Tracklista: 1. From the Moon2. Open Fire3. Don't Wanna Lose4. Hell Or High Water5. Forever6. Black Tiger7. Barroom Boogie8. My Way Or the Highway9. Winds of Change10. Somebody for Me
Tracklista: CD 1 1. Charmaine 2. The Breeze and I 3. Ebb Tide 4. Soft Lights and Sweet Music 5. Forgotten Dreams 6. Moonglow/Theme from Picnic 7. Lonely Ballerina 8. Elizabethan Serenade 9. Lisbon Antigua (In Old Lisbon) 10. Swedish Rhapsody 11. Westminster Waltz 12. Marching Strings 13. Delicado 14. Bewitched 15. Patricia 16. Love Letters 17. April in Portugal 18. When the White Lilacs Bloom Again 19. Unchained Melody 20. Stardust CD 2 1. Terry's Theme from Limelight 2. A Summer Place 3. Hi-lili, Hi-lili, Hi-lo 4. The Girl That I Marry 5. Three Coins in a Fountain 6. Around the World 7. True Love 8. Bali Ha'i 9. The Moulin Rouge Theme 10. Carousel Waltz 11. The River Kwai March/Colonel Bogey March 12. Almost Like Being in Love 13. Hernando's Hideaway 14. March of the Siamese Children 15. So in Love 16. People Will Say We're in Love 17. Love Is a Many-splendoured Thing 18. On the Street Where You Live 19. The Story of Three Loves 20. Stranger in Paradise CD 3 1. Cheek to Cheek 2. Begin the Beguine 3. Dancing in the Dark 4. On the Sunny Side of the Street 5. Till 6. Bye Bye Blues 7. Thanks for the Memory 8. You Make Me Feel So Young 9. My Heart Stood Still 10. Don't Blame Me 11. Don't Blame Me 12. Jealousy 13. Tea for Two 14. La Mer 15. Sleepy Lagoon 16. Moonlight Serenade 17. Unforgettable 18. Autumn Leaves 19. Goodnight Sweetheart 20. My Foolish Heart
Album grupy Supertramp "Breakfast In America" był najlepiej sprzedającym się krążkiem na świecie w 1979 roku i zdobył dwie nagrody Grammy isprzedając się w ponad 20 milionach egzemplarzy. Po wydaniu albumu Supertramp rozpoczął 10 miesięczną światową trasę koncertową przybywając do Paryża pod koniec listopada. Ten show z Pavillon de Paris był zarówno sfilmowany i nagrany. Teraz po raz pierwszy został przywrócony z oryginalnego filmu 16mm dla fanów na całym świecie. Dźwięk został zremiksowany przez Peter Hendersona i inżyniera dźwięku Russela Pope z oryginalnych multi-tracks i jest prezentowany zarówno w stereo jak i dźwięku przestrzennym 5.1. Ten legendarny koncert jest absolutnym szczytem i obowiązkową pozycją dla każdego fana Supertramp. Wydawnictwo zawiera 2 CD oraz DVD. DVD : Czas : 133 minuty, Format: NTSC Region 0 / Screen Format: 16:9 / DVD Sound Formats: DTS Surround Sound, Dolby Digital 5.1, Dolby Digital Stereo.Tracklista:CD 11. School2. Ain't nobody but me3. The logical song4. Goodbye stranger5. Breakfast in America6. Bloody well right7. Hide in your shell8. From now on9. Child of vision10. Even in the quietest moments11. You started laughing (When I held you in my arms) CD 212. A soap box opera13. Asylum14. Downstream15. Give a little bit16. Dreamer17. Rudy18. Take the long way home19. Another man's woman20. Fool's overture21. Two of us22. Crime of the centuryDVD1. School2. Bloody well right3. The logical song4. Goodbye stranger5. Breakfast in America6. Hide in your shell7. Asylum8. Even in the quietest moments9. Give a little bit10. Dreamer11. Rudy12. Take the long way home13. Another man's woman14. Child of vision15. Fool's overture16. Two of us17. Crime of the century18. From now on (Credits)BONUS TRACKS:1. Featuring remixes audio with newly created visuals2. Ain't nobody but me3. You started laughing (When I held you in my arms)4. A soap box opera5. From now on6. Downstream
