„First Kiss” to dziesiąty album w dyskografii Kid Rocka. Płyta niemal w całości została wyprodukowana przez Amerykanina. W dwóch piosenkach muzyka wsparł Dann Huff, znany choćby ze współpracy z Megadeth. Materiał na wydawnictwo nagrał w swoim studiu w Michigan.
Tracklista:1. Stolen moments2. Hoe-down3. Cascades4. Yearnin'5. Butch and butch6. Teenie's blues7. Stolen moments (first version, aka the stolen mone
CD 1: The First Day - Introduction: The Representation of Chaos The First Day - In the beginning God created the heaven and the earth - And the Spirit of God The First Day - Now vanish before the holy beams - Despairing, cursing rage The Second Day - And God made the firmament The Second Day - The glorious heav'nly hierarchy The Third Day - And God said: Let the waters under the heaven be gathered together The Third Day - Rolling in foaming billows The Third Day - And God said: Let the earth bring forth grass The Third Day - With verdure clad the fields appear The Third Day - And the heavenly host the third day proclaimed The Third Day - Awake the harp, the lyre awake The Fourth Day - And God said: Let there be lights in the firmament of heaven The Fourth Day - In brightest splendour rises now the sun The Fourth Day - The heavens are telling the Glory of God The Fifth Day - And God said: Let the waters bring forth abundantly The Fifth Day - On mighty pens uplifted soars the eagle The Fifth Day - And God created great whales The Fifth Day - And the angels struck their immortal harps The Fifth Day - Most beautiful appear, with verdure young adorn'd - The Lord is great The Sixth Day - And God said: Let the earth bring forth the living creature The Sixth Day - Straight opening her fertile womb The Sixth Day - Now heaven in fullest glory shines The Sixth Day - And God created man The Sixth Day - In native worth and honour clad The Sixth Day - And God saw ev'rything that he had made The Sixth Day - Achieved is the glorious work CD 2: In rosy mantle now appears By thee with bliss, o bounteous Lord Our duty have we now perform'd Graceful consort! O happy pair Praise the Lord, uplift your voices
Tracklista: LP 1 Side A 1. Opus 4 2. Paranoimia 3. Eye Of A Needle 4. Legs 5. Slip Of The Tongue 6. Backbeat Side B 1. Instruments Of Darkness 2. Peter Gunn ( Featuring Duane Eddy) 3. Camilla - The Old, Old Story 4. Chameleon‘S Dish 5. Beatback LP 2 Side C 1. Hoops And Mallets 2. Something Always Happens 3. Why Me ? 4. A Nation Regrets 5. Backbeat (Reprise) 6. World War Ii 7. The First Leg 8. Happy Harry's High Club 9. Chameleon 4 10 Beddoo-Bedoo Side D 1. Panic 2. Second Legs 3. Trumpton Boogie 4. Chameleon 1 5. A Nation Rejects 6. Peter Gunn (Extended Version, Featuring Duane Eddy) 7. Paranoimia (Extended Version, Featuring Max Headroom)
Tracklista: CD 1 1. Hands Across the Sea 2. Semper Fidelis 3. The Royal Welch Fusiliers 4. Sabre and Spurs 5. King Cotton 6. Pathfinder of Panama 7. The Liberty Bell (arr. J. Ord - Hume) 8. Hail to the Spirit of Liberty 9. The Black Horse Troop 10. The High School Cadets 11. Daughters of Texas 12. The Fairest of the Fair 13. Riders for the Flag 14. The Thunderer 15. The Washington Post March 16. The Glory of the Yankee Navy 17. The Stars and Stripes Forever CD 2 1. Nobles of the Mystic Shrine 2. Wisconsin Forward Forever 3. The Invincible Eagle 4. Solid Men to the Front 5. The Diplomat 6. The Picador 7. Jack Tar 8. America First 9. Ancient and Honorable Artillery Company 10. The Minnesota March 11. The Atlantic City Pageant 12. Sesqui - Centennial Exposition 13. La Flor di Sevilla 14. The Corcoran Cadets 15. The National Game 16. Bullets and Bayonets 17. The Naval Reserve March
VICTORY OF THE HUMAN RACE It is the best-known work in the history of music, that goes without saying. Its folksong-like melody is common property throughout the world. It resounded during innumerable concerts celebrating the millennium all over the globe. Everyone can hum or sing along to it. The subject at hand is, of course, Beethoven’s Symphony No. 9 and its Freudenmelodie (= melody to “Ode to Joy”). In the year 2001, it received the great honour of becoming the first musical opus ever to be included in the UNESCO World Inheritance List. In short: it is omnipresent. And that is also its problem. Following its première on May 7, 1824, which received an enthusiastic reception from the audience at the Vienna Kärntnertor Theatre, Beethoven’s last symphonic work embarked upon an incomparable – and non-stop – triumphal march. Right up to the present day, it has been constantly and vehemently “claimed” by all imaginable ideological and political groupings. Fascist, anti-fascist, communist, anti-dictatorial, etcetera, etcetera... Even to this day, it still causes amazement that this masterpiece, “about which so much rubbish has already been spread [...], has not long been buried under the pile of scribbling to