For their debut recording (made in 1987), the ensemble Sinfonye put together a program focusing on (as the subtitle puts it) "the Medieval Woman: Lover, Poet, Patroness and Saint." Naturally, Sinfonye includes "A chantar m'er," the only lyric by a female troubadour (the Comtessa Beatriz de Dia) to have survived with a melody; they also include two examples of the chanson de femme, a genre that, though written by a man, depicts a female narrator lamenting the loss of her beloved to another. The centerpiece of the disc, however, is the Cantigas de Amigo by the Galician trovador Martin Codax: this six-song cycle depicts a young woman alternately lamenting the absence of her seafaring lover and celebrating his imminent return. Very little is known for certain about how or even whether these songs were accompanied by instruments; Sinfonye uses various combinations of medieval fiddle, hurdy-gurdy, harp, and drum--and even unaccompanied voice. Singer Mara Kiek, whose background is in Balkan folk singing, has a throaty, slightly rustic tone yet sings with a vivid eloquence fully worthy of the material. Matthew Westphal   GRAMOPHONE CRITICS' CHOICE 'Surely one of the most memorable and touching recitals of the decade' (The Independent)'Like so much that has been good, innovative and dangerous in recent recordings of early music, this comes from Hyperion' (BBC Record Review)'A fantastic record. Buy it' (Early Music News)

• Wykonawca Sinfonye
• Data premiery 2006-01-01
• Nośnik CD

Debiutancki album szwedzkiej formacji metalowej Stitched Up Heart. Tracklista: 1. Finally Free    2. Monster    3. Catch Me When I Fall    4. Monster    5. Event Horizon    6. It's So Easy    7. Never Alone    8. Now That You're Gone    9. Turn You On    10. Bleeding Out    11. City Of Angels    12. I Can't Breathe