3-płytowe wydawnictwo zawiera aż 60 oryginalnych, klasycznych hitów znakomitej brytyjskiej grupy instrumentalnej The Shadows. Grupa The Shadows powstała we wrześniu 1959 roku pod nazwą The Drifters jako zespół akompaniujący Cliffowi Richardowi. Po spopularyzowaniu w USA hitu "Living Doll" w wykonaniu Cliffa Richarda zespół zmienił nazwę na The Shadows. Chodziło o uniknięcie konfliktu z zespołem o nazwie The Drifters działającym na rynku amerykańskim. Następnie po odejściu Richarda rozwijali swoją wspaniałą karierę w latach sześćiesiątych, grając z przerwami do dnia dzisiejszego. Prezentowana płyta CD zawiera aż 30 oryginalnych, wielkich hitów The Shadows - między innymi "Apache", "Man Of Mystery", "FBI", "Kon Tiki", "36-24-36", "Shadoogie", "Blue Star", "The Stranger" i wiele innych. Liderem grupy jest grający na gitarze Hank Marvin. Oprócz niego w podstawowym składzie grali : Bruce Welch - gitara, Brian Bennett - perkusja, John Rostill - gitara basowa, Jet Harris - gitara basowa (do 1962 roku).Tracklista:CD 11. Wonderful Land2. Kon-Tiki3. The Frightened City4. Shadoogie5. The Rumble6. Bo Diddley (Vocal)7. Blue Star8. Sleep Walk9. Shotgun10. The Boys11. Nivram12. See You In My Drums13. Baby My Heart (Vocal)14. Stand Up And Say That15. Mustang16. Gonzales17. That's My Desire (Vocal)18. Find Me a Golden Street19. Theme From A Filleted Place20. All My Sorrows (Vocal)21. Chinchilla22. Driftin'CD 21. F.B.I.2. The Savage3. Stars Fell on Stockton4. Peace Pipe5. Man Of Mystery6. Guitar Tango7. 36-24-368. The Theme From 'Shane'9. Back Home10. Midnight11. The Girls12. My Resistance Is Low13. The Stranger14. Saturday Dance (Vocal)15. Quartermaster's Stores16. Big Boy17. Lonesome Fella (Vocal)18. Bongo Blues19. Jet Black20. Feelin' Fine (Vocal)CD 31. Dance On2. Apache3. 18614. Cosy5. Perfidia6. Are They All Like You (Vocal)7. Kinda Cool8. All Day9. Tales Of A Raggy Tramline10. Some Are Lonely11. The Bandit (Vocal)12. Little "B"13. The Theme From 'Giant'14. Sweet Dreams15. What A Lovely Tune (Vocal)16. Spring Is Nearly Here17. South Of The Border18. The Theme From 'The Boys'19. Be-Bop-A-Lula (Live/Sudio)20. Don't Be A Fool (With Love)
Tracklista: CD 1 1. Easy As Can Be (Tom Middleton Beatless Mix) 2. I Burn Like (Ambient Mix) 3. Mistral (Ambient Mix) 4. Yarra Valley (Reprise) 5. In Your Boat (Reprise) 6. My Real Name Is (Reprise) 7. Lamur (AM Mix) 8. Aurora Borealis (Reprise) 9. Bilder (Wiretappeur Reprise) 10. Vamoosh (King Unique Kosmische Mix) 11. 2000000 Suns (KU Heat Death of the Universe Mix) 12. Jardin Nights (From Paris & Berlin Mix) 13. Pink Trees (On the Couch Journey Mix) 14. Involve (Ambient Mix) 15. Beaming (Downbeat Mix) 16. In Search of Silver (Ambient Mix) 17. Freaky Boy from Outside 18. Beautiful Strange (Ambient Mix) CD 2 1. Vamoosh (King Unique Kosmische Mix) 2. Driven (Distortion Remix 1) 3. Finally Mine (Feat. Mistress Barbara) (Gorge Remix) 4. Searching (Shonky Remix) 5. Telesto (Martin Buttrich Remix) 6. Follow 7. Kaffee-monster (Nathan Coles & David Coker's Spanish Fly Mix) 8. What the Fuck 9. Piece By Piece (Maetrik Remix) 10. Soak 11. Sante 12. Kick1 Kick3 (Maetrik Sexy Remix) 13. Isolated Funk Ensemble (Sarah Goldfarb Remix) 14. Come On 15. Emergency (Super Flu's Gentle Dental Nurse Remix) 16. Kuar (Henrik Schwarz Remix) CD 3 1. Bilder (King Unique Rebild) 2. Detroit 3. Sante 4. Come On 5. Follow (Feat. Maetrik) 6. Two Colours 7. Parallax 8. Scarab 9. Tiger Forest (Ryan Davis Rework) 10. We Are Children (Feat. Steve T)
1 Extras 8:092 Echo 5:003 From Before 6:524 Love Song 8:245 Tee 10:29
Tracklista: 1. A Crack In The Ice 7:25 2. Pins And Needles 2:46 3. Double Vision 4:33 4. Elea 2:59 5. The Hanging Tree 7:31 6. A State Of Grace 3:42 7. Blood Red Room 1:22 8. In The Blink Of An Eye 5:22 9. (Don’t Forget To) Breathe 5:25 10. Serenity 2:52 11. Tears In The Rain 5:03 12. Enemy Without 5:06 13. Running From Damascus 4:17 14. The Visitor 7:12 15. Poisoned 5:05 16. Jericho 7:39 17. Mirror Lies 8:44 18. Tinder Box 4:01 19. Solomon 15:05 20. Ascension 5:12 21. Crying For Help VII 6:12
Tracklista:1. Time Lapse to Fall2. As the Parrot Flies3. One Day It Will4. View from the Sky5. Lemon Avenue6. November Reveries7. Sifting Through the Silence8. October Ballad9. Snowy Day in Boston10. Down and Out
