Tracklista:1. Stop2. Looky Looky3. Underdog4. Son of My Father5. I Wanna Funk With You Tonight6. Knights in White Satin7. From Here to Eternity8. Chase9. Baby Blue10. E=Mc211. Solitary Man12. Lady Lady13. Reach Out14. American Dream15. Together in Electric Dreams16. To Be Number One17. Carry On
Tracklista: 1. Counterfeit Dreams 2. Never Been To France 3. Running From Cops 4. Watch It Burn (Feat. Vonnie Kyle) 5. Sign Me Up 6. V I N Y A S A F L O W 7. Fuck A Car We Teleport (Feat. Tickle Torture) 8. I'm A Sucker (Feat. Ashley Gold) 9. Don't Wanna Know 10. H A Z E Y 11. 3633 12. Number One On A List 13. Monopolized 14. Pheromone Heavy (No Promises) 15. Better Off 16. New Life (Feat. Louis Logic)
Kapitalna dokumentacja w wersji winylowej, niezapomnianego koncertu, jaki legenda heavy metalu, grupa Iron Maiden, dała 19 stycznia 2001 roku w Rio De Janeiro na festiwalu "Rock In Rio" dla ponad 250 tys. fanów. Szalejąca brazylijska publika usłyszała porywająco wykonane klasyki Żelaznej Dziewicy, jak również dwie kompozycje z czasów, gdy wokalistą był Blaze Bayley, "Sign Of The Cross" i "The Clansman". Produkcją zajął się Kevin Shirley. Tracklista: LP 1 Side A 1. Intro 2. The Wicker Man 3. Ghost Of The Navigator 4. Brave New World Side B 1. Wrathchild 2. 2 Minutes To Midnight 3. Blood Brothers LP 2 Side C 1. Sign Of The Cross 2. The Mercenary 3. The Trooper Side D 1. Dream Of Mirrors 2. The Clansman LP 3 Side E 1. The Evil That Men Do 2. Fear Of The Dark 3. Iron Maiden 4. The Number Of The Beast Side F 1. Hallowed Be Thy Name 2. Sanctuary 3. Run To The Hills
Tracklista: CD 1 1. New Orleans Hop Scop Blues 2. Who's Sorry Now 3. I Love My Baby 4. Old Stackolee 5. Blue Turning Grey Over You 6. The Mountains Of Mourne 7. Do Right Baby 8. Shine 9. Georgia On My Mind 10. Rent Party Blues 11. Somewhere Over The Rainbow 12. Buddy Bolden's Blues 13. Some Of These Days 14. Blues On Trumpet 15. Oh Baby! 16. Working Man Blues CD 2 1. Give Me Your Telephone Number 2. Wabash Blues 3. Rosetta 4. Confessin' 5. Tin Roof Blues 6. Blues For Humph 7. Some Of These Days (Version 2) 8. Undecided 9. Blue Orchid 10. Apple Honey 11. I Let A Song Go Out Of My Heart
This disc is the second of a series that will present the entire piano-accompanied songs and vocal works of Johannes Brahms. As such it is a companion series to the series undertaken by Hyperion for the songs of Schubert, Schumann, Fauré and Strauss.Brahms, like Schumann, but unlike Schubert with his much greater output, issued the majority of his songs in groups collected by opus number. There is a tendency in modern scholarship to suggest that he envisaged, or at least hoped for, performances of his songs in these original opus number groupings. Of course one cannot deny that some planning (though of a rather variable kind) went into the arrangement of these song bouquets for publication, but good order and cohesion in printed form (as in an anthology where poems are arranged to be discovered by the reader in a certain sequence), though pleasing to the intellect, do not automatically transfer to the world of the recital platform where one encounters a host of different practical problems, casting (male or female singer) and key-sequences (high or low voice) among them. There is nothing more meticulously planned in all song literature than the volume of 53 songs of Hugo Wolf’s Mörike Lieder—but we have no evidence to suggest that the composer, who had worked closely with the publishers to make this volume a feast for the eye, envisaged a performance of these songs in a single sitting, or on a single day.Printed poetry collections are as lovingly assembled as an opus of a composer’s varied settings, but this does not mean the poems therein are designed to be read aloud from cover to cover: the compiler of these volumes, whether or not the poet himself, would expect items to be selected by the reader according to taste or need. The anthology (or indeed opus number) might be likened to a well-ordered jewel case from which precious items may be extracted for use, depending on the occasion: the wearing in public of every item therein on a single occasion would be both impractical and vulgar. There is little evidence, especially from concert practice of the time (where items from the Schubert and Schumann cycles were often ruthlessly excerpted), that Brahms’s publications were conceived within a spirit of cyclic unity that called for an integral performance of the entire group.There is a modern tendency to see a famous cycle like Winterreise as the nineteenth-century norm to which all other groups of songs should be made to conform, and this ‘search for cycles’ has become something of an obsession in present-day musicology, a means of using the popularity of Schubert’s and Schumann’s genuine cycles as an excuse to pretend that there are similarly cohesive works in the repertoire waiting to be rescued, or restored to the unified shape the composer had intended for them all along. It is perhaps a symptom of our ‘bigger