• Wykonawca Stitched Up Heart
• Data premiery 2016-06-17
• Nośnik CD

Few great composers of the past are more elusive than Josquin Des Prez. No sooner had the facts of his life and achievement been established by pioneer musicologists such as Helmuth Osthoff and Edward Lowinsky than those same facts somehow began to melt, to trickle away through our fingers. There was a time, not many years ago, when at least the outline of Josquin’s biography was felt to be secure. Now much of that biography seems far less certain, and there is a nagging suspicion that the documents which might have told us more in fact no longer exist. For how many years did Josquin live and work in France? What truth is there in the reported sighting of him at the court of Hungary? During his last fifteen years, for whom was Josquin composing? Had we been dealing with a lesser talent, those questions might have been allowed to pass. But Josquin bears the reputation of being a towering genius of his age, music’s equivalent to Leonardo da Vinci or Michelangelo. How dearly one would have liked to know more about the man, beyond what the sound of his music can tell us.The works themselves are full of problems. Again, there was a time when one could hold up a hefty pile of music and say with confidence ‘all this is by Josquin’. But the pile is dwindling: it is full of forgeries and misattributions. Even pieces that were once regarded as the epitome of Josquin have been removed. What was probably Josquin’s best-loved motet, Absalon fili mi, has recently been given instead to Pierre de La Rue. Of the works that remain firmly credited to Josquin—thankfully there are still plenty of them—virtually none can be dated precisely, and a dispiritingly small number are even loosely connected with the known facts of his life. As if the problems of biography, attribution and chronology were not enough, searching questions are now being raised even about the notion of Josquin as ‘towering genius of his age’. How did he acquire that reputation? Does he (and did he ever) merit it? At what point does the reality of Josquin turn into Josquin the myth?All this negative information serves to introduce the more positive things that can be said about the three works on this recording. First, all three seem to be quite securely by Josquin. Second, they clearly come from different periods of his life. The Vultum tuum deprecabuntur cycle is early, composed for Milan Cathedral probably during the time Josquin spent there as a singer between 1459 and 1472. Planxit autem David is a more mature work; a date nearer to 1500 has been suggested, although nothing certain is known about the circumstances of its composition. Later still—probably among Josquin’s very last works—is the Missa Pange lingua; it could easily have been written in the seven years preceding his death in 1521. Third, no one will question the exceptional craftsmanship and artistry of all three works. As long as music of this quality continues to be attached to Josquin’s name, one need have no doubts about the stature of the man.Josquin cannot have been much above the age of thirty when he wrote the motet cycle Vultum tuum deprecabuntur, and it may be a symptom of his still modest status as a singer at Milan and his relative inexperience as a composer that the work conforms so closely to established models. Like similar cycles written for Milan Cathedral by Compère, Gafurius, Gaspar van Weerbeke and others, the Vultum tuum deprecabuntur motets were intended to accompany the celebration of Mass, not as interludes but rather as a simultaneous sacred ‘concert’: in some of the Milanese cycles the various motets have actually been labelled ‘loco [= in place of the] Introitus’, ‘loco Gloria’, ‘loco Credo’, and so on. Strictly speaking, such substitution did not interfere with the liturgical act: provided that the celebrant spoke the correct liturgical texts, the choir was free to perform whatever it liked. In practice, few churches outside Milan adopted this curious practice. Although parts of Vultum tuum deprecabuntur found their way into the repertoires of other singers, there is no reason to believe that they were used in the Milanese fashion; most of the motets in the cycle address the Blessed Virgin Mary, and they could easily have been put to other devotional purposes. So scattered have the constituent parts of the cycle now become that their intended order is in some doubt. This performance follows the reconstruction by Patrick Macey, including the ‘little’ Ave Maria as the Offertory substitute and Tu lumen as the Elevation motet—neither being previously associated with the cycle.Far less is known about another of Josquin’s motet cycles, Planxit autem David. With a few minor modifications, the words are Biblical—David’s lament for Saul and Jonathan—and they have no obvious connection with the liturgy. Given the highly charged nature both of the text and Josquin’s sombre music, some sort of political allegory seems highly likely, but the work has not yet been linked with any specific event or person. Unlike the various motets in the Vultum tuum deprecabuntur cycle, which are musically independent from one another and were meant to be sung at different points in the Mass, the four movements of Planxit autem David are thematically related and must be performed one after another. Not only is the text a single continuous narrative; Josquin binds together the cycle by quoting the Gregorian reciting-tone for the Lamentations of Jeremiah in the first, third and fourth motets, each time at the words ‘How are the mighty fallen’.Plainchant also lies at the heart of the Missa Pange lingua, but in this case the foundation melody, the Corpus Christi Hymn ‘Pange lingua gloriosi’, has been so thoroughly absorbed into Josquin’s music that only the sharp-eared will be alert to its presence. Where many Masses based on chant keep the parent melody in the foreground, Josquin instead uses its contours to govern only the progress of the melodic lines, with all manner of infilling and rhythmic elaboration added to camouflage its essential shape. Possibly the appeal of the work to modern audiences—it is Josquin’s most performed Mass—lies precisely in the way its variety and unity are kept in equilibrium: for all the music’s richness of invention, everything is contained within clearly perceptible bounds of possibility. Only the very opening of the Hymn melody stubbornly retains its identity: it sets each of the five movements in motion, and sometimes recurs at major structural divisions in the text: at ‘Qui tollis peccata mundi’ in the Gloria, for example, ‘Crucifixus’ in the Credo, and at the head of all three invocations of the Agnus Dei.John Milsom © 1992

• Wykonawca Various Artists
• Data premiery 2011-05-01
• Nośnik CD

Album został zainspirowany zdjęciami Wyatt McSpaddenz 1996r., które fotograf wykonał w Mississippi oprowadzany przez Luther i Cody’ego Dickinson. Płyta zawiera 12 utworów wyprodukowany samodzielnie przez braci Dickinson na rodzinnym ranczo The Zebra Ranch studio. Gościnnie na albumie pojawiają się Mavis Staples, Jason Isbell, Cedric Burnside, Duane Betts, Carl Dufrene oraz Sharde Thomas.   Tracklista: 1. Call That Gone 2. Up and Rolling 3. What You Gonna Do? (Feat. Mavis Staples) 4. Drunk Outdoors 5. Peaches 6. Mean Old World (Feat. Jason Isbell and Duane Betts) 7. Out On the Road (Feat. Cedric Burnside) 8. Lonesome in My Home 9. Bump That Mother 10. Living Free 11. Take My Hand, Precious Lord (Feat. Cedric Burnside) 12. Otha's Bye Bye Baby (Feat. Otha Turner)  

• Wykonawca North Mississippi Allstars
• Data premiery 2019-10-04
• Nośnik Płyta Analogowa

