1. SCISSOR MAN 2. THE FAMILY & THE FISHING NET 3. SILLY OUTTY 4. AMOS MOSES 5. BEHIND MY CAMEL 6. THE THING THAT SHOULD NOT BE ME 7. TOMMY THE CAT 8. BOB'S PARTY TIME LOUNGE
1. Awaken The Sleeping 2. Destined Solitaire 3. Until You Comply/Entropy 4. In Real Life There Is No Algebra 5. Where The Rain Comes In 6. At Home Watching Movies 7. Coup De Grace 8. Abigails Questions (In An Infinite Universe) 9. Stuff That Dreams Are Made Of
Only Revolution to piąty studyjny album szkockiego zespołu Biffy Clyro. Produkcją albumu zajął się ten sam skład, który pracował przy poprzednim albumie „Puzzle”, czyli: Garth Richardson, Andy Wallace i Strom Thorgerson. Na płycie gościnnie pojawił się Josh Homme z zespołu Queens of the Stone Age w piosence Bubbles. Album promują utwory „That Golden Rule" i „The Captain” nie licząc największego przeboju zespołu, „Mountains”, który był wydany rok temu tylko w wersji singlowej a który również znalazł się na tym albumie.
Trzypłytowy box zawiera aż 5 oryginalnych zremasterowanych (Original Recordings Digitally Remastered) klasycznych albumów Johnny'ego Casha. Są to albumy: "Johnny Cash With His Hot And Blue Guitar" "Johnny Cash Sings The Songs That Made Him Famous" "The Fabulous Johnny Cash" "Hymn By Johnny Cash oraz Songs Fof Our Soil" Tracklista: CD 1 1. Johnny Cash - Rock Island Line 2. Johnny Cash - (I Heard That) Lonesome Whistle 3. Johnny Cash - Country Boy 4. Johnny Cash - If The Good Lord's Willing 5. Johnny Cash - Cry Cry Cry 6. Johnny Cash - Remember Me (I'm The One Who Loves You) 7. Johnny Cash - So Doggone Lonesome 8. Johnny Cash - I Was There When It Happened 9. Johnny Cash - I Walk The Line 10. Johnny Cash - Wreck Of The Old '97 11. Johnny Cash - Folsom Prison Blues 12. Johnny Cash - Doin' My Time 13. Johnny Cash - Ballad Of A Teenage Queen 14. Johnny Cash - There You Go 15. Johnny Cash - Don't Make Me Go 16. Johnny Cash - Guess Things Happen That Way 17. Johnny Cash - Train Of Love 18. Johnny Cash - The Ways Of A Woman In Love 19. Johnny Cash - Next In Line 20. Johnny Cash - Get Rhythm CD 2 1. Johnny Cash - You're The Nearest Thing To Heaven 2. Johnny Cash - I Can't Help It (If I'm Still In Love With You) 3. Johnny Cash - Home Of The Blues 4. Johnny Cash - Big River 5. Johnny Cash - Run Softly, Blue River 6. Johnny Cash - Frankie's Man, Johnny 7. Johnny Cash - That's All Over 8. Johnny Cash - The Troubadour 9. Johnny Cash - One More Ride 10. Johnny Cash - That's Enough 11. Johnny Cash - I Still Miss Someone 12. Johnny Cash - Don't Take Your Guns To Town 13. Johnny Cash - I'd Rather Die Young 14. Johnny Cash - Pickin' Time 15. Johnny Cash - Shepherd Of My Heart 16. Johnny Cash - Suppertime 17. Johnny Cash - It Was Jesus 18. Johnny Cash - I Saw A Man 19. Johnny Cash - Are All The Children In 20. Johnny Cash - The Old Account CD 3 1. Johnny Cash - Lead Me Gently Home 2. Johnny Cash - Swing Low, Sweet Chariot 3. Johnny Cash - Snow In His Hair 4. Johnny Cash - Lead Me Father 5. Johnny Cash - I Call Him 6. Johnny Cash - These Things Shall Pass 7. Johnny Cash - He'll Be A Friend 8. Johnny Cash - God Will 9. Johnny Cash - Drink To Me 10. Johnny Cash - Five Feet High And Rising 11. Johnny Cash - The Man On The Hill 12. Johnny Cash - Hank And Joe And Me 13. Johnny Cash - Clementine 14. Johnny Cash - The Great Speckled Bird 15. Johnny Cash - I Want To Go Home 16. Johnny Cash - The Caretaker 17. Johnny Cash - Old Apache Squaw 18. Johnny Cash - Don't Step On Mother's Roses 19. Johnny Cash - My Grandfather's Clock 20. Johnny Cash - It Could Be You (Instead Of Him)
The German violin virtuoso and composer Ferdinand David was born in Hamburg on 19 June 1810, the son of a prosperous businessman. (Older dictionaries give 19 January, but this appears to be an error.) By a remarkable coincidence, he came into the world in the same house in which Felix Mendelssohn, with whom his career would become entwined, had been born a year before. Like Mendelssohn, David was Jewish by birth, though later in life he converted to Christianity. He showed prodigious talent from an early age. From 1823 to 1824, in Kassel, he studied with the violinist-composers Louis Spohr and Moritz Hauptmann, and in 1825 made his public debut in Leipzig, performing with his sister Louise (1811–1850), who was a talented pianist. During the next two years he and Louise played