that elude uplifting vibes and a unique taste. If the glitch and funk goes together here like peanut butter and chocolate - enter the party with Beat Fatigue's delicious "Funk Tube," rendering blues funk and oh-so-tasty glitch. Cheshire Music delivers a classic with "Sunday Drop," which blends traditional horns with vintage sounds for a tasteful groove. FarfetchD smothers us with a caramel smooth, tasty batch of electro medicine called "The Fever," which dials in a truly brilliant track from start to finish. Crazy Daylight (ft. EVeryman) Father Funk and Kybosh provide the protein with three massive tracks, " Make It Nice, Chocolate Milk and Split Minstrel." Put on your "Funk Face" with mat tha hat, whose out of control single with drop your jaw to the floor. "Wiggle Bit" by Orphic is a magnificent track that uses a sexy riff, cinematic builds, and beautiful bells which lead to a glitchy breakdown unlike any other - an authentic take on post-modern disco. SpekrFreks bring the uptempo groove and full-court press with "Juke Joint"! Squelch Music's "Spiked Punch" delivers a stomach-churning glitch groove that will make you feel extraterrestrial! And the funk keeps impressing... a separate paragraph is needed to discuss LabRat's remix of SugarBeats's hit "Pretty Young Things." This wonderful midtempo jam could not give the original more magic. Tack breaks through with "Everything's Good," full of dance-friendly melodic breaks. Thomas Vent somehow manages to get heavier, funkier, and full of more aggression.. "Squealing Funk" is no exception. Vice City and Hexsonic collab for a futuristic jam which carries weight like a Flume single, full of effortlessly catchy beats. "Purple Funkazoids" by Warp9 is Tipper in disguise, dialing back for a taste of other-wordly breaks. This a compilation for all time, make sure to clear your schedule!

nothing at of , which is


36. 2 Chronicles 14-18 (The Reign of Asa/Jehoshaphat; Revival/Reform in Judah; Micaiah's Prophecy)