Album został zarejestrowany w składzie: Adam Nergal Darski – gitara / voc, Sasha Boole – gitara / voc, Matteo Bassoli – bass / voc oraz Łukasz Kumański – perkusja / voc, ale na krążku nie zabraknie licznych, interesujących i zaskakujących gości – są to między innymi: Corey Taylor (Slipknot), Brent Hinds (Mastodon), Matt Heafy (Trivium) oraz Jørgen Munkeby z norweskiego Shining. „New Man, New Songs, Same Shit, vol.1” został wyprodukowany przez Nergala, a nagraniami zajęli się Haldor Grunberg i Łukasz Kumański. Materiał zarejestrowano w Drive Recording Studio, miksem zajął się Haldor Grunberg w Satanic Audio, natomiast masteringiem Brian Lucey w Magic Garden Mastering. Projekt okładki i ilustracje: Bartek Rogalewicz /LODGE.BLACK O nowym albumie tak mówi Nergal: „Z największą dumą i zarazem z pewnego rodzaju ulgą przedstawiam Wam drugi materiał Me And That Man - „New Man, New Songs, Same Shit, vol.1". Tym razem chciałem podjąć trochę inne wyzwanie i stworzyć album składający się z 11 utworów, ale tak, żeby każdy kawałek wyróżniał się odmiennym charakterem i klimatem. Album zarejestrowałem wraz z najbardziej utalentowanymi i najważniejszymi osobami z obecnej sceny i wspólnie wybieramy się na wycieczki do świata bluesa, folku, country, a nawet spaghetti westernu. Czas pokaże, czy osiągnęliśmy cel, ale głęboko wierzę, że tak będzie. Jestem bardzo dumny z tego dzieła. Chciałbym podziękować KAŻDEMU z naszych gości za udział w tym projekcie, a są to: Mat & Matt, Niklas i Jorgen, Corey, Alan, Addi, Brent, Vegard, Sivert, Anders, Rob, Jerome, Johanna i Nicke. KOCHAM Was wszystkich nieskończenie! Bez pasji i serca, które w te dźwięki włożyliście, powstanie „New Man, New Songs, Same Shit, vol.1” nie byłoby możliwe! ” Nowy album promują utwory: „Surrender” (gdzie partie wokalne zarejestrował Anders Landelius, zwany Slidin’ Slimem, a solo gitarowe zagrał Rob Caggiano, ex- Anthrax, Volbeat) , „Burning Churches” (w utworze gościnnie wystąpił Mat McNerney z formacji Grave Pleasures, którego porywający wokal doskonale akcentuje ten mocno inspirowany mrokiem bluesowy kawałek, wytwarzając iście złowieszczą atmosferę). „Run With The Devil” (któremu towarzyszy zainspirowany niepowtarzalną atmosferą filmowych klasyków Quentina Tarantino, wyreżyserowany przez Romana Przylipiaka klip; w utworze gościnnie wystąpił Jørgen Munkeby z norweskiego Shining). Me and That Man to zespół, który powstał z inicjatywy lidera Behemoth, Adama Nergala Darskiego. Krytycy określają ich muzykę jako połączenie rocka, mrocznego bluesa, folku i country. Grupa powstała w 2016 roku. Debiutancki album formacji nosił tytuł „Songs of Love and Death” i ukazał się 24 marca 2017 roku nakładem brytyjskiej wytwórni Cooking Vinyl. Latem 2018 roku nastąpiła zmiana składu zespołu, ale M&TM właśnie otwierają nowy rozdział w swojej karierze. Adam Nergal Darski określił M&TM jako nowy ekscytujący etap w swoim życiu, który buduje most pomiędzy dwoma światami: ekstremalną sceną z której się wywodzi i zupełnie nowym obszarem, pełnym cieni i znaków zapytania. Muzykę M&TM opisał jako rodzaj wędrówki, podczas której człowiek staje twarzą w twarz ze swoimi demonami. Twórczość Me And That Man pokazuje, że Nergal posiada niebywałą umiejętność dostosowania swojego mocnego, radykalnego przekazu do każdego gatunku muzycznego i że świetnie się w każdym z tych gatunków odnajduje. A przecież blues nazywany jest muzyką diabła… Tracklista: 1. Run With The Devil / Feat. Jorgen Munkeby (Shining NO) 2. Coming Home / Feat. Sivert Høyem (Madrugada) 3. Burning Churches / Feat. Mat Mcnerney (Grave Pleasures) 4. By The River / Feat. Ihsahn (Emperor) 5. Męstwo 6. Surrender / Feat. Landers Andelius (Dead Soul) 7. Deep Down South / Feat. Johanna Sadonis (Lucifer) 8. Man Of The Cross / Feat. Jérôme Reuter (Rome) 9. You Will Be Mine / Feat. Matt Heavy (Trivium) 10. How Come / Feat. Corey Taylor (Slipknot) 11. Confession / Feat. Niklas Kvarforth (Shining SE)