which it has given rise” (to quote Debussy). Despite the fascinating and, at the same time, also frightening history of the reception given to the Ninth (which cannot simply be ignored in a study of the work), the main thing here is to focus on the idea which Beethoven expressed both instrumentally and vocally. After the composition of his Eighth, well over a decade passed before the composer (who in the meantime had become profoundly deaf) again attempted a symphony and started working on the project. Previously, he had written his eight other contributions to the genre within a similar period of time. The stimulus apparently came from a commission he received from the London Philharmonic Society for two symphonies in 1817. Beethoven subjected his own work to the greatest of criticism and wrote as follows: “For some time now, I have not found it easy to get down to writing. I sit down and think and think. I already know what I want; but I just can’t get it down on paper. I dread finally embarking upon such a major work.” Only a number of years after writing this, did Beethoven manage to conquer his dread and begin sketching the first movement. He spent a number of years working on the composition, the gigantic dimensions of which far exceed all its predecessors. Only at a relatively late stage, did Beethoven take the decision to include the human voice in the Finale: he had also worked on a purely instrumental solution for the Finale (which he later used in his Quartet in A minor, Op. 132). Finally, in March 1824, the composition was finished. The central theme of the Ninth is Beethoven’s solution to the Finale problem, which he had designed individually for each of his previous symphonic works. The task of allowing the human voice to invade the domain of absolute music – the symphony – correspondingly demanded yet another special solution. In the first movement, the music consists of the most elementary and characteristic tonal components, of an unembellished, lingering 5th interval (a – e), which finally increases from falling 5ths and 4ths to octave jumps, before the elemental force of the main theme breaks in. The previous lack of structure then begins to take on form, from the chaos order is restored. In a number of swelling waves, indicative of the later monumental symphonic works of Anton Bruckner, the recapitulation presents the theme in its full glory, before this is once more surpassed in the Coda. The Scherzo appears for the first time in Beethoven’s symphonic cycle in his second symphony, thus assigning to the Adagio the task of providing the place of rest. The movement supplies thematic material from the main theme of the first movement and tirelessly and restlessly drives it onwards in highly dynamic contrasts, before a melodic derivative from the “Ode of Joy” from the Finale appears for the first time in the cantabile Trio in D. However, here it does not yet have a joyful development. The supremacy of the D-minor key, which has so far continually dominated, is not broken until the Adagio, with the appearance of B-flat major: in a closely woven motif consisting of a 2nd interval, it develops the preliminary stages of the “Joy” theme, until two fanfares in the Coda announce the final movement. One more time, the D-minor key overwhelms the listener in this movement with shattering force. Then Beethoven quotes – adding each time a commentary from the instrumental recitative of the low strings – the main themes from the first three movements (as Bruckner was also to do in his Symphony No. 5), until finally the “Joy” melody asserts itself. It develops from the depths into a kind of undertow, which finally takes over the entire orchestra in all its tutti glory. Only now, after the theme has been, as it were, presented by the instruments and thus set free, does the human voice appear on the scene to depict the utopia of a harmonic, peaceful and loving human society. Beethoven had summarized the text of Schiller’s Ode an die Freude (= Ode to Joy) in a greatly reduced and concentrated form. The melody of Alle Menschen werden Brüder (= All people will become brothers) can be grasped immediately by the listener, due to its simplicity. It encourages the listener to sing along and allows him to join in the rest of the movement. Once again, Beethoven summons up major and magnificent compositional devices – ranging, for instance, from counterpoint to double fugues based on the main theme – before the movement comes to a hymnal conclusion in lively jubilation. With this Finale, Beethoven left behind not only his symphonic legacy, but, without realizing it, also a gigantic problem: after this work, which allowed vocal music to intrude into the absolute world of instrumental music, how would any future composer be able to write symphonic works? Was the absolute climax of the genre also to signify its demise?