2 Chronicles 14-18 (The Reign of Asa/Jehoshaphat; Revival/Reform in Judah; Micaiah's Prophecy)

2 Chronicles 14 - The Reign of Asa A. The characteristics of the reign of Asa. 1. (1-6) The blessedness of the reign of King Asa. So Abijah rested with his fathers, and they buried him in the City of David. Then Asa his son reigned in his place. In his days the land was quiet for ten years. Asa did what was good and right in the eyes of the LORD his God, for he removed the altars of the foreign gods and the high places, and broke down the sacred pillars and cut down the wooden images. He commanded Judah to seek the LORD God of their fathers, and to observe the law and the commandment. He also removed the high places and the incense altars from all the cities of Judah, and the kingdom was quiet under him. And he built fortified cities in Judah, for the land had rest; he had no war in those years, because the LORD had given him rest. a. Asa his son reigned in his place: This great-grandson of Solomon took the throne Judah at the end of Jeroboam’s reign in Israel, after his father’s brief reign. b. Asa did what was good and right in the eyes of the LORD: As is related in 1 Kings 15:11, Asa was more like his ancestor David in his character as a king than he was like his own father. c. He removed the altars of the foreign gods and the high places: Asa launched a reform movement that lashed out against idolatry and officially sanctioned sin. i. 1 Kings 15:12 says that he banished the perverted persons from the land. These state-sanctioned homosexual idol-temple prostitutes were introduced into Judah during the reign of Rehoboam (1 Kings 14:24). Asa’s father Abijam didn’t remove these perversions and idols, but King Asa did. ii. 1 Kings 15 also tells us that he removed Maachah his grandmother from being queen mother, because she had made an obscene image of Asherah. This demonstrated the thoroughness of Asa’s reforms. He was able to act righteously even when his family was wrong, in particular his own grandmother (called Michaiah in 2 Chronicles 13:2). “It is in a man’s own family circle that his faithfulness is put fairly to the test.” (Knapp) d. He commanded Judah to seek the LORD God of their fathers: King Asa could not force people to seek the LORD and obey him. Yet he could command them with moral force and with his own example. e. He also removed the high places: Interestingly, 1 Kings 15:14 says of the reign of Asa, but the high places were not removed. Since 2 Chronicles 14:3 connects these high places with altars of the foreign gods. Therefore Asa removed the high places that were dedicated to idols, but not the ones that were dedicated to the LORD. f. The kingdom was quiet under him . . . because the LORD had given him rest: 1 Kings 15:14 tells us that Asa’s heart was loyal to the LORD all his days. Here we see the blessing he and the kingdom of Judah enjoyed from his loyal heart to God. i. He built fortified cities in Judah: “Though he had no war, yet he provided for it. So did our Queen Elizabeth; and so must every Christian soldier.” (Trapp) 2. (7-8) Asa’s emphasis on strengthening the nation’s defense. Therefore he said to Judah, “Let us build these cities and make walls around them, and towers, gates, and bars, while the land is yet before us, because we have sought the LORD our God; we have sought Him, and He has given us rest on every side.” So they built and prospered. And Asa had an army of three hundred thousand from Judah who carried shields and spears, and from Benjamin two hundred and eighty thousand men who carried shields and drew bows; all these were mighty men of valor. a. So they built and prospered: The Chronicler includes this account, not previously recorded in 1 Kings, to encourage the people in his own day who had been allowed to rebuild the destroyed city of Jerusalem after its fall to the Babylonians. B. Deliverance from the Ethiopians. 1. (9-11) The threat from Ethiopia and the cry to God. Then Zerah the Ethiopian came out against them with an army of a million men and three hundred chariots, and he came to Mareshah. So Asa went out against him, and they set the troops in battle array in the Valley of Zephathah at Mareshah.And Asa cried out to the LORD his God, and said, “LORD, it is nothing for You to help, whether with many or with those who have no power; help us, O LORD our God, for we rest on You, and in Your name we go against this multitude. O LORD, You are our God; do not let man prevail against You!” a. Came out against them with an army of a million men and three hundred chariots: This fearful army obviously posed a great threat to the Kingdom of Judah. Even though the army of Judah had an army of 580,000 men (2 Chronicles 14:8), this enemy army was almost twice as large. i. Asa could know that God’s power was not limited because the army of Judah was smaller by what God did for Judah under the reign of Abijah, his father (2 Chronicles 13:3). ii. “Zerah himself is most likely to have been a Nubian (= Sudanese) general in the army of Pharaoh Osorkon I (c. 924-884 B.C.), Shoshenq I’s son and successor (cf. 2 Chronicles 12:22ff.).” (Selman) b. Asa cried out to the LORD his God: In his prayer Asa correctly understood that God’s power was not enhanced or limited by man’s apparent strength or weakness. He recognized that this battle belonged to the LORD and called upon God to defend His honor (do not let man prevail against You!). i. “Remind God of His entire responsibility.” (Meyer) 2. (12-15) God gives Judah victory over the Ethiopians. So the LORD struck the Ethiopians before Asa and Judah, and the Ethiopians fled. And Asa and the people who were with him pursued them to Gerar. So the Ethiopians were overthrown, and they could not recover, for they were broken before the LORD and His army. And they carried away very much spoil. Then they defeated all the cities around Gerar, for the fear of the LORD came upon them; and they plundered all the cities, for there was exceedingly much spoil in them. They also attacked the livestock enclosures, and carried off sheep and camels in abundance, and returned to Jerusalem. a. So the LORD struck the Ethiopians: God fought on behalf of King Asa and the Kingdom of Judah; He fought so effectively that they were broken before the LORD and His army. b. And they carried away very much spoil: Not only were the people of God delivered from this danger, they were also enriched when the LORD fought on their behalf. In this sense, they were more than conquerors in that the LORD did the fighting and they shared in the spoil. i. “The spoil was immense, because the multitude was prodigious, indeed almost incredible; a million of men in one place is almost too much for the mind to conceive, but there may be some mistake in the numerals; it is evident from the whole account that the number was vast and the spoil great.” (Clarke) 2 Chronicles 15 - Revival and Reform in Judah A. Azariah brings a warning from God. 1. (1-2) Asa is exhorted to seek God. Now the Spirit of God came upon Azariah the son of Oded. And he went out to meet Asa, and said to him: “Hear me, Asa, and all Judah and Benjamin. The LORD is with you while you are with Him. If you seek Him, He will be found by you; but if you forsake Him, He will forsake you.” a. Azariah the son of Oded: This was one of the lesser-known prophets in the early years of the Kingdom of Judah. He came and bravely spoke a word to a king who was flushed with success after the great victory over the Ethiopians. b. The LORD is with you while you are with Him: King Asa and the Kingdom of Judah had just enjoyed a significant victory over a mighty army. It would be easy to think that they had a permanent claim to God’s favor and blessing. Speaking through the prophet Azariah, God wanted Asa to know the importance of abiding in the LORD. c. If you seek Him, He will be found by you: This is an important principle repeated many times in the Bible. The idea is that when we draw near to God, He reveals Himself to us. God does not hide Himself from the seeking heart. · You will find Him if you seek Him with all your heart and with all your soul. (Deuteronomy 4:29) · And you will seek Me and find Me, when you search for Me with all your heart. (Jeremiah 29:13) · Ask, and it will be given to you; seek, and you will find; knock, and it will be opened to you. (Matthew 7:7) i. The converse is also true: if you forsake Him, He will forsake you. Ultimately, God gives us what we want from Him. If He gives the heart that seeks Him more, and He also gives the heart that rejects Him what it desires. ii. “He revealed an inclusive philosophy of life under the control of God. . . . The principle is of perpetual application. It represents God as unchanging. All apparent changes on His part are really changes in the attitude of men toward Him. Man with God, finds God with him. Man forsaking God, finds that he is forsaken of God.” (Morgan) 2. (3-7) The exhortation in light of the past disobedience of Israel. “For a long time Israel has been without the true God, without a teaching priest, and without law; but when in their trouble they turned to the LORD God of Israel, and sought Him, He was found by them. And in those times there was no peace to the one who went out, nor to the one who came in, but great turmoil was on all the inhabitants of the lands. So nation was destroyed by nation, and city by city, for God troubled them with every adversity. But you, be strong and do not let your hands be weak, for your work shall be rewarded!” a. Without the true God, without a teaching priest, and without law: The Prophet Azariah describes the bad state of Israel in their overconfidence and distance from God. They had rejected God, those who teach them the Word of God, and the law itself. i. Without a teaching priest reminds us that the priesthood and the Levites did much more than administer the sacrificial system. They were to be scattered throughout the tribes of Israel to teach the Word of God to the people. ii. “The priests’ teaching role was vital to the moral and spiritual quality of national life (cf. e.g. Leviticus 10:11; Deuteronomy 33:10; Malachi 2:7; 2 Chronicles 17:7-9), but when it was neglected, the truth about God declined and the fabric of covenant society was undermined.” (Selman) iii. “His words about the ‘long time’ when ‘Israel was without the true God’ probably refer to the lawless, and often faithless, days of the Judges (Judges 21:25).” (Payne) b. But when in their trouble they turned to the LORD God of Israel, and sought Him, He was found by them: The Chronicler used this message from the Prophet Azariah to remind the people of Israel in