is better’ society that solitary songs, exquisite miniatures, are thought to be more significant if they form a part of something bigger. If this is true, it represents an ongoing challenge to the planners of programmes whose efforts can yield far better and more imaginative results when allowed to range over a broader canvas than that of a single opus number where all sorts of practical considerations, including commercial ones, had restricted the composer’s choices.Each disc of the Hyperion edition takes a journey through Brahms’s career. The songs are not quite presented in chronological order (Brahms had a way of including earlier songs in later opus numbers) but they do appear here in the order that the songs were presented to the world. Each recital represents a different journey through the repertoire (and thus through Brahms’s life). In a number of these Hyperion recitals an opus number will be presented in its entirety. In the case of this disc it is a grouping of Mädchenlieder from various opus numbers that was apparently envisaged by Brahms, and published after his death by Simrock in order to fulfil the composer’s wishes. In this series the folksongs of 1894 are will be shared between all the singers in the series. In a letter to Marie Scherer of 20 October 1894 we learn of Brahms’s reaction to an evening (arranged by the well-meaning Amalie Joachim) where an entire occasion was given over to these Volkslieder: ‘I do not think it a happy idea to spend a whole evening singing nothing but these folksongs. A few introduced among other (serious and sober!) songs might be enjoyable and refreshing.’ In this series this is exactly what will happen.
Tracklista: CD 1 1. Thad's Pad 2. Things Are So Pretty In Spring 3. Little Girl Blue 4. Odd Number 5. Blues For Lady Day 6. The Night We Called It A Day 7. Yesterdays 8. You're Blasé 9. Tea For Two 10. The Blue Room 11. We're All Together 12. Odd Number 13. We Could Make Such Beautiful Music Together 14. Now's The Time 15. Cyrano 16. There's A Small Hotel 17. My Funny Valentine 18. When Hearts Are Young CD 2 1. Little Girl Blue 2. Bluebird 3. How High The Moon 4. Hank's Pranks 5. Alpha 6. Wine And Brandy 7. Moonlight Becomes You 8. Relaxin' At Camarillo 9. Minor Conception 10. Sunday In Savannah 11. Spontaneous Combustion
Tracklista:1. Tease2. Alternative Universe3. Lives of Angels4. Winds of Space5. Code6. Don't Surrender7. Pigsty Cafe8. Excerpt from Cassette Number 109. Volt Air10. Space Is the Bass11. Beyond Reason Beyond Time12. Threatened13. Age of Lights (Instrumental)
Tracklista:1. Number One2. Blacked Out Windows3. Keys to the Kingdom4. The Winning Side5. Capital6. Two Guns7. Animal Song8. Let the Love Go Down9. Plow Song
By departing in virtually every respect from the conventional model of the baroque trio sonata, Bach’s six Sonatas for harpsichord and violin let both instruments participate equally in the unfolding of the thematic-motivic material. They establish a genuine dialog between the two performers as Well and, thereby, actually pave the way for the classic duo sonata. The dialog between these two top musicians is equel and enchanting and the intimate nature of this recording draws the listener immediately in the music. Bach’s violin sonatas, more properly called Sonatas for harpsichord and violin, represent a closed set of six works and resemble in this way a number of similar instrumental work groups consisting of half a dozen pieces of the same kind. Take for example the six Sonatas and partitas for unaccompanied violin, the six suites for cello solo, the six English Suites, or the six Brandenburg Concertos—to mention only a few. The concept Bach pursues in these work groups, however, does not aim at a cycle in the sense of a specific sequence in which the pieces are to be performed; it rather follows the principle of systematically exploring the manifold musical possibilities that can be realized in one and the same category of composition. Hence, the single works happen to form a whole, that is, a more or less closed set. If published it would constitute an “opus”, as Bach called the printed edition of his six keyboard partitas of 1731. The most important feature of Bach’s violin Sonatas consisted in their innovative scoring, an absolute novelty at the time of their origin and in Many Ways the prototype, on which the classical violin-piano sonata of a Mozart and Beethoven would be based. Even though the traditional Elements of the Baroque trio sonata For Two treble instruments and basso continuo can still be found in a number of movements or sections of movements where the violin and the right hand of the harpsichord form a duo structure over a bass fundament, the prevailing texture of the harpsichord part transcends the trio convention. In the six Sonatas BWV 1014-19, the composer Bach single-handedly created a transformation of the genre of violin sonata.
Tracklista:1. Marooned On Memory2. Vibe Design3. Conflicting Reports4. Bad Atom5. Electronic Jam Number 7