Tracklista:1. Ruthless Kick2. Wake Up Deaf3. Mandatory Cocaine Song4. Flapjack5. 2 Many Ta 2's6. Stage Diver7. Dead Elizabeth8. I Hate Fuckas9. Asterix10. Obelix
1. RACE AMONG THE RUINS 2. THE WRECK OF THE EDMUND FITZGERALD 3. I'M NOT SUPPOSED TO CARE 4. I'D DO IT AGAIN 5. NEVER TOO CLOSE 6. PROTOCOL 7. THE HOUSE YOU LIVE IN 8. SUMMERTIME DREAM 9. SPANISH MOSS 10. TOO MANY CLUES IN THIS ROOM
Tracklista:1. Too Many Gods2. Only in Vegas3. Last Man Standing4. The Mad Hatter's Tea-party5. Mr Heartache6. Greatest Story Never Told7. Five Minute Celebrity
Dub Pistols świętują dwudziestolecie istnienia siódmym albumem zatytułowanym "Crazy Diamonds". To mieszanka dubu, reggae, ska, punku, i drum' n' bass. Zespół do współpracy zaprosił między innymi takich muzyków jak Beenie Man, Cutty Ranks, Earl Sixteen, Too Many T’s, MCs Navigator and the Ragga Twins, Lindy Layton. Tracklista: 1. London Calling (feat. MC Navigator) 2. Crazy Diamond (feat. Too Many T’s) 3. Boom (feat. Seanie T) 4. La La La (feat. Too Many T’s) 5. Rising (feat. Earl 16 & MC Navigator) 6. Baby I Love You (feat. Lindy Layton & Seanie T) 7. Lively (feat. Ragga Twins) 8. Mad On the Road (feat. Ragga Twins) 9. Never Never (feat. MC Navigator) 10. Kingdom (feat. Cutty Ranks & Seanie T) 11. Party’s On (feat. Beannie Man & Seanie T)
EP-ka Primusa z coverami, która oryginalnie ukazała się w 1998 roku, po raz pierwszy na winylu. Materiał zremasterowano z oryginalnych taśm. Zespół wykonał utwory takich artystów jak XTC, Peter Gabriel czy Les Claypool. Na płycie znajduje się bonusowy utwór w postaci „The Devil Went Down To Georgia”. Tracklista: 1. Scissor Man 2. The Family and the Fishing Net 3. Silly Putty 4. Amos Moses 5. Behind My Camel 6. Too Many Puppies (Self-cover, originally from Frizzle Fry) 7. The Thing That Should Not Be (Metallica cover) 8. Tommy the Cat (Live at the Henry J. Kaiser Arena, December 31, 1997) 9. Bob’s Party Time Lounge (Live at the Henry J. Kaiser Arena, December 31, 1997)
Tracklista: CD 1 1. Happy Ever After 2. The Comfort Of Strangers 3. Few Too Many 4. Invisible War 5. My Lover's Keeper 6. Cocooned 7. Where Does The Time Go? 8. Woman Of The 80's 9. The Other Woman 10. Behind Closed Doors 11. Unconditional Love 12. I Wish 13. Waiting For A Miracle 14. My Mistake 15. The Comfort Of Strangers 16. Woman Of The 80's 17. Where Does The Time Go? 18. The Comfort Of Strangers CD 2 1. The Other Woman 2. Cocooned 3. My Mistake 4. Few Too Many 5. Invisible War 6. Behind Closed Doors 7. My Little Secret
Tracklista: 1. Mass 2. Vacuum 3. Heat 4. Finger 5. Suicide Days 6. For We Are Many 7. Movie 8. Target
Tracklista:1. Too Many Chiefs2. Love Is Revolution3. Chinarosa4. The Native Tongue5. Video6. Right Time7. The Messengers8. The Knight Surrenders Today
Tracklista:1. Last Date2. Sleep3. To Each His Own4. Theme from the Alamo5. Temptation6. Georgia On My Mind7. Please Help Me, I'm Falling8. Chances Are9. Melodie D'amour10. Night Theme11. My Heart Has a Mind of Its Own12. Misty13. Moon River14. Tonight15. Exodus16. Around the World17. The Sound of Music18. Till There Was You19. I Could Have Danced All Night20. You Gave Me Wings21. Some Enchanted Evening22. Wish You Were Here23. Love Is a Many Splendored Thing24. You'll Never Walk Alone25. Bubbles in the Wine26. Scatterbrain27. Donna Lee28. Mary Lou29. Firefly Serenade30. Josephine
Bach’s direct source of inspiration for the cello suites was most probably the virtuoso cello playing of Christian Ferdinand Abel, also in the service of Prince Leopold of Köthen and a superb violinist and viola da gamba player as well. This must, however, remain guesswork, as the original manuscripts of the cello suites have been lost. It is primarily thanks to Anna Magdalena Bach, Bach’s second wife and a singer in service to Prince Leopold with the title of Cammer-Musicantin, that we owe the survival of these works. It was she who prepared many first copies of Bach’s works, including the earliest known copy of the cello suites. Quirine Viersen uses the most recent edition from Bärenreiter as the basis for her first recording of the Bach cello suites; this edition is an amalgamation of four manuscript copies, including the original copy by Anna Magdalena Bach. After in-depth study of the Bärenreiter edition and of the historical musicological works by Mattheson, Leopold Mozart and Quantz, the greatest musical theorists of the Baroque era and the forefathers of today’s historically informed performance movement, Quirine Viersen allowed herself to be guided by instinct rather than by intellect and finally decided to follow her own intuition. Having said this, she did study the Suites with her teacher Heinrich Schiff, played them in a masterclass with Yo-Yo Ma and took lessons with no one less than Nikolaus Harnoncourt. But most of all she took to heart the lessons she received from her own father Yke Viersen: principal Cellist with the Concertgebouw Orchestra for the last 30 years. Quirine Viersen about the Suites: “Even though the suites were not composed for ecclesiastical use, they do seem to deal with higher matters. This has nothing to do with ‘Amen’ or ‘Allah hu akbar’. I feel that we are people who attempt to come as close as possible to the heart of our existence. In many ways we have possibly become a little unworthy; we have torn ourselves loose and have completely forgotten that things can often have a deeper meaning, that these things can exist in a broader context. This was self-evident to Bach, for his life and his works were permeated with awe for higher things, for God. This was an integral part of the time in which he lived. Bach was not simply a man whose musical genius would never be equalled but was also an enthusiastic and inspired craftsman who set himself the highest demands.” “The German language draws a felicitous distinction between two different types of people: Kopfmensch and Bauchmensch. The first relies on his head, his intellect, whilst the second relies on his belly, his gut feelings. I am clearly a Bauchmensch. When I am on stage I am principally concerned with what I feel, with trying to express what I believe lies inside Bach’s music. What was Bach’s intention in composing his suites for cello? For me they are a landscape in which everything exists to be discovered afresh. Many musical narratives are possible and each landscape has its own perfumes and colours; each movement represents a particular state of mind. To traverse Bach’s music is to traverse infinity.”