Live performance of Guided by Voices' final concert at The Metro, Chicago, on New Year's Eve 2004. The American indie rock band played for over four hours and performed 63 songs in total.

• Data premiery 2015-01-23
• Nośnik DVD

PLAYED W/ RING OF FIRE & MOGG-WAY 1. DISCOVERY 2. JOURNEY TO THE STARS 3. SHEDDING SKIN 4. ABOVE & BEYOND 5. LIGHTSPEED 6. UNEARTHED 7. THE SON 8. ADRENALIN RUSH 9. SYMPHONIA I 10. SYMPHONIA II 11. ONE LAST WISH 12. RUN FOR COVER 13. FOREVE

• Wykonawca Bellas George
• Data premiery 2003-11-11
• Nośnik CD

Johann Sebastian Bach’s six suites for solo cello are well-known and beloved works that are central to the repertoire of any cellist or violist. However, they are also works fraught with uncertainties, ranging from the circumstances of their composition to performance practices. It is not known when, why or for whom the suites were composed, or even for exactly which instrument they were intended. Further questions bedevil performance choices. What did Bach intend in the way of bowings and articulation? Did he have French or Italian bowing practices in mind?The first surviving copy of the suites, by Johann Peter Kellner, was made in 1726, so the suites must have been composed before then. It seems reasonable to assume that Bach wrote them around 1720 in Cöthen, at about the same time as the six sonatas and partitas for solo violin, but there is no hard evidence to support this. Anner Byslma speculates that the suites might have been composed earlier, and there is no compelling reason to assume that all of the suites were composed at the same time. Even the seemingly straightforward designation of suites as being for “violoncello” is problematic. The word “violoncello” could refer to instruments of different sizes and playing techniques in the early 18th century. The cello as we now know it emerged in Italy around the 1660s, with its size standardized by Stradivarius at the beginning of the 18th century. In Bach’s day, “violoncello” could refer to the older, larger instruments or to the smaller instruments on the Stradivarius model, as well as to the so-called violoncello da spalla (or viola da spalla), an instrument slung over the shoulder and played with something closer to violin technique than to cello technique. Furthermore, not all of the suites are intended for the same instrument. The Sixth Suite requires a five string instrument, which could either be a five-string cello held between the legs (perhaps a violoncello piccolo), or a five-string violoncello da spalla. Bach included prominent parts for a “violoncello piccolo” in a number of his cantatas written in Leipzig between 1724 and 1725. For some of these cantatas, the violoncello piccolo lines are either written in treble clef, or contained in the first violin part, suggesting that they were played by a violinist, on a cello slung from the shoulder. As Mark M. Smith argues, it seems quite possible that the Sixth Suite was written at the same time (possibly for the same player and instrument), and also intended be played on a shoulder-slung instrument.Any attempt to guess the circumstances under which the suites were composed is contingent upon the above uncertainties. If Bach did compose the suites around 1720, and if he did intended them (or at least the first five of them) for a cello held between the legs, then, as David Ledbetter suggests, he might very well have composed them for Christian Bernhard Linike, an excellent cellist who arrived in Cöthen shortly before Bach did. If they were intended for a shoulder cello, then perhaps Bach, who played violin and viola, played them himself.In addition to these problems, no doubt the most troubling circumstance for the performer is that we have no manuscript for the suites in Bach’s own hand. All published editions are based on some combination of 18th century copies. The sources differ significantly in terms of bowings and articulations, and occasionally even disagree about pitches. The copy with the most biographical authority is that made by Anna Magdalena Bach, sometime between 1727 and 1731, but she was not a string player, and a comparison between her copy of the solo violin sonatas and partitas and Bach’s own manuscript shows her to have been neither precise nor unambiguous in her labors.These are suites for some sort of cello, but, as Bylsma points out, it is entirely possible that Bach played them for himself on the viola. Bylsma even finds some chords and string-crossings that fit the hand of a violist better than that of a cellist. The cello suites have been part of the viola repertoire since the beginning of the 20th century. In 1916 G. Schirmer published a viola transcription edited by Louis Svecenski (principal violist of the Boston Symphony Orchestra, and violist of the Kneisel Quartet), following it with another edition by Samuel Lifschey (principal violist of the Philadelphia Orchestra for thirty years) in 1936. Although she did not publish an edition of the Bach Suites, Lillian Fuchs was instrumental in making the suites part of the standard concert and pedagogical repertoire for violists through her advocacy as a performer and as a teacher, much as Pablo Casals had done for cellists. A number of other transcriptions followed after the Second World War, including one by Milton Katims who had worked with Casals at the Prades Festival. Until fairly recently, viola editions were heavily edited, with bowings and dynamics added liberally to facilitate expressive performances in the Casals and Fuchs manner.Helen Callus plays from the critical edition prepared for Peters by Simon Rowland-Jones, but has made her own decisions about articulations, dynamics and ornamentation based on the original sources. She plays the Fifth Suite with the scordatura tuning requested by Bach, tuning her top string down from A to G (this suite can be played with a normally-tuned instrument, but at the expense of leaving some notes out of Bach’s chords and of different timbres for some notes). Callus plays the Sixth Suite in G major, rather than Bach’s D major. Although this involves changing Bach’s key, it also means that the viola version is closer in tessitura to Bach’s original than it would be in D major (a fourth higher rather than an octave), and it allows for more of Bach’s effects with open strings to be preserved.Recorded on September 19, 21 and 23, 2010 at: Salle Francoys-Bernier, Domaine Forget

• Wykonawca Callus Helen
• Data premiery 2011-03-01
• Nośnik CD

Tracklista: 1. Opening Sequence2. Lasers for Eyes3. Space Sickness4. Monster5. Celeste6. Galaxia7. The Devil Played Backwards8. Spiral Vortex9. Force Field