his own day (Ezra’s days of the return from exile) that even when the people of God were set low because of their disobedience, God would restore them when they turned to the LORD God of Israel. c. Be strong . . . for your work shall be rewarded: In spite of the great trouble that God had visited on His previously disobedient people, King Asa should be encouraged at God’s heart for forgiveness and restoration. i. “This prophecy is unusual in that it is an exposition of earlier parts of the Old Testament though as an example of the speeches in Chronicles it is not untypical. Its style is sermonic, but its prophetic character comes through in the immediacy of its final imperative.” (Selman) B. The reforms of King Asa. 1. (8-9) King Asa cleanses the land and gathers the nation together for worship. And when Asa heard these words and the prophecy of Oded the prophet, he took courage, and removed the abominable idols from all the land of Judah and Benjamin and from the cities which he had taken in the mountains of Ephraim; and he restored the altar of the LORD that was before the vestibule of the LORD. Then he gathered all Judah and Benjamin, and those who dwelt with them from Ephraim, Manasseh, and Simeon, for they came over to him in great numbers from Israel when they saw that the LORD his God was with him. a. He took courage, and removed the abominable idols: This was the good and godly response. Instead of becoming fatalistic or passive, King Asa took action based on the open heart of God to restore and forgive. i. Some believe that the forgiving nature of God gives one a reason to sin, based on the idea that we can sin now and simply ask forgiveness later. Asa’s reaction to the word of the prophet shows the correct response to the forgiving nature of God – to respond with a greater love and a greater passion for obedience. ii. We should notice that this took courage for King Asa to do. He had to combat against: · The entrenched interests in favor of idolatry · The unseen spiritual forces in favor of idolatry · The example of his predecessors and neighbor tribes to the north in favor of idolatry · His own fleshly inclinations in favor of idolatry and compromise · The lethargy of compromise and indifference that supports idolatry iii. Many well meaning reformers accomplish little because they lack the courage to really stand for their godly convictions. iv. “What is important is that it touched the entire nation, including the queen mother (15:16), all Judah (14:5), and even the north (15:8-9).” (Selman) b. And he restored the altar of the LORD: King Asa did more than remove the wrong; he also restored the right. This is an important part of any reform, and any time of renewal must be more than speaking out against the wrong. It must also take positive steps towards the good. c. They came over to him in great numbers from Israel when they saw that the LORD his God was with him: King Asa’s bold obedience to God earned the respect of the godly remnant among the apostate northern tribes that made up the Kingdom of Israel. They wanted to be part of a committed return to God. i. The Chronicler recorded these events – not included in the history of King Asa found in 1 Kings – as an encouragement to the returned exiles in his own day. They could believe that if they obeyed God courageously as King Asa did, that God would also gather a faithful remnant to their small number. They could see that courageously obedient believers attract others. ii. “Chronicles constantly highlights the opportunities for reunification (cf. 2 Chronicles 11:13-17; 30:11; 34:6), which always arose in the context of worship rather than a result of military force (cf. 2 Chronicles 11:1-4; 13:8, 13:13-14).” (Selman) 2. (10-15) A public covenant made at Jerusalem. So they gathered together at Jerusalem in the third month, in the fifteenth year of the reign of Asa. And they offered to the LORD at that time seven hundred bulls and seven thousand sheep from the spoil they had brought. Then they entered into a covenant to seek the LORD God of their fathers with all their heart and with all their soul; and whoever would not seek the LORD God of Israel was to be put to death, whether small or great, whether man or woman. Then they took an oath before the LORD with a loud voice, with shouting and trumpets and rams’ horns. And all Judah rejoiced at the oath, for they had sworn with all their heart and sought Him with all their soul; and He was found by them, and the LORD gave them rest all around. a. They offered to the LORD at that time seven hundred bulls and seven thousand sheep from the spoil they had brought: They rightly recognized that their victory came from God, so they gave back to Him from the spoil of the victory over the Ethiopians (2 Chronicles 14:12-15). i. When we recognize that what we have comes from God, it is much easier to give to Him out of what He has given us. A lack of generosity is often rooted in refusing to recognize that God is the ultimate provider and every good and perfect gift comes from Him (James 1:17). ii. “Such assemblies are typical of a number of kings in Chronicles, including David (1 Chronicles 13:2-5; 15:3; 28:8; 29:1ff), Solomon (2 Chronicles 1:3; 5:6), Jehoshaphat (2 Chronicles 20:5, etc.), and especially Hezekiah (e.g. 2 Chronicles 29:23; 29:28; 30:2; 30:25).” (Selman) b. They entered into a covenant to seek the LORD God of their fathers with all their heart and with all their soul: After sacrifice, they committed the matter to a covenant between them and God. This was after the pattern of the covenant the people of Israel originally made with God at Sinai (Exodus 24:7-8). i. This covenant was deliberately connected with these past covenants (to seek the LORD God of their fathers). This was their way of saying, “LORD God, we want the same relationship with You that our great forefathers enjoyed. We want to be bound to You with the same kind of covenant.” ii. This covenant was supported by the threat of punishment (whoever would not seek the LORD God of Israel was to be put to death) and with a public oath (they took an oath before the LORD with a loud voice). This combination of a public oath and a promised punishment made the whole community accountable to keep this promise they made. This was a demonstration of the fact that it was a covenant made with all their heart and with all their soul. It was not a half-hearted or half-way covenant that no one could be held accountable to. iii. “Do not think too much of entering into and keeping a covenant with God; but remember that the Lord Jesus, on our behalf, has entered into covenant relation with the Father, and the Father with us in Him. This is the new covenant.” (Meyer) iv. “Should be put to death, by virtue of all those laws which command that such persons should be cut off, and in pursuance of that law, Deuteronomy 17:2.” (Poole) c. All Judah rejoiced at the oath: The seriousness of the covenant became a source of joy for the people. There was a sincere and true joy in being fully committed to God and accountable for that commitment in the community. d. And He was found by them, and the LORD gave them rest all around: Through the Prophet Azariah, God had promised Asa in 2 Chronicles 15:2: If you seek Him, He will be found by you. This was the fulfillment of that promise. Not only the king himself, but the nation as a whole found they LORD when they sought Him this way. · They sought Him together, having gathered together at Jerusalem. · They sought Him through sacrifice, trusting in God’s promise of atonement through the blood of an innocent victim. · They sought Him through covenant, made with a view to God’s working with His people in the past (to seek the LORD God of their fathers). · They sought Him completely, with all their heart and with all their soul. · They sought Him in an accountable way, promising punishment upon themselves if they were to forsake this covenant. · They sought Him publicly, having taken a public oath together. · They sought Him joyfully, rejoicing in the oath they had taken. i. Their reward for seeking God in this way was both that they found the LORD, and when they found Him, He gave them rest all around. Some fear to seek the LORD this diligently because they are afraid that should they really find God, it would be more of a burden than a blessing to them. The Chronicler wanted us to know that when we seek God in this radical way and find Him, the reward is rest all around. 3. (16-19) The extension of the reform into the king’s own household. Also he removed Maachah, the mother of Asa the king, from being queen mother, because she had made an obscene image of Asherah; and Asa cut down her obscene image, then crushed and burned it by the Brook Kidron. But the high places were not removed from Israel. Nevertheless the heart of Asa was loyal all his days. He also brought into the house of God the things that his father had dedicated and that he himself had dedicated: silver and gold and utensils. And there was no war until the thirty-fifth year of the reign of Asa. a. Also he removed Maachah the mother of Asa the king, from being queen mother, because she had made an obscene image of Asherah: This demonstrates the thoroughness of Asa’s reforms. He was able to act righteously even when his family was wrong, in particular his own grandmother. “It is in a man’s own family circle that his faithfulness is put fairly to the test.” (Knapp) i. 1 Kings 15:12-15 makes it clearer that Maachah was actually the grandmother of King Asa. “Maacah was apparently the daughter of Uriel of Gibeah (2 Chronicles 13:2) and Tamar (2 Samuel 14:27), hence the granddaughter of Absalom, David’s rebellious son.” (Patterson and Austel) ii. An obscene image: “This image is described as ‘obscene’ in our English translation, but the Hebrew word is closer in meaning to ‘frightening,’ ‘horrible,’ or ‘abominable.’ Some commentators believe it was some sort of phallic symbol consistent with the fertility cult of Asherah.” (Dilday) iii. “From the whole, it is pretty evident that the image was a mere Priapus, or something of the same nature, and that Maachah had an assembly in the grove where the image was set up, and doubtless worshipped it with the most impure rites. What the Roman Priapus was I need not tell the learned reader; and as to the unlearned, it would not profit him to know.” (Clarke) iv. “The Jews imagine that Maachah repented, and her name became changed into Michaiah, daughter of Uriel of Gibeah; and that this was done that there might be no mention of her former name, lest it should be a reproach to her.” (Clarke) b. But the high places were not removed from Israel: 2 Chronicles 14:3 says that Asa did remove the high places, but it mentions these high places in connection with altars of the foreign gods. Therefore Asa removed the high places that were dedicated to idols, but not the ones that were dedicated to the LORD. i. “More probably, however, the addition of from Israel (cf. 1 Kings 15:14; cf. 2 Chronicles 15:8) suggests that the Chronicler distinguished between the high places in Judah (14:3, 5) and those in Israel (15:17).” (Selman) ii. “It was also a more extensive removal, ‘from the whole land’; for it included areas Asa ‘had captured in the hills of Ephraim’ during the five years of hostility that had immediately preceded.” (Payne) c. Nevertheless the heart of Asa was loyal all his days: Asa’s loyal heart was shown in his reforms against idolatry and state-sanctioned perversion, and in his restoration of certain silver and gold utensils to the temple. i. There was no war until the thirty-fifth year of the reign of Asa: “For though there were continual skirmishes between Asa and Baasha and their people all their days, 1 Kings 15:16, yet it did not break forth into an open war till Asa’s thirty-fifth year; i.e. till that was ended.” (Poole) 2 Chronicles 16 - Asa’s Disappointing End A. A treaty with Syria. 1. (1-3) Asa makes a treaty with Syria to strengthen himself against Israel. In the thirty-sixth year of the reign of Asa, Baasha king of Israel came up against Judah and built Ramah, that he might let none go out or come in to Asa king of Judah. Then Asa brought silver and gold from the treasuries of the house of the LORD and of the king’s house, and sent to Ben-Hadad king of Syria, who dwelt in Damascus, saying, “Let there be a treaty between you and me, as there was between my father and your father. Here, I have sent you silver and gold; come, break your treaty with Baasha king of Israel, so that he will withdraw from me.” a. Baasha king of Israel came up against Judah, and built Ramah, that he might let none go out or come in to Asa king of Judah: This continues the struggle for dominance between the northern kingdom of Israel and the southern kingdom of Judah. Baasha gained the upper hand in the days of Asa because he effectively blocked a main route into Judah at the city of Ramah. He hoped this military and economic pressure on Judah would force Asa into significant concessions. i. “Baasha’s aim in fortifying Ramah was probably to prevent access to Jerusalem for religious or trade reasons. Ramah is usually identified with er-Ram, on the main road just five miles north of Jerusalem.” (Selman) b. Asa brought silver and gold from the treasuries of the house of the LORD and of the king’s house, and sent to Ben-Hadad king of Syria: Asa used this treasure to buy the favor of Ben-Hadad of Syria, so that he would withdraw support from Israel. Apparently, Baasha of Israel could not stand against Judah by himself and he needed the support of Syria. i. “I will say nothing about what belonged to his own house. He might do as he liked with that so long as he did not spend it upon sin, but he took of the treasure that belonged to the house of the Lord, and gave it to Benhadad to bribe him to break his league with Bassha, and be in league with himself. Thus God was robbed that the unbelieving king might find help in an arm of flesh.” (Spurgeon) c. Let there be a treaty between you and me, as there was between my father and your father: Asa was trying to keep the way open for pilgrims from the northern kingdom to come to Jerusalem, and this was a noble goal. His method was completely wrong. He gave treasure from the house of the LORD to a pagan king, and he made a treaty with that king. i. Asa seems to have forgotten that his covenant was with God, not with a pagan king. Under the covenant they made with God, the LORD was responsible to protect Judah. Now they put their treasure and their trust into a pagan king. ii. Asa would find that Ben-Hadad and Syria were worse enemies than Israel. iii. “The power of Ethiopia was broken before him, and Judah’s armies returned laden with the spoil. You would not have thought that a man who could perform that grand action would become, a little after, full of unbelief; but the greatest faith of yesterday will not give us confidence for to-day, unless the fresh springs which are in God shall overflow again.” (Spurgeon) iv. “But this was a smaller trouble altogether, and somehow, I fancy, it was because it was a smaller trouble Asa thought that he could manage it very well himself by the help of an arm of flesh. In the case of the invasion by countless hordes of Ethiopians, Asa must have felt that it was of no use calling in Ben-hadad, the king of Syria, or asking any of the nations to help him, for with all their help he would not have been equal to the tremendous struggle. Therefore he was driven to God. But this being a smaller trial, he does not seem to have been so thoroughly divorced from confidence in man.” (Spurgeon) v. “Here good Asa began to decline; which was the worse in him, because in his old age, after so great a victory, and so strict a covenant to cleave close to the Lord.” (Trapp) 2. (4-6) The success of Asa’s plan. So Ben-Hadad heeded King Asa, and sent the captains of his armies against the cities of Israel. They attacked Ijon, Dan, Abel Maim, and all the storage cities of Naphtali. Now it happened, when Baasha heard it, that he stopped building Ramah and ceased his work. Then King Asa took all Judah, and they carried away the stones and timber of Ramah, which Baasha had used for building; and with them he built Geba and Mizpah. a. So Ben-Hadad heeded King Asa, and sent the captains of his armies against the cities of Israel: The pagan king Ben-Hadad did have some power, and because of the treasure and under the treaty with Asa, he used that power on behalf of Asa. i. “Store cities is ‘Kineroth’ in 1 Kings 15:20, which became Genneseret in the post-exilic period (Josephus, Jewish Wars, 2.573).” (Selman) b. Now it happened, when Baasha heard it, that he stopped building Ramah and ceased his work: Because of the intervention of the King of Syria, Baasha king of Israel stopped his work of building the fortress city of Ramah to keep the faithful of Israel from visiting Jerusalem and Judah. We could say that Asa’s trust in a pagan king worked. i. “Now, many people in the world judge actions by their immediate results. If a Christian does a wrong thing, and it prospers, then at once they conclude he was justified in doing it; but, ah! Brethren, this is a poor, blind way of judging the actions of men and the providence of God. Do you not know that there are devil’s providences as well as God’s providences?” (Spurgeon) ii. “Things which appear successful may be in the life of faith most disastrous.” (Morgan) B. God’s rebuke to King Asa and the king’s response. 1. (7-9) The word from Hanani the Seer. And at that time Hanani the seer came to Asa king of Judah, and said to him: “Because you have relied on the king of Syria, and have not relied on the LORD your God, therefore the army of the king of Syria has escaped from your hand. Were the Ethiopians and the Lubim not a huge army with very many chariots and horsemen? Yet, because you relied on the LORD, He delivered them into your hand. For the eyes of the LORD run to and fro throughout the whole earth, to show Himself strong on behalf of those whose heart is loyal to Him. In this you have done foolishly; therefore from now on you shall have wars.” a. Hanani the seer: We don’t know much about this prophet, other than his bold word to King Asa here, and that his son was also a prophet who spoke to Baasha the king of Israel (1 Kings 16:1, 16:7) and to Jehoshaphat king of Judah (2 Chronicles 19:2). b. Because you have relied on the king of Syria, and have not relied on the LORD your God, therefore the army of the king of Syria has escaped from your hand: This was a complete surprise to Asa. He believed that the main enemy was Israel, because of King Baasha’s aggressive building of the Ramah fortress. He succeeded in gaining Syria’s help against Baasha and Israel, but he failed to see what God saw: that the bigger enemy was Syria, and God wanted to give him victory over the greater enemy. i. Compromise blinds us to who our true enemies are and it leads us into alliances with those whom God would rather give us victory over. c. Because you relied on the LORD, He delivered them into your hand: God wanted Asa to remember the great victories of the past. Asa failed to remember that the same God who gave him victory over a greater enemy (the Ethiopians) was able to also give him victory over the lesser enemy, Syria. d. For the eyes of the LORD run to and fro throughout the whole earth, to show Himself strong on behalf of those whose heart is loyal to Him: The Prophet Hanani’s message was clear. God looks for ways to defend and show his strength on behalf of those who are committed to Him. Asa’s fear that God could not be trusted with the defense of Israel was foolish and wrong; God wanted to show His strength of behalf of His trusting people. i. “The Hebrew word for ‘fun to a fro’ signifieth, not to take a light view, but to search narrowly into the nature and the course of things.” (Trapp) ii. “What an exquisite thought is suggested by the allusion to the eyes of the Lord running to and fro throughout the whole earth! At a glance He takes in our position; not a sorrow, trial, or temptation visits us without exciting his notice and loving sympathy. In all the whole wide earth there is not one spot so lonely, one heart so darkened, as to escape those eyes.” (Meyer) iii. The issue was not the strength of God or His willingness to use that strength on behalf of His people. The issue was the loyalty of the heart of Asa and the people of the Kingdom of Judah. e. Therefore from now on you shall have wars: Because of Asa’s foolish trust in a pagan king and his rejection of God as their defender, he will bring more wars upon himself and the Kingdom of Judah. i. “At one stroke Asa thereby sacrificed the results of his own piety (cf. on 2 Chronicles 15:18) and of God’s blessing (2 Chronicles 14:13-14); he induced a pagan ruler to an act of perfidy (2 Chronicles 16:3); precipitated a pattern of Syrian intervention into the affairs of Israel that would have disastrous results throughout the succeeding century (cf. 2 Kings 10:32-33; 12:17-18); and in the most serious deviation of all, he departed from the Lord by placing his primary trust in ‘the arm of flesh’ (Jeremiah 17:5).” (Payne) 2. (10) Asa rejects the message from Hanani. Then Asa was angry with the seer, and put him in prison, for he