3-płytowe wydawnictwo zawiera tematy z muzyką filmową skomponowaną przez Ennio Morricone między innymi do takich obrazów jak: "Lolita, Cinema Paradiso", "Bulworth", "For A Few Dollars More", "Il Grande Silenzio", "Wanted Dead Or Alive", "My Name is Nobody", "Frantic, Bloodline", "Bugsy" i wielu innych. Tracklista: CD 1: Romance And Comedy Music 1. Bulworth Suite One - Bulworth 1998 2. Lolita - Lolita 1997 3. For Annette & Warren - Love Affair 1994 4. Tie Me Up! Tie Me Down! - Tie Me Up! Tie Me Down! 1990 5. First Youth - Cinema Paradiso 1988 6. Visioni - Malena 2000 7. Before The Revolution-Before The Revolution 1964 8. For Love - For Love 1976 9. From American Sex Appeal To The First Fellini - Cinema Paradiso 1988 10. Un Sacco Bello - Fun Is Beautiful 1980 11. Il Gatto - The Cat 1977 12. Titoli - The Fascist 1961 13. Il Vizietto - La Cage Aux Folles 1978 CD 2: Western Film Music 1. A Dimly Lit Room-Once Upon A Time In The West 1968 2. The Death Of A Soldier - The Good,The Bad And The Ugly 1966 3. The Verdict - The Big Gundown 1966 4. A Pistol For Ringo - A Pistol For Ringo 1965 5. La Cantina - Two Mules For Sister Sara 1970 6. Inseguimento All'alba - A Sky Full Of Stars For A Roof 1968 7. Square Dance - A Fistful Of Dollars 1964 8. For A Few Dollars More - For A Few Dollars More 1965 9. Mystic And Severe - Death Rides A Horse 1967 10. Un Bacio Asfissiante - A Genius, Two Friends, And A Dupe 1975 11. Wanted Dead Or Alive - Bandera Bandits 1972 12. Il Grande Silenzio (Restless) - The Great Silence 1968 13. Good Luck Jack - My Name Is Nobody 1973 14. What Am I Doing In The Middle Of The Revolution? 1972 CD 3: Crime Film Music 1. Old Family Souvenirs - U Turn 1997 2. Cockeye's Song - Once Upon A Time In America 1983 3. Main Title - Bloodline 1979 4. For Her, For Him - Bugsy 1991 5. In Concerto - Ripley's Game 2002 6. The Link - Blood Link (Extrasensorial) 1982 7. 18 Pari - The Master Touch 1972 8. Pour Zacharia - The Burglars 1971 9. One Flugel Horn - Frantic 1988 10. Decision Finale - The Professional 1981 11. The Strength Of The Righteous (Main Title) - The Untouchables 1987 12. Canto For Alexis - The Stendhal Syndrome 1996 13. End Titles - The Big Man 1990
Niesłychanie utalentowana grupa, znana ze swych niezwykłych, bogatych aranżacji, wzięła na warsztat najpopularniejsze piosenki o miłości wszechczasów i nadała im swój charakter. Nagrani live w legendarnej Gran Ole Opry i wspierani przez pełną orkiestrę symfoniczną, prezentują klasyczne piosenki o miłości, znane na całym świecie, w swoim charakterystycznym, niepodrabialnym stylu. W programie albumu m.in. "The First Time Ever I Saw Your Dace", "Let’s Stay Together", "And I Love Her oraz Evergreen". Album dostępny na CD, DVD i Blu-Ray. Tracklista: 1. Evergreen2. La Vie En Rose / Honeysuckle Rose3. And I Love Her4. The First Time5. Nat King Cole Medley6. Old Fashioned Love Song7. Longer8. Nature Boy9. I Only Have Eyes For You10. Let's Stay Together11. Steady Hands12. Love Song13. And I Love You So14. Grow Old With MeBonus Tracks:15. You Are So Beautiful16. When I Fall In Love
In this latest volume from The Cardinall’s Musick acclaimed Byrd series, the composer’s overtly Catholic agenda is clearly displayed. In an age when censorship was rife and spies were everywhere, it is not surprising that possession of the first volume of Gradualia should have been cited as one of the reasons for the arrest of a Jesuit priest called de Noiriche (although obviously the spies had other more compelling evidence to hand). Only one set of the 1605 partbooks remains intact, although they have had their introductory material removed and perhaps these volumes were considered too dangerous to own. This fear, whether real or perceived, was not enough to dissuade Byrd and his publisher from producing a second book of Gradualia in 1607, or from re-printing both volumes in 1610. All of the music on this disc is drawn from the first volume of Gradualia published in 1605. The music is a world away from the dark broodings of the Cantiones Sacrae from 1589 and 1591 where Byrd is preoccupied with the melancholy which dominates his middle years. In the later publications Byrd achieves a fusion of styles, mixing the energy, wordpainting and rhythmic vitality of the secular madrigal tradition with the spirituality and liturgical context of words from the Mass and Divine Office. The witty use of short bursts of melody often thrown from one voice to another, together with the energized rhythmic cells, suggests a man who is not obsessed with a hopeless cause. It may be that in the Essex countryside, surrounded by sympathetic folk, Byrd had found a real home away from the political maelstrom which raged in London. These pieces show a glimpse of the man which is rather different to our more usual perception of the composer racked with misery at the deprivation of Catholics in England. Here we see a man in the later stages of life, affected by the aftermath of the Reformation (as his earlier publications clearly show), yet who is now sufficiently relaxed and secure to be able to indulge his considerable wit and imagination, and who is confident enough to use the most up-to-date musical styles. Here there is no wringing of hands, nor downcast eyes but rather the musical embodiment of an unshakeable faith.
Tracklista:1. Salt in the Blood2. The Darkness is No Darkness - segue - S. S. Wesley: Thou Wilt Keep Him in Perfect Peace3. First Light4. The Snows Descend5. The Secret Garden