• Wykonawca Me and That Man
• Data premiery 2020-03-27
• Nośnik CD

Tracklista: CD 1 1. Miss You 2. Picking Sweethearts 3. Hey, Mister Cotton Picker 4. Are You Looking For A Sweetheart? 5. Cling To Me 6. Pine Tree, Pine Over Me 7. Goodnight Sweetheart Goodnight 8. Lonesome Polecat 9. Muskrat Ramble 10. Christmas Alphabet 11. Sincerely 12. No More 13. Open Up Your Heart (And Let The Sun Shine In) 14. The Naughty Lady Of Shady Lane 15. Doesn't Anybody Love Me? 16. It May Sound Silly 17. Rhythm And Blues (Mama's Got Rhythm, Papa's Got The Blues) 18. Something's Gotta Give 19. Kiss Me And Kill Me With Love 20. Heart 21. Give Me Love 22. Sweet Song Of India 23. He 24. The Littlest Angel 25. My Baby's Got Such Lovin' Ways 26. (Baby, Baby) Be Good To Me CD 2 1. Missing 2. Delilah Jones 3. Picnic 4. In The Alps 5. Weary Blues 6. Every Day Of My Life 7. Endless 8. Goodnight My Love, Pleasant Dreams 9. Kid Stuff 10. Blue Skies 11. Please Don't Do That To Me 12. Beginning To Miss You 13. Around The World In 80 Days 14. Kiss Them For Me 15. Sugartime 16. Ding Dong 17. Volare (Nel Blu Dipinto Di Blu) 18. May You Always 19. Summer Dreams 20. Peace 21. Red River Valley 22. Livin' Dangerously 23. The Last Dance 24. Just For Old Times Sake 25. Tears On My Pillow 26. Just Because 27. Sugartime Twist 28. I Really Don't Want To Know

• Wykonawca The McGuire Sisters
• Data premiery 2016-06-10
• Nośnik CD / Album

Tracklista: CD 1 1. That's My Desire 2. A Sunday Kind Of Love 3. Black And Blue 4. Mam'selle 5. On The Sunny Side Of The Street 6. Two Loves Have I 7. Shine 8. We'll Be Together Again 9. Monday Again 10. Baby, That Ain't Right 11. You're All I Want For Christmas 12. Ah, But It Happens 13. Georgia On My Mind 14. Now That I Need You 15. That Lucky Old Sun 16. Mule Train 17. The Cry Of The Wild Goose 18. Satan Wears A Satin Gown 19. Swamp Girl 20. Stars And Stripes Forever 21. Music, Maestro Please 22. Dream A Little Dream Of Me 23. Nevertheless 24. If I Were A Bell 25. May The Good Lord Bless And Keep You CD 2 1. The Metro Polka 2. Jezebel 3. Rose, Rose, I Love You 4. Pretty-Eyed Baby 5. In The Cool, Cool, Cool Of The Evening 6. The Girl In The Woods 7. Wonderful, Wasn't It? 8. Hey Good Lookin' 9. Gambella (The Gambling Lady) 10. Jealousy (Jalousie) 11. The Gandy Dancer's Ball 12. When You're In Love 13. Hambone 14. High Noon 15. The Rock Of Gibraltar 16. The Mermaid 17. Tonight We're Settin' The Woods On Fire 18. Chow Willy 19. I'm Just A Poor Bachelor 20. Tonight You Belong To Me 21. Sugarbush 22. I Believe 23. Your Cheatin' Heart 24. I Let Her Go 25. Ramblin' Man 26. The Little Boy And The Old Man 27. Tell Me A Story 28. Where The Wind Blows CD 3 1. Hey Joe 2. Answer Me 3. Blowing Wild (The Ballad Of Black Gold) 4. Way Down Yonder In New Orleans 5. Granada 6. The Kid's Last Fight 7. Some Day 8. There Must Be A Reason 9. Rain, Rain, Rain 10. Your Heart, My Heart 11. My Friend 12. In The Beginning 13. Cool Water 14. Strange Lady In Town 15. Hummingbird 16. Hawk-Eye 17. A Woman In Love 18. Sixteen Tons 19. Hell Hath No Fury 20. Don't Cry 21. Moonlight Gambler 22. Love Is A Golden Ring 23. The 3.10 To Yuma 24. Good Evening Friends 25. Up Above My Head 26. Rawhide 27. Gunslinger