was enraged at him because of this. And Asa oppressed some of the people at that time. a. Then Asa was angry with the seer, and put him in prison: Instead of taking this word from God to heart and humbling himself, King Asa attacked the messenger. Instead of being humbled he was enraged. i. Asa shows us the tragedy of a man who rules well and seeks the LORD for many years, yet fails in a significant challenge of his faith and then refuses to hear God’s correction. ii. “The precise form of Hanani’s punishment is unknown, though he was probably detained in some kind of jail (lit., ‘house of stocks’; cf. NIV, prison; the word for ‘prison’ in 18:26 is different.” (Selman) b. And Asa oppressed some of the people at that time: He struck out against not only Hanani, but also against others who were committed to God and could see the error of the king’s ways. As a man in compromise and unbelief, the presence of those truly loyal to God was convicting and oppressive to Asa. 3. (11-14) The sad end of the otherwise promising reign of King Asa of Judah. Note that the acts of Asa, first and last, are indeed written in the book of the kings of Judah and Israel. And in the thirty-ninth year of his reign, Asa became diseased in his feet, and his malady was severe; yet in his disease he did not seek the LORD, but the physicians. So Asa rested with his fathers; he died in the forty-first year of his reign. They buried him in his own tomb, which he had made for himself in the City of David; and they laid him in the bed which was filled with spices and various ingredients prepared in a mixture of ointments. They made a very great burning for him. a. Asa became diseased in his feet, and his malady was severe: This happened after he refused to hear God’s word of correction through Hanani the seer. Some think that Asa’s foot ailment was gout, “but gout was uncommon in Palestine and ancient Egypt and it is more likely, in very of Asa’s age, the severity of the disease and death within two years, to have been a peripheral obstructive vascular disease with ensuing gangrene.” (Wiseman) i. “He had a strong and long fit of the gout; this is most likely.” (Clarke) ii. “As he had laid the good prophet by the heels in his bed; to him therefore he should have sought for release; since natural means in this case could do him little good.” (Trapp) b. Yet in his disease he did not seek the LORD, but the physicians: The closing chapters of the life of King Asa are discouraging. Here was a man involved in a notable period of trust in God, great victory, and the renewal of God’s covenant with His people. All in all, Asa was a good man who did not finish well. The last years of his life were marked by unbelief, hardness against God, oppression against his people, and disease. Age and time do not necessarily make us better; they only do if we continue to follow God in faith. i. He refused to rely on God in the face of the threat against him from Israel and Syria; he refused to rely on God in His loving correction from Hanani the seer. It is no wonder that he also refused to rely on God regarding his diseased feet at the end of his life. This was a powerful warning to both the first readers of the Chronicler and to us. ii. Overall, the Bible is positive about the role of physicians and medical care (Colossians 4:14, Acts 28:9, James 5:14-15, and 1 Timothy 5:23). However, it is never right to seek the physicians instead of the LORD. One may rather trust the LORD and when appropriate, see His hand move through a physician. iii. “It is not wrong to send for physicians, it is quite right; but it is very wrong to send for physicians in place of crying to God, thus putting the human agency before the divine; besides, it is very probable that these physicians were only heathenish conjurors, necromancers, and pretenders to magical arts, and could not be consulted without implicating the patient in their evil practices.” (Spurgeon) iv. Morgan on Asa: “It is the record of a faulty life, but one in which the deepest thing, that of desire, was right; and so it is the record of a life, the influence of which was a blessing rather than a curse. It is a revealing story.” c. They made a very great burning for him: “Such fires were customary for royal funerals (cf. Jeremiah 34:5), and were not for cremating the body but as a sign of honour (cf. 2 Chronicles 21:19).” (Selman) i. “He that could drive out that huge army of the Ethiopians, could not drive away death.” (Trapp) 2 Chronicles 17 - Features of Jehoshaphat’s Reign A. How King Jehoshaphat pleased God. 1. (1-4) The personal spiritual commitment of King Jehosphaphat. Then Jehoshaphat his son reigned in his place, and strengthened himself against Israel. And he placed troops in all the fortified cities of Judah, and set garrisons in the land of Judah and in the cities of Ephraim which Asa his father had taken. Now the LORD was with Jehoshaphat, because he walked in the former ways of his father David; he did not seek the Baals, but sought the God of his father, and walked in His commandments and not according to the acts of Israel. a. Then Jehoshaphat his son reigned in his place: Asa was generally a good king (though he did not finish well) and Jehoshaphat his son followed in his footsteps and the LORD was with Jehoshaphat, because he walked in the former ways of his father David. i. “In the first ways, which David walked in before he fell into those horrid sins of murder and adultery.” (Trapp) ii. “Have you never noticed the career of David? What a happy life David’s was up to one point! . . . But that hour when he walked on the roof of his house, and saw Bathsheba, and gave way to his unholy desires, put an end to the happy days of David . . . You recognize him as the same man, but his voice is broken; his music is deep bass, he cannot reach one high notes of the scale. From the hour in which he sinned he began to sorrow more and more. So will it be with us if we are not watchful.” (Spurgeon) b. Strengthened himself against Israel: Jehoshaphat recognized that the northern kingdom was a danger to Judah militarily, politically, and especially spiritually. He therefore strengthened the defenses against this threat and specifically did not according to the acts of Israel. i. In his presentation of the history of the kings of Judah, the Chronicler constantly brings the contrast and the challenge before the readers of his day and ours: “Your destiny, as an individual and as a nation, can either be like that of Judah or Israel. You should follow the example of those who did not according to the acts of Israel.” 2. (5-6) The blessing upon his reign. Therefore the LORD established the kingdom in his hand; and all Judah gave presents to Jehoshaphat, and he had riches and honor in abundance. And his heart took delight in the ways of the LORD; moreover he removed the high places and wooden images from Judah. a. Therefore the LORD established the kingdom in his hand: This was no small accomplishment. In those days kings and kingdoms were fragile and under constant threat. Yet if the descendants of David would seek God first, He promised to take care of their security – and God makes the same promise to His people today (Matthew 6:33). b. All Judah gave presents to Jehoshaphat, and he had riches and honor in abundance: Because Jehoshaphat trusted God, God lifted him up and exalted him as a king. As his heart took delight in the ways of the LORD, the LORD gave him the desires of his heart (Psalm 37:4). c. Moreover he removed the high places and wooden images from Judah: 1 Kings 22:43 says that Jehoshaphat did not remove the high places. Adam Clarke explains: “In 2 Chronicles 17:6, it is expressly said, that he did take way the high places. Allowing that the text is right in 2 Chronicles the two places may be easily recognized. There were two kinds of high places in the land: 1. Those used for idolatrous purposes. 2. Those that were consecrated to God, and were used before the temple was built. The former he did take away, the latter he did not.” i. “They may also witness to the deep hold of the Canaanite and syncretic forms of religion on ordinary Israelites. Popular views and practices are often quite different from pronouncements by religious authorities.” (Selman) B. The strength of Jehoshaphat’s kingdom. 1. (7-10) The spiritual strength of the kingdom: Jehoshaphat brings the Word of God to the people. Also in the third year of his reign he sent his leaders, Ben-Hail, Obadiah, Zechariah, Nethanel, and Michaiah, to teach in the cities of Judah. And with them he sent Levites: Shemaiah, Nethaniah, Zebadiah, Asahel, Shemiramoth, Jehonathan, Adonijah, Tobijah, and Tobadonijah; the Levites; and with them Elishama and Jehoram, the priests. So they taught in Judah, and had the Book of the Law of the LORD with them; they went throughout all the cities of Judah and taught the people. And the fear of the LORD fell on all the kingdoms of the lands that were around Judah, so that they did not make war against Jehoshaphat. a. To teach in the cities of Judah: These “teaching priests” have been mentioned by the Chronicler before (2 Chronicles 15:3). They had the important role of bringing the word of God to the people, especially those who lived outside of Jerusalem. b. They taught in Judah, and had the Book of the Law of the LORD with them; they went throughout all the cities of Judah and taught the people: This was the wisest and best policy a security-conscious king of Judah could promote. Because Jehoshaphat sought God first, God sent fear upon the neighboring kingdoms, so that they did not make war against Jehoshaphat. i. “By this little band of princes, Levites and priests, sixteen in all, Jehoshaphat did more toward impressing the surrounding nations with a sense of his power than the largest and best-equipped standing army could have secured to him.” (Knapp) ii. “The method adopted was what in these modern times we might describe as the holding of Special Missions throughout the cities of Judah, for the specific purpose of proclaiming and interpreting ‘the book of the law of Jehovah.’” (Morgan) iii. “No better service can be rendered to the nation than that of proclaiming the Word of Jehovah to the people, in cities, towns, villages, and hamlets. By such proclamation the heart of the people may be turned to Jehovah, and so He be enabled to do for them all that is in His heart.” (Morgan) iv. “Thus the nation became thoroughly instructed in their duty to God, to the king, and to each other. They became, therefore, as one man; and against a people thus united, on such principles, no enemy could be successful.” (Clarke) v. Clarke observed how a similar itinerant ministry in the days of John Wesley and his followers impacted Britain: “Such an itinerant ministry established in these kingdoms for upwards of fourscore years, teaching the pure, unadulterated doctrines of the Gospel, with the propriety and necessity of obedience to the laws, has been the principle means, in the hand of God, of preserving the lands from those convulsions and revolutions that have ruined and nearly dissolved the European continent.” vi. “It is said (2 Chronicles 17:2) Jehoshaphat place forces in all the fenced cities; yet it is not said thereupon that ‘the fear of the Lord fell upon the neighbour nations.’ But when he had established a preaching ministry in all the cities, then his enemies had a fear, and made no war.” (Trapp) 2. (11-19) The international strength of Jehoshaphat’s kingdom. Also some of the Philistines brought Jehoshaphat presents and silver as tribute; and the Arabians brought him flocks, seven thousand seven hundred rams and seven thousand seven hundred male goats. So Jehoshaphat became increasingly powerful, and he built fortresses and storage cities in Judah. He had much property in the cities of Judah; and the men of war, mighty men of valor, were in Jerusalem. These are their numbers, according to their fathers’ houses. Of Judah, the captains of thousands: Adnah the captain, and with him three hundred thousand mighty men of valor; and next to him was Jehohanan the captain, and with him two hundred and eighty thousand; and next to him was Amasiah the son of Zichri, who willingly offered himself to the LORD, and with him two hundred thousand mighty men of valor. Of Benjamin: Eliada a mighty man of valor, and with him two hundred thousand men armed with bow and shield; and next to him was Jehozabad, and with him one hundred and eighty thousand prepared for war. These served the king, besides those the king put in the fortified cities throughout all Judah. a. Some of the Philistines brought Jehoshaphat presents and silver as tribute; and the Arabians brought him flocks: Jehoshaphat’s commitment to personal and public godliness meant that God exalted his kingdom above the neighboring nations, even as God promised in Deuteronomy 28:1-13. b. These served the king: The true treasure of Jehoshaphat’s kingdom was not numbered only in security or material things, but also in the dedicated and courageous men he had surrounding him, these mighty men of valor. i. Amasiah the son of Zichri, who willingly offered himself to the LORD: “Amasiah is a man of whom we do not know anything beyond this – he ‘willingly offered himself unto the Lord.’ There must have been a turning-point in his career, a time when first he knew the grace of God, which wrought such a change in him. There must have been a waking up to the feeling that God deserved his love and his life.” (Spurgeon) ii. Amasiah was a ready servant of the Lord; this particularly notable because he did it in an otherwise secular calling. · No one had to press him into service. · No one had to seek him out for service. · No one had to look after him once he had begun serving. · No one had to lead him. iii. “There is no lawful occupation in which a man cannot thoroughly serve the Lord. It is a great privilege and blessing to be set apart to the work of winning souls; but we must never separate that work from all the rest of the callings of life, as though it alone were sacred, and all the rest were secular and almost sinful. Serve God where you are.” (Spurgeon) 2 Chronicles 18 - Jehoshaphat, Ahab, and Micaiah A. Jehoshaphat goes to Samaria, the capital city of the northern kingdom of Israel. 1. (1) Jehoshaphat’s unwise alliance with Ahab. Jehoshaphat had riches and honor in abundance; and by marriage he allied himself with Ahab. a. Jehoshaphat had riches and honor in abundance: Because of his personal godliness (2 Chronicles 17:1-4) and public godliness (2 Chronicles 17:7-10), God blessed Jehoshaphat and exalted him among neighboring nations. b. By marriage he allied himself with Ahab: This manner of linking kingdoms by the bond of marriage was common in the ancient world, yet it was unwise policy for Jehoshaphat. The wisest strategy for the protection of his kingdom was obedience instead of compromise with the ungodly King Ahab of Israel and his wife, Queen Jezebel. i. 1 Kings 16:29-33 tells us just how bad Ahab was. He introduced the worship of completely new, pagan gods. In his disobedience Jeroboam (the first king of the kingdom of the northern tribes) said, “I will worship the LORD, but do it my way.” Ahab said, “I want to forget about the LORD completely and worship Baal.” ii. Ahab was greatly influenced towards wickedness by his Phoenician wife Jezebel. “He was a weak man, the tool of a crafty, unscrupulous, and cruel woman: and some of the worst crimes that have ever been committed have been wrought by weak men, at the instigation of worse - but stronger - spirits than themselves.” (Meyer) 2. (2-3) Ahab sets his eyes upon Ramoth-Gilead. After some years he went down to visit Ahab in Samaria; and Ahab killed sheep and oxen in abundance for him and the people who were with him, and persuaded him to go up with him to Ramoth Gilead. So Ahab king of Israel said to Jehoshaphat king of Judah, “Will you go with me against Ramoth Gilead?” And he answered him, “I am as you are, and my people as your people; we will be with you in the war.” a. And persuaded him to go up with him to Ramoth in Gilead: Previously, the King of Syria promised to return certain cities to Israel (1 Kings 20:34) in exchange for leniency after defeat in battle. Apparently this was a city that Ben-Hadad never returned to Israel and it was in a strategically important location. b. Will you go with me against Ramoth Gilead? King Ahab of Israel asked King Jehoshaphat of Judah to help him in this dispute against Syria. This made some sense, because Ramoth-Gilead was only 40 miles from Jerusalem. 3. (4-8) Jehoshaphat proposes that they seek God in the matter. And Jehoshaphat said to the king of Israel, “Please inquire for the word of the LORD today.” Then the king of Israel gathered the prophets together, four hundred men, and said to them, “Shall we go to war against Ramoth Gilead, or shall I refrain?” And they said, “Go up, for God will deliver it into the king’s hand.” But Jehoshaphat said, “Is there not still a prophet of the LORD here, that we may inquire of Him?” So the king of Israel said to Jehoshaphat, “There is still one man by whom we may inquire of the LORD; but I hate him, because he never prophesies good concerning me, but always evil. He is Micaiah the son of Imla.” And Jehoshaphat said, “Let not the king say such things!” Then the king of Israel called one of his officers and said, “Bring Micaiah the son of Imla quickly!” a. Please inquire for the word of the LORD today: Considering the generally adversarial relationship between Ahab and the prophets of Yahweh, this was a bold request of Jehoshaphat to ask of Ahab. It wasn’t surprising that Ahab picked prophets who would tell them that they wanted to hear. i. “Though Jehoshaphat had already committed himself to the enterprise (2 Chronicles 18:3), and though he went on to disregard the guidance that was given him (2 Chronicles 18:28), he still retained the religion of Yahweh to the extent that he insisted on seeking ‘the counsel of the Lord.’” (Payne) b. Go up, for God will deliver it into the king’s hand: When Ahab gathered the prophets, they were not faithful prophets of the LORD. These were prophets happy to please their kings, and to tell them what they wanted to hear. Jehoshaphat still wanted to hear from a prophet of Yahweh, the LORD (Is there not still a prophet of the LORD here, that we may inquire of Him?). i. Trapp described this gather of prophets as, “An ecumenical council.” c. I hate him, because he never prophesies good concerning me, but always evil: Ahab hated the messenger because of the message. His real conflict was with God, but he focused his hatred against the prophet Micaiah. Yet he was willing to listen to the King of Judah when he advised that Ahab should listen to the Prophet Micaiah. 4. (9-11) An object lesson from the unfaithful prophets. The king of Israel and Jehoshaphat king of Judah, clothed in their robes, sat each on his throne; and they sat at a threshing floor at the entrance of the gate of Samaria; and all the prophets prophesied before them. Now Zedekiah the son of Chenaanah had made horns of iron for himself; and he said, “Thus says the LORD: ‘With these you shall gore the Syrians until they are destroyed.’“ And all the prophets prophesied so, saying, “Go up to Ramoth Gilead and prosper, for the LORD will deliver it into the king’s hand.” a. Sat each on his throne, and they sat at a threshing floor at the entrance of the gate of Samaria: This illustrates the ancient custom of holding court and making decisions at the gates of the city. There were even thrones for high officials to sit on at the gates of the city of Samaria. b. Thus says the LORD: These unfaithful prophets (such as Zedekiah) prophesied in the name of the LORD, but they did not prophesy truthfully. Many commentators believe these prophets were pagan prophets, perhaps representatives of Asherah or other pagan gods or goddesses. Yet they clearly prophesied in the name of the LORD. It is best to regard these not as pagan prophets, but unfaithful prophets to the true God. i. Perhaps these were true followers of Yahweh who were seduced by Ahab’s sincere but shallow repentance three years before (1 Kings 21:27-29). After that, they began to align with Ahab uncritically. Three years later they were willing to prophesy lies to Ahab if that was what he wanted to hear. c. With these you shall gore the Syrians until they are destroyed: Zedekiah used a familiar tool of ancient prophets - the object lesson. He used horns of iron to illustrate the thrust of two powerful forces, armies that would rout the Syrians. Zedekiah had the agreement of 400 other prophets (all the prophets prophesied so). i. “Dramas of this kind were a typical method of prophetic revelation (cf. Jeremiah 27-28), based on this occasion on the horns as a symbol of strength.” (Selman) ii. This must have been a vivid and entertaining presentation. We can be certain that every eye was on Zedekiah when he used the horns of iron to powerfully illustrate the point. It was certainly persuasive to have 400 prophets speak in agreement on one issue. No matter how powerful and persuasive the presentation, their message was unfaithful. 