THE COLLECTOR'S GUIDE CONTENTS, FIRST DEMOS, ALL SINGLE 1. YOU'RE ON MY MIND 2. YOU DON'T LOVE ME (YOU DON'T CARE 3. LEAVING HERE 4. NEXT IN LINE 5. NO GOOD WITHOUT YOU BABY 6. HOW CAN IT BE 7. YOU'RE ON MY MIND (ORIGINAL DEMO ACETATE) 8. YOU DO
Tracklista: 1. Prelude2. Reach Out for the Light3. Serpents in Paradise4. Malleus Maleficarum5. Breaking Away6. Farewell7. The Glory of Rome8. In Nomine Patris9. Avantasia10. A New Dimension11. Inside12. Sign of the Cross13. The Tower14. Inside15. Avantasia16. Avantasia (Single Edit)
W ramach obchodów 50-lecia pierwszego przeboju Davida Bowiego, "Space Oddity", po wydawnictwach "Spying Through A Keyhole", "Clareville Grove Demos" i "The "Mercury" Demos" ukazuje się podwójny 7-calowy singel "Space Oddity" z nowymi miksami przygotowanymi przez producenta Tony'ego Viscontiego. Winylowy zestaw oraz jeden utwór w wersji cyfrowej (do pobrania i w streamingu) ukazują się dokładnie dzień po 50. rocznicy premiery singla "Space Oddity". Podwójny 7-calowy singel "Space Oddity" wydany jest w boksie zawierającym dwustronny plakat przedstawiający reklamę "Space Oddity" oraz zdjęcie Davida Bowiego zrobione 30 listopada 1969 roku przez Raya Stevensona podczas koncertu Save Rave '69 w londyńskim Palladium. W zestawie znajduje się również karta informacyjna oraz kopia zdjęcia wykonanego przez Jojanneke Claassen podczas sesji promocyjnej "Space Oddity". Okładka, jak również okrągła naklejka na płycie, opatrzone zostały oryginalnym logo Philipsa, które firma, w drodze wyjątku, pozwoliła wykorzystać specjalnie na potrzeby tego jubileuszowego wydawnictwa. Singel pochodzi z oryginalnej, analogowej taśmy. Koperta, w której znajduje się płyta z nowymi miksami Tony'ego Viscontiego, została zaprojektowana z wykorzystaniem innego niż to na plakacie zdjęcia z sesji Raya Stevensona z koncertu Save Rave '69. Singel "Space Oddity" ukazał się na 7-calowym winylu 11 lipca 1969 roku. Utwór otwierał drugi, imienny album Davida Bowiego. Za inspirację posłużył muzykowi film Stanleya Kubricka "2001: Odyseja kosmiczna". Piosenka zyskała wielką popularność, gdy stała się nieoficjalnym tematem przewodnim towarzyszącym materiałom z lądowania Apollo 11 na Księżycu. Kosmiczna misja NASA rozpoczęła się 5 dni po premierze singla. Tracklista: 1. Space Oddity - (Original Mono Single Edit) 2. Wild Eyed Boy From Freecloud - (Original Mono Single Version) 3. Space Oddity - (2019 Mix - Single Version / Tony Visconti) 4. Wild Eyed Boy From Freecloud - (2019 Mix - Single Edit / Tony Visconti)
Tracklista:1. Devils2. Feel Berlin3. Nothing On You4. Sister of Charity5. Lost Boys6. Jimmy7. August Moon8. Beneath the Blue (Feat. Ville Valo)9. Christina Death10. Hevioso11. Only You Can Save Me12. From Dusk 'Til Dawn13. Pitchblack14. Feel Berlin (Single Edit)
1. A Hard Rain's A-Gonna Fall (US 7" Version) (2009 Digital Remaster) - Bryan Ferry 3:242. The 'In' Crowd (1999 Digital Remaster) - Bryan Ferry 4:343. Smoke Gets In Your Eyes (1999 Digital Remaster) - Bryan Ferry 2:534. You Go To My Head (1999 Digital Remaster) - Bryan Ferry 2:425. Let's Stick Together (1999 Digital Remaster) - Bryan Ferry 3:006. The Price Of Love (1999 Digital Remaster) - Bryan Ferry 3:267. This Is Tomorrow (1999 Digital Remaster) - Bryan Ferry 3:398. Tokyo Joe (1999 Digital Remaster) - Bryan Ferry 3:559. Can't Let Go (1999 Digital Remaster) - Bryan Ferry 5:1410. Slave To Love (7" Version) (2009 Digital Remaster) - Bryan Ferry 4:0111. Don't Stop The Dance (7" Version) (2009 Digital Remaster) - Bryan Ferry 3:5812. Windswept (2004 Digital Remaster) - Bryan Ferry 4:3713. Limbo (1999 Digital Remaster) - Bryan Ferry 4:5914. Kiss And Tell (Edit) - Bryan Ferry 3:5915. I Put A Spell On You (Single Mix) - Bryan Ferry 3:5516. Don't Want To Know (1999 Digital Remaster) - Bryan Ferry 4:0817. The Way You Look Tonight - Bryan Ferry 3:3718. Goddess Of Love - Bryan Ferry 3:3219. The Times They Are A-Changin' (Radio Edit) - Bryan Ferry 3:0020. I Don't Want To Go On Without You - Bryan Ferry 3:2221. A Fool For Love (Alternative Version) - Bryan Ferry 2:52
Interactive football quiz with over 800 questions and unique clips, with single and multiplayer options.
Tracklista:1. Sunny Shine Feeling2. If You're Ready (Here It Comes)3. It's You That I Need4. You're the One That I Need5. You Must Be an Angel6. Up Higher7. Silly Love Song8. Angel in My Life9. Trying to Get Over (With You)10. It's You That I Need (Single Version)11. If You're Ready (Here It Comes) (Single Version)
Tracklista:1. Prayer for Death and Fire2. Sulfur Giants (Red King)3. Twilight Witchcraft4. Ghost Riders5. The Devil (In G Minor)6. 13th Breath of the Zodiac7. Come Crimson Death8. Into Starlit Chambers9. 13th Breath of the Zodiac (Single Version)10. White Witch of Rose Hall11. Anthem
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:1. All I Ever Wanted2. Calvary Hill4. Do You Want Me to Start, Alan3. Got On My Travelling Shoes5. I Never Will Marry6. Come On Boys. Let's Go to the Ball7. A Rich Irish Lady8. The Poor Drowned Sailor9. Pharoah10. I Used to Could Sing11. Outtake (London 1959)12. There's Never Been a Merry England13. Seeds of Love14. Calvary15. Make Lulu Behave Herself16. Single Girl, Married Girl17. I Can't Really Forget Them18. Sally Anne19. The Cloud House/Cyclobe20. Missa Humana21. Wondrous Love