• Wykonawca The Night Terrors
• Data premiery 2015-12-12
• Nośnik Płyta Analogowa

Tracklista: Side A 1. The Wild Rover  2. The Lark In The Morning  3. The Lifeboat Mona  4. Weila Weila Waile  5. Down By The Glen Side  6. Lord Of The Dance  7. Danny Farrell  8. The Mero  Side B 1. Champion At Keepin Them Rolling  2. Free The People  3. Skibbereen  4. Louse House At Kilkenny  5. Gentleman Soldier  6. And The Band Played Waltzing Matilda  7. Joe Hill  8. Whiskey In The Jar 

• Wykonawca The Dubliners
• Data premiery 2019-07-03
• Nośnik Płyta Analogowa

Lista utworów:1. I’m Back2. Cherry Red Wine3. Move From The Hood4. Bad Love5. Big City6. Chicago7. Just As I Am8. Low Down And Dirty9. Pain In The Streets10. All The Kings Horses11. Freedom12. Luther Speaks13. When Luther Played The Blues

• Wykonawca Trout Walter
• Data premiery 2013-06-10
• Nośnik CD

Tracklista:1. I Don't Want to Go Home2. The Fever3. This Time It's for Real4. Love On the Wrong Side of Town5. Without Love6. Havin' a Party7. Got To Get You Off My Mind (Live Version)8. Snatchin' It Back (Live Version)9. Sweeter Than Honey (Live Version)10. You Mean So Much To Me (Live Version)11. Little By Little12. Got to Be a Better Way Home13. This Time Baby's Gone for Good14. I Played the Fool15. Hearts of Stone16. Take It Inside17. Talk to Me18. Next to You19. Trapped Again

• Wykonawca Southside Johnny And The Asbury Jukes
• Data premiery 2003-02-10
• Nośnik CD / Album

Wznowienie piątej płyty w dyskografii zespołu Franka Zappy - jednego z najsłynniejszych amerykańskich muzyków awangardowych XX w.  Zappa był muzykiem – samoukiem, kompozytorem, fenomenalnym gitarzystą, doskonałym performerem, producentem, inżynierem dźwięku i reżyserem filmowym. Wciągu trwającej ponad 30 lat kariery tworzył muzykę, która najczęściej wymykała się wszelkim kategoryzacjom. Frank Zappa zmarł w 1993r. z powodu raka prostaty.Piąta płyta Zappy i jego zespołu The Mothers of Invention - „Uncle Meat” ukazała się oryginalnie w 1969r. Płyta miała być również soundtrackiem do filmu science fiction, który jednak nigdy nie został ukończony. Bardzo zróżnicowany muzycznie album był mieszanką muzyki instrumentalnej, jazzu, rocka i bluesa i  odniósł całkiem spory sukces komercyjny. Był też wychwalany za bardzo eksperymentalne jak na owe czasy techniki nagrywania i edytowania.Lista utworów:DISC 11. Uncle Meat: Main Title Theme 1:552. The Voice Of Cheese 0:263. Nine Types Of Industrial Pollution 6:004. Zolar Czakl 0:545. Dog Breath, In The Year Of The Plague 3:596. The Legend Of The Golden Arches 3:277. Louie Louie (At the Royal Albert Hall in London) (Berry) 2:188. The Dog Breath Variations 1:489. Sleeping In A Jar 0:5010. Our Bizarre Relationship 1:0511. The Uncle Meat Variations 4:4612. Electric Aunt Jemima 1:4613. Prelude To King Kong 3:3814. God Bless America (Live at the Whisky A Go Go) (Berlin) 1:1015. A Pound For A Brown On The Bus 1:2916. Ian Underwood Whips It Out (Live on stage in Copenhagen) 5:0517. Mr. Green Genes 3:1418. We Can Shoot You 2:0319. “If We'd All Been Living In California...” 1:1420. The Air 2:5721. Project X 4:4822. Cruising For Burgers 2:18DISC 21. Uncle Meat Film Excerpt Part I 37:342. Tengo Na Minchia Tanta 3:463. Uncle Meat Film Excerpt Part II 3:514. King Kong Itself (as played by the Mothers in a studio) 0:515. King Kong (its magnificence as interpreted by Dom DeWild) 1:196. King Kong (as Motorhead explains it) 1:457. King Kong (the Gardner Varieties) 6:178. King Kong (as played by 3 deranged Good Humor Trucks) 0:339. King Kong (live on a flat bed diesel in the middle of a race track at a Miami Pop Festival... the Underwood ramifications) 7:25

• Wykonawca Zappa Frank
• Data premiery 2012-07-31
• Nośnik CD

Highlights of Manchester United's 2017/2018 season featuring every goal from every game and interviews with the club's players and staff. In their 26th season in the Premier League and the first season since 2003/2004 without their former club captain Wayne Rooney, Manchester United also played in the Champion's League following their 2016/2017 UEFA Europa League win.

• Data premiery 2018-01-18
• Nośnik DVD

Album "Never Played A 45" poza zabawnymi historiami wyśpiewywanymi przez Macka B, oferuje również niezwykle ciekawą warstwę muzyczną. Na płycie znalazły się archiwalne podkłady ze Studia One, Treasure Isle i od Banny'ego Lee. Tracklista: 1. Hail H.I.M. 2. Big Thief 3. Soundman 4. Never Played A 45 5. Too Much Chicken 6. Medical Marijuana Card 7. Rasta Tell Dem 8. Fire 9. African 10. Complaining 11. Beautiful Naturally 12. One Life Featuring – Phyllis Dillon 13. Iternal Love 14. Another One Gone 15. Their God

• Wykonawca Macka B
• Data premiery 2016-01-09
• Nośnik CD