5. (12-15) The prophecy of Micaiah, the faithful prophet. Then the messenger who had gone to call Micaiah spoke to him, saying, “Now listen, the words of the prophets with one accord encourage the king. Therefore please let your word be like the word of one of them, and speak encouragement.” And Micaiah said, “As the LORD lives, whatever my God says, that I will speak.” Then he came to the king; and the king said to him, “Micaiah, shall we go to war against Ramoth Gilead, or shall I refrain?” And he said, “Go and prosper, and they shall be delivered into your hand!” So the king said to him, “How many times shall I make you swear that you tell me nothing but the truth in the name of the LORD?” a. As the LORD lives, whatever my God says, that I will speak: The assistants of King Ahab tried to persuade Micaiah to speak in agreement with the 400 other prophets. Micaiah assured him that he would simply repeat what God said to him. i. This was a dramatic scene. Micaiah was brought out from prison (1 Kings 22:26 indicates that he came from prison). We see a prophet in rags and chains stand before two kings, ready to speak on behalf of the LORD. ii. “This might have daunted the good prophet, but that he had lately seen the Lord sitting upon His throne with all the host of heaven standing by Him, and hence he so boldly looked in the face these two kings in their majesty; for he beheld them as so many mice.” (Trapp) b. Go and prosper, and they shall be delivered into your hand! When Micaiah said this, his tone was probably mocking and sarcastic. He said similar words to the 400 unfaithful prophets, but delivered a completely different message. c. How many times shall I make you swear that you tell me nothing but the truth in the name of the LORD? King Ahab recognized the mocking tone of Micaiah’s prophecy and knew it contradicted the message of the 400 prophets. He demanded that Micaiah tell nothing but the truth - which Ahab believed and hoped was the message of the 400 other prophets. 6. (16-17) Micaiah speaks the true prophecy from the LORD. Then he said, “I saw all Israel scattered on the mountains, as sheep that have no shepherd. And the LORD said, ‘These have no master. Let each return to his house in peace.’“ And the king of Israel said to Jehoshaphat, “Did I not tell you he would not prophesy good concerning me, but evil?” a. I saw all Israel scattered on the mountains, as sheep that have no shepherd: Micaiah was challenged to tell the truth, and now he changed his tone from mocking to serious. He said that not only would Israel be defeated, but also that their leader (shepherd) would perish. b. Did I not tell you he would not prophesy good concerning me, but evil? King Ahab said that he wanted the truth - but he couldn’t handle the truth. What he didn’t consider was that though Micaiah prophesied evil towards Ahab, he prophesied truth. i. “Ahab knew in his heart that Micaiah would not fear or flatter him, but only declare the word of Jehovah. This he construed into personal hatred . . . Hatred of the messenger of God is clear evidence of willful wickedness.” (Morgan) 7. (18-22) Micaiah reveals the inspiration behind the 400 prophets. Then Micaiah said, “Therefore hear the word of the LORD: I saw the LORD sitting on His throne, and all the host of heaven standing on His right hand and His left. And the LORD said, ‘Who will persuade Ahab king of Israel to go up, that he may fall at Ramoth Gilead?’ So one spoke in this manner, and another spoke in that manner. Then a spirit came forward and stood before the LORD, and said, ‘I will persuade him.’ The LORD said to him, ‘In what way?’ So he said, ‘I will go out and be a lying spirit in the mouth of all his prophets.’ And the Lord said, ‘You shall persuade him and also prevail; go out and do so.’ Therefore look! The LORD has put a lying spirit in the mouth of these prophets of yours, and the LORD has declared disaster against you.” a. I saw the LORD sitting on His throne, and all the host of heaven standing: King Ahab and others at the court found it hard to explain how one prophet could be right and 400 prophets could be wrong. Here Micaiah explained the message of the 400 prophets. It is possible that this was just a parable, but it is more likely that Micaiah had an accurate prophetic glimpse into the heavenly drama behind these events. b. On His right hand and His left: Since the right hand was the place of favor, this may indicate that God spoke to the combined host of heaven, both faithful and fallen angelic beings. i. Some people forget that Satan and his fellow fallen angels have access to heaven (Job 1:6, Revelation 12:10). There is a well-intentioned but mistaken teaching that God can allow no evil in His presence, meaning that Satan and other fallen angels could not be in His presence. These passages show that God can allow evil in His presence, though He can have no fellowship with evil and one day all evil will be removed from His presence (Revelation 20:14-15). c. Who will persuade Ahab king of Israel to go up, that he may fall at Ramoth Gilead? God wanted to bring judgment against Ahab, so He asked this group of the host of heaven for a volunteer to lead Ahab into battle. d. I will go out and be a lying spirit in the mouth of all his prophets: Apparently, one of the fallen angels volunteered for this task. Since Ahab wanted to be deceived, God would give him what He wanted, using a willing fallen angel who worked through willing unfaithful prophets. i. “The Hebrew that underlies the phrase rendered ‘a spirit’ (came forward) reads literally, ‘the (well-known) spirit,’ i.e., Satan the tempter (as in Job 1:6-12). . . . Apparently Michaiah seems to assumed among his hearers a working knowledge of the Book of Job.” (Payne) ii. “This strange incident can only be understood against the background of other Old Testament passages, especially Deuteronomy 13:11 and Ezekiel 14:1-11. both these passages speak of people being enticed by false prophets, in each case as a result of a link with idolatry.” (Selman) 8. (24-28) The reaction of the false prophets and Ahab. Then Zedekiah the son of Chenaanah went near and struck Micaiah on the cheek, and said, “Which way did the spirit from the LORD go from me to speak to you?” And Micaiah said, “Indeed you shall see on that day when you go into an inner chamber to hide!” Then the king of Israel said, “Take Micaiah, and return him to Amon the governor of the city and to Joash the king’s son; and say, ‘Thus says the king: “Put this fellow in prison, and feed him with bread of affliction and water of affliction until I return in peace.”‘ Then Micaiah said, “If you ever return in peace, the LORD has not spoken by me.” And he said, “Take heed, all you people!” a. Now Zedekiah the son of Chenaanah went near and struck Micaiah on the cheek: Zedekiah responded the way many do when they are defeated in argument - he responded with violence. b. Put this fellow in prison: King Ahab responded the way many tyrants do when they are confronted with the truth. Ahab wanted Micaiah imprisoned and deprived (feed him with bread of affliction and water of affliction). i. “The phrase ‘bread of affliction and water of affliction’ may be translated ‘bread and water of scant measure.’” (Dilday) c. If you ever return in peace, the LORD has not spoken by me: The prophet Micaiah made one final and ultimate appeal. He was willing to be judged by whether his prophecy came to pass or not. Since he knew his words were true, it was fitting for him to cry out as they dragged him back to prison, “Take heed, all you people!” B. The death of King Ahab of Israel. 1. (28-29) Jehoshaphat and Ahab go into battle. So the king of Israel and Jehoshaphat the king of Judah went up to Ramoth Gilead. And the king of Israel said to Jehoshaphat, “I will disguise myself and go into battle; but you put on your robes.” So the king of Israel disguised himself, and they went into battle. a. So the king of Israel and Jehoshaphat the king of Judah went up to Ramoth Gilead: It is easy to understand why King Ahab of Israel went to this battle; he didn’t want to believe that Micaiah’s prophecy was true and wanted to courageously oppose it. It is less easy to understand why King Jehoshaphat of Judah went to this battle with Ahab. He should have believed the prophecy of Micaiah and known that the battle would end in disaster and the death of at least Ahab. i. It may be that Jehoshaphat had a fatalistic attitude towards the will of God, figuring that if it all was God’s will then there was nothing he or anyone else could do about it. b. I will disguise myself and go into battle; but you put on your robes: Going into the battle, Ahab did not want to be identified as a king and therefore be a special target. He thought this would help protect him against Micaiah’s prophecy of doom. It is more difficult to explain why Jehoshaphat agreed to go into the battle as the only clearly identified king. Perhaps he was either not very smart or he had very great faith. i. “Ahab pretended herein to honour Jehoshaphat, but intended to save himself, and to elude Micaiah’s prophecy.” (Trapp) 2. (30-34) Jehoshaphat is saved and Ahab dies in battle. Now the king of Syria had commanded the captains of the chariots who were with him, saying, “Fight with no one small or great, but only with the king of Israel.” So it was, when the captains of the chariots saw Jehoshaphat, that they said, “It is the king of Israel!” Therefore they surrounded him to attack; but Jehoshaphat cried out, and the LORD helped him, and God diverted them from him. For so it was, when the captains of the chariots saw that it was not the king of Israel, that they turned back from pursuing him. Now a certain man drew a bow at random, and struck the king of Israel between the joints of his armor. So he said to the driver of his chariot, “Turn around and take me out of the battle, for I am wounded.” The battle increased that day, and the king of Israel propped himself up in his chariot facing the Syrians until evening; and about the time of sunset he died. a. Fight with no one small or great, but only with the king of Israel: Ahab’s previous mercy to Ben-Hadad (1 Kings 20:31-34) did not win any lasting favor with the rulers of Syria. This strategy of the Syrian army made Ahab’s counter-strategy of disguising himself in battle seem very wise. i. “Thus doth the unthankful infidel repay the mercy of his late victor . . . but God had a holy hand in it.” (Trapp) b. Jehoshaphat cried out, and the LORD helped him: Finding himself as the only identifiable king in the battle, Jehoshaphat found himself quickly in danger. He cried out unto the LORD and was rescued when they turned back from pursuing him. c. Now a certain man drew a bow at random, and struck th