Najnowsza 2-płytowa superkompilacja zawierająca aż 40 superhitów Boba Dylana w tym takich jak: „Blowin' In the Wind”, „The Times They Are A-Changin'”, „Like a Rolling Stone”, „Lay Lady Lay”, „Mr. Tambourine Man”, „Knockin' On Heaven's Door”, „Gotta Serve Somebody”, „Just Like a Woman”, „Forever Young”, „Maggie's Farm”, „All Along the Watchtower” i wiele innych. Opakowano w gustowny, rozkładany digipack. Tracklista: CD 1 1. Blowin' In The Wind 2. Don't Think Twice, It's All Right 3. A Hard Rain's A-Gonna Fall 4. The Times They Are A-Changin' 5. It Ain't Me, Babe 6. Like A Rolling Stone 7. Mr. Tambourine Man 8. Subterranean Homesick Blues 9. Maggie's Farm 10. Positively 4th Street 11. I Want You 12. Rainy Day Woman # 12 & 35 13. Just Like A Woman 14. All Along The Watchtower 15. Girl From The North Country (Ft. Johnny Cash) 16. Lay Lady Lay 17. I Threw It All Away 18. If Not For You 19. The Man In Me 20. Wigwam 21. Must Be Santa CD 2 1. Knockin' On Heaven's Door 2. George Jackson (Acoustic Version) 3. Watching The River Flow 4. Forever Young (Slow Version) 5. Shelter From The Storm 6. Tangled Up In Blue 7. Simple Twist Of Fate 8. Hurricane (Part 1) 9. One More Cup Of Coffee 10. Changing Of The Guards (Single Version) 11. Gotta Serve Somebody 12. Jokerman 13. Make You Feel My Love 14. Not Dark Yet (Single Version) 15. Things Have Changed (From Wonderboys) 16. Most Likely You Go Your Way (And I'll Go Mine) (Mark Ronson 17. Duquesne Whistle 18. Melancholy Mood
This second volume of works by James MacMillan explores his liturgical music as well as orchestral work: his deep commitment to the Catholic faith and his dramatic and colourfully expressive writing for the orchestra have two constants during the course of his career, with frequent overlapping between the two.O may seem at first to be a fashionably enigmatic title. In fact, it is the vocative “O” found in so many liturgical texts, and famously, in the Latin rite, the “O” antiphons which frame the Magnificat at vespers on the last seven days of the season of Advent. The vocative “O” in these remarkable texts addresses Christ, using a title drawn from the Old Testament prophecies of Isaiah and Micah – Sapientia (Wisdom), Adonai (Lord of Israel), Radix Jesse (Root of Jesse), Clavis David (Key of David), Oriens Radiant Dawn/Daypring), Rex Gentium (King of the Nations), Emmanuel (God with us), the initials of which, when reversed, form a Latin acrostic – “Ero cras”, meaning“Tomorrow I come”.In 2007 MacMillan set the antiphon for 21 December, O Oriens, in English translation as O Radiant Dawn, one of the series of “Strathclyde Motets” that the composer has written for practical liturgical use, simple of texture and memorable of melody. The present work is an adaptation of the motet, made in 2008, for three treble voices, trumpet in C and string orchestra. The musical material of the motet is left intact, gently haloed and amplified by the strings, but the bipartite structure of the original is changed by the insertion of a central section, heralded by the trumpet, in which the voices construct a meditative fantasy on the vowel “O”, while the wide-ranging trumpet writing seems to project the radiance of the Christological title of the text. The trumpet returns at the end of the work, hovering over pulsing choral repetitions of the word “Amen”.Tryst is the earliest work on this disc, and was written in 1989 to a commission from the St Magnus Festival in Orkney. It was first performed there by the Scottish Chamber Orchestra, under the direction of Paul Daniel in June of that year. The work is in one movement made up of five sections, and is dedicated to Susan Loy, the composer’s grandmother, who died in March of that year. In many ways this is the work in which the composer’s technique and vocabulary proclaimed that he was a presenceto be reckoned with, though wider renown would come with The Confession of Isobel Gowdie, completed in the following year. The work’s title comes from a poem in Scots by William SoutarO luely, luely cam she inAnd luely she lay doun:I kent her be her caller lipsAnd her breists sae sma’ and roun’.