• Wykonawca Frankie Laine
• Data premiery 2016-11-04
• Nośnik CD / Album

Album zawiera 20 hitów Peggy Lee. Peggy Lee właściwie Norma Deloris Egstrom (ur. 26 maja 1920 w Jamestown, zm. 21 stycznia 2002 w Los Angeles) − amerykańska piosenkarka i aktorka. Tracklista:  1. Lover 2. Be Anything (But Be Mine) 3. You Go To My Head 4. Forgive Me 5. Watermelon Weather 6. That's Him Over There 7. Who's Gonna Pay The Check? 8. My Heart Belongs To Daddy 9. Easy Living 10. Black Coffee 11. Johnny Guitar 12. Bouguet Of Blues 13. Love, You Didn't Do Right By Me 14. Sugar (That Sugar Baby Of Mine) 15. Somebody Loves Me 16. What Can I Say After I Say I'm Sorry 17. Mr. Wonderful 18. He Needs Me 19. They Can't Take That Away From Me 20. It's All Right With Me

• Wykonawca Lee Peggy
• Data premiery 2019-01-20
• Nośnik CD

„The Legacy Of: Rn'B Slow Jamz” - trzypłytowy album będący syntezą najpopularniejszych utworów muzyki stylu Rn'B Slow Jamz. Album idealny na klubowe szaleństwa, jak i na domowe imprezki. Znalazły się tu klasyki i remixy stylu: „Pony” Ginuwine, „Young Love” Chris Brown i wiele, wiele innych.Tracklista:CD 11. Take You Out - Luther Vandross2. Don't Wanna Be a Player - Joe3. They Like It Slow - H-Town4. Pony - Ginuwine5. Imagine That - Next 6. Naked Without You - Roachford7. Somebody Already Broke My Heart - Sade8. When the Shades Go Down - Allure9. No, No, No, Pt. 1 - Destiny's Child 10. Are U Still Down? - Jon B.11. Young Love - Chris BrownCD 21. Can U Get Wit It - Usher2. 5 Miles to Empty - Brownstone3. Westside - TQ4. In the Hood - Donell Jones5. You Gotta Be - Des'ree6. Show You the Way to Go - Men of Vizion7. Keep Tryin' - Groove Theory8. Til the Cops Come Knockin' - Maxwell9. Reason for Breathing - Babyface10. Ready & Willing - Jagged Edge11. Goodbye - Alicia KeysCD 31. Days Like This - Kenny Lattimore2. I Wish - Remix (To the Homies That We Lost) - R. Kelly 3. The Color of Love - Boyz II Men4. Come on Over Here - Toni Braxton5. I Really Wanna Sex Your Body - Link6. I Apologize - Ruff Endz7. Kiss the Sky - Tatyana Ali8. Sweet Lady - Tyrese9. Never Find Someone Like You - Keith Martin 10. Holler - Ginuwine11. They Don't Know - Jon B.

• Wykonawca Various Artists
• Data premiery 2016-09-23
• Nośnik CD

CD1 1. Dignity 2. When Will You Make My Telephone Ring 3. Chocolate Girl 4. Raintown 5. The Very Thing 6. Love's Great Fears 7. He Looks Like Spencer Tracy Now 8. Loaded 9. Real Gone Kid 10. Wages Day 11. Fergus Sings The Blues 12. Love And Regret 13. Queen Of The New Year 14. Circus Lights 15. My America 16. Long Window To Love 17. ORPHANS 18. I'll Never Fall In Love Again 19. Your Swaying Arms CD 1. Twist And Shout 2. Cover From The Sky 3. The Day That Jackie Jumped The Jail 4. A Brighter Star Than You Will Shine 5. The Wildness 6. Your Town 7. Will We Be Lovers 8. Only Tender Love 9. I Was Right And You Were Wrong 10. Indigo Sky 11. Bethlehem's Gate 12. Bound To Love 13. Still In The Mood 14. Jesus Do Your Hands Still Feel The Rain 15. Rae 16. Homesick 17. When You Were A Boy You Were A Beautiful Boy

• Wykonawca Deacon Blue
• Data premiery 2008-12-10
• Nośnik CD