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37. DREAMWEAVER

DREAMWEAVER

Stay up late just to fall asleep Because when i dream, All i see is you Filling all that I'm empty Shut my eyes Wishing all i see is you I hope at night You fall between the sun and moon I won't forget The face that makes me Makes me feel alive again Oh Scarlett rings will you deliver me you're all that I'm not and everything that i see It's your love that fills the air I'm slowly drifting It's your love that keeps me here Suffocating in your eyes my abyss Slowly drifting Your voice in my head Yeah, you chew me up and spit me out You give me breathe, and watch me drown You’re all that i wanted Don’t take this back It’s the only peace of mind i had You’re all that i needed Took everything, but left a mind full of pain It’s your love that fills the air Im slowly, drifting Your love still keeps me here You’re fading, fading from me Oh Scarlett rings will you deliver me you're all that I'm not and everything that i see It's your love that fills the air ( you fill the air, you keep me here ) I'm slowly drifting It's your love that keeps me here I never wanted, wanted to be alone I never meant, meant to be so cold But you’re the one, the one who made me this way I am forever alone Will you be there when, i lose my mind Suffocating in your eyes, my abyss Can you feel my heart, clenched in your fists Slowly drifting into darkness again. Lies lies lies you are death in disguise Twisting love into lust So show, show me the blood.

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38. Hurry And Heal

Hurry And Heal

Im still choking on the day that you told me I'd be fine with time But recovery don't seem so easy when it's just you and me So tell me now how do I come back down off of this Hill im on, or the hole I've dug, isolation and stuck, motivate this schmuck Inside my mind so tell me that I'm fine Maybe that'll help me get some sleep tonight Or maybe it's just free will, the efforts too great thats needed need a fast heal You make your mistakes you mistakes they don't make you Increase my intake, can't see straight- pitiful Defeated by regret I tell myself im prideful Admit that im a threat, submit to you Go slow go real slow time heals but it heal real slow drugs numb medicate plateau High hopes got you sinking real slow It puts the lotion on it's skin Im a cannibal my thoughts won't let me in It consumes me a sword thats double edged toxicology can't get out of my head Tired of trying to put all of this behind me Water beneath the bridge im on still feel like jumping fight the feeling band aids bad acting fake smiling exhausting friends are worrying Friends all around why do I feel alone Hallowed out shell sunken eyes face pale See through this disguise but you just want to know Im still in control Go slow go real slow time heals but it heal real slow drugs numb medicate plateau High hopes got you sinking real slow It puts the lotion on it's skin Im a cannibal my thoughts won't let me in It consumes me a sword thats double edged toxicology can't get out of my head You make your mistakes you mistakes they don't make you Increase my intake, can't see straight- pitiful Defeated by regret I tell myself im prideful Admit that im a threat, submit to you

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39. Night Moves - Transdance PREVIEW CLIPS

Night Moves - Transdance PREVIEW CLIPS

BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/night-moves-transdance-ep/ Dark Entries is proud to present all four mixes of “Transdance” by Night Moves as a tribute dedicated to the lives lost in the Oakland Ghost Ship fire on December 2, 2016. Night Moves was the brainchild of Michael Guihen, from South London. Inspired by seeing Tubeway Army perform on Top of the Pops in 1979 he placed an ad to form a synth-based band in the NME. In November 1980 he was introduced to Denis Haines, formerly Gary Numan’s keyboardist on the ‘Telekon’ album. Denis and Michael worked closely together, writing a number of backing tracks. One of these was the farewell song from Gary Numan to his band Tubeway Army, "Love Needs No Disguise”. In exchange for this backing track, Denis gave Michael the studio time needed to develop "Transdance". The first version of "Transdance" was recorded in late Spring 1981 at Ridge Farm Studio in Surrey and within the week Michael had a recording deal with GC Recordings. This mix of "Transdance" was pressed onto a white label GC1 and was sent to clubs around Britain and Europe. In Summer 1981 he met John Davis aka John Darc also part West London’s New Romantic scene. They recorded the second mix of "Transdance" at Matrix Studios in London early 1982, and John added the new bass line. This was titled “U.K. Disco Mix” and released by GC Records. On this mix the backing vocals were sung by Eve Goddard, Adam Ant's ex-wife. In March 1983 Michael and John turned to New York's budding Electro & Hip Hop scenes to have Jay Burnett remix the “New York Disco Mix”. Back in London, the duo disappeared into the cutting rooms at Utopia studios with Francis Usmar and emerged with the final dub edit “Robot Rock”. All three later mixes were programmed with a Roland TR-808, some live drums, and one homemade handclap machine. "Transdance" was embraced by Chicago’s WBMX, Hot Mix 5 and Ron Hardy as well in New York at Larry Levan’s Paradise Garage and Tony Humphries’ Club Zanzibar in New Jersey. It is considered a blueprint that traces the line from UK Synthpop to Chicago House and Detroit Techno. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring a black and white photograph of two mannequins dancing set against a cantaloupe hue. Each copy includes a 2-sided 11” square insert with lyrics and drawings of all 36 victims of the Oakland Ghost Ship fire. Also included is a 6 page booklet with liner notes, original press kit sheets and photographs from the band’s archive. 100% of all profits will be donated to the Oakland Fire Immediate Relief Fund.

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40. Episode 32: Sticktoitivness: When You Want to Give Up is When it's Most Important to Keep Going

Episode 32: Sticktoitivness: When You Want to Give Up is When it's Most Important to Keep Going

It’s that period of time when you’re not sure what to do – but nothing’s changing and you’re trying your hardest, and something better happen soon or else you just might give up. Whether you’re on a new health kick and not seeing dramatic results, or attempting to pursue a new career – often the most difficult to surmount is the master of disguise – the plateau. Oh, the old plateau will make life look pretty much the same for long enough that you start to get antsy. That you start to feel you might have already failed – or that change of course is needed – “I haven’t seen progress for quite a while - something must not be working – it must be me, why did I even think to try in the first place? This must not be right-“ or my favorite, “Silly me, I never had a chance of success in the first place…” It is this window of time – the plateau – I would argue, that is the most difficult challenge you will ever face. It’s not the last leg of the race that tricks you into stopping. It’s the time when literally the only piece of advice you need is “Keep going.” It’s this advice that’s the hardest to follow – especially when it comes to pursuits that are new – that require you go out on a limb and jump. If this is you, I am writing this to give you a much-needed push in the same direction. You must have a large gulp of Gatorade and listen to the sound of my voice – keep running. I know it’s not fun anymore, you don’t feel successful, but there was a very good reason you started this run – and now’s the time you’ve got to trust that and just keep running. Trust your own original instincts and power through. You’re on a plateau and the plateau ends – your path will eventually round a turn, and once it does, you will be able to see the finish line in the distance. Check out http://www.TeaspoonOfHappy.com for the blog post version of this podcast in the next few days and if you like this, please follow me on Soundcloud or review me on iTunes. Happy new year lovely friends!!! xox Sarah-May B.

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