(O softly, softly came she inand softly she lay down:I knew her by her fresh lipsAnd her breasts so small and round.)MacMillan initially wrote a simply melody for the poem, a melody that has, as he notes, “persistently appeared, in various guises, in many works composed since – a congregational mass setting, a tiny fragment for violin and piano (After the Tryst) and ... in my music theatre piece Búsqueda. Not only has it cropped up again in this piece, but it has provided both the title and the emotional core of the music.”Though the poem is apparently a straightforward love poem, MacMillan finds in it a whole world of conflicting sentiments, associations which are transferred to the melody, which has thereby attained the status of symbol in his work, suggesting, he says “commitment, sanctity, intimacy, faith ... love, but it is also saturated witha sadness as if all these things are about to expire.”This ambiguity is what makes Tryst such a compelling piece. There is certainly a feeling of farewell, and lamentation, but even though one might also detect acceptance, the work is far from pacific. Indeed, it opens with what one might describe as a violent keening, a glissando- drenched duet for clarinets combined with loud interjections from the whole orchestra. There is also a more “ceremonial” style of writing, perhaps suggesting Stravinsky’s Symphonies of Wind Instruments as an ancestor, or just possibly even the chorales of Birtwistle, that first appears in the second section ofthe work. This solemnity is gradually transformed into a kind of intoxicated dance, but again, consistent with the mercurial quality of the work, we are unexpectedly presented with a calmly beautiful chorale, played by pianissimo strings in a way that suggests a consort of viols, under soaring, questing violins, prefiguring moments in both Veni, Veni, Emmanuel (1991-2; recorded on volume 1 of this series, Challenge CC72540) and Seven Last Words from the Cross (1993). This in turn is transformed into a folk lament, but one framed and coloured by the full resources of the orchestra. The final section brings back the chorale-like material from the central section, but once again, it is contradicted by faster, more athletic writing; in keeping with Soutar, the music fades softly away to nothing:Sae luely, luely cam she inSae luely was she gaen:And wi’ her a’ my simmer days Like they had never been.(So softly, softly came she inSo softly was she gone:And with her all my summer days As though they had never been.)MacMillan’s settings of the Magnificat and Nunc dimittis were written in 1999 and 2000 to commissions from the BBC and Westminster Cathedral respectively. The Magnificat was intended to be sung at the first BBC broadcast of choral evensong of the new Millennium, from Wells Cathedral, and both works exist in versions for choir and organ and for choir and orchestra. They are both large-scale, celebratory compositions, with dramatic and colourful writing for the orchestra – the spacious, haunting orchestral opening is surely one of the most unforgettable scene-settings for this text ever written – and making use of predominantly homophonic choral writing, rather different from the composer’s preference in general for melisma and highly decorated melodic lines, so that when more ornamented writing does appear, at “He hath filled the hungry with good things...”, it is the more striking. The doxology is positively shocking in its blazing, brassy, almost snarling portrayal of divine glory, but the quiet dynamics of the choral “Amens” and the final descent into mysterious calm with string glissandi imitating doves are a typically subtle MacMillan touch.While the Nunc dimittis shares material with the Magnificat (most obviously the final “Amen”), it appears in a different guise, with much transformed modally. The work opens with basses quietly intoning the word “Lord” on a low E, doubled by cellos and double-basses and enveloped in a bass drum roll. The composer emphasizes in his noteto the work the “unusual” chirping unison melody that subsequently appears for trebles, altos and tenors, doubled in the organ version by the sesquialtera stop, and orchestrally by woodwind, trumpet with mute and harmonics on the violin. At the end the music subsides back onto the basses’ low E, the starting point for this awe-struck exclamation of faith.