also in Copenhagen, Dresden and Berlin. In 1827–8 he became a violinist in the orchestra of Berlin’s Königsstädtisches Theater, and it was at this time that he first made the acquaintance of Mendelssohn, with whom he played chamber music. In 1829 he became the leader of a string quartet in Dorpat in Livonia (now Tartu, Estonia) that was retained by a wealthy amateur, Baron von Liphardt (whose daughter Sophie he subsequently married). Having by this time made a name as a star violinist he undertook concert tours as far afield as Riga, St Petersburg and Moscow.Following this period, largely spent in Russia, in 1835 David answered a call from Mendelssohn, who had been appointed conductor of the Gewandhaus concerts in Leipzig. He became the Konzertmeister (lead violinist and orchestra leader), a position he retained for the rest of his life; he also took charge of church music in the city, and from 1843, after two tours in England, he became professor of violin at the newly opened Leipzig Konservatorium. In 1845 David, playing on his 1742 Guarneri violin, gave the premiere of Mendelssohn’s Violin Concerto, which had been written for him (Mendelssohn had consulted him extensively on the solo part). Mendelssohn’s death in 1847 came as a severe blow to David, who served as a pall-bearer at the funeral. At the request of Mendelssohn’s brother Paul he cooperated with Moscheles, Hauptmann and Julius Rietz in editing the dead composer’s manuscripts.Following Mendelssohn’s death David remained in Leipzig and through his influence made that city the internationally recognized centre of violin playing in Europe. His many pupils included Joseph Joachim, August Wilhelmj, Henry Schradieck, Ludwig Abel, Engelbert Röntgen (father of the composer Julius Röntgen) and Wagner’s nephew Alexander Ritter. In his later decades he was more active as a conductor, finding violin playing difficult due to various nervous complaints, while chest ailments sometimes made it difficult for him to breathe. David died suddenly of a heart attack on 18 July 1873 near Klosters, Switzerland, while on the Silvretta Glacier with his family.He wrote about forty works, including an opera titled Hans Wacht (which he withdrew after its two performances in 1852), two symphonies, five violin concertos, a string sextet, quartets, several sets of variations (some of them on national airs) and volumes of studies for violin, choral works and some Lieder. His two concertinos, one for trombone and orchestra, Op 4 (1837), the other for bassoon (or viola) and orchestra, Op 12—both significant contributions to a limited repertoire, especially the former, one of the first solo works for trombone ever composed—are prized by players of those instruments. It was largely due to David that much early music of the Italian, French, and German schools was preserved. Not only was he active in editing works by Haydn, Beethoven and others, but he edited and published, for purposes of study, a significant proportion of the Classical repertoire of the violin. He prepared editions of studies by Kreutzer, Rode, Fiorillo, Gaviniés and Paganini, of concertos by Kreutzer and Rode, and published the first practical edition of J S Bach’s unaccompanied violin works, which he often played in public. His most celebrated feat of editing is Die Hohe Schule des Violinspiels: Werke Berühmter Meister des 17ten und 18ten Jahrhunderts, which contains selections from Porpora, Tartini, Vivaldi, Leclair, Bach and many others.David’s playing was said to combine the emotional qualities of Spohr with the increased brilliance and technical skill of his contemporaries. But though a virtuoso of the highest calibre, David did not prize virtuosity for its own sake, and he was almost universally esteemed by his composer-contemporaries: not only Mendelssohn but Berlioz, and later Brahms, for example. It is nevertheless probably true that he was more admired as a performer than a composer, and is remembered most for his editorial activities. Yet his works had considerable success in his lifetime, and their revival reveals highly attractive music of phenomenal accomplishment. Bearing in mind David’s close affinity with Mendelssohn it is hardly surprising that some of his music has a fairly Mendelssohnian character. This extends to the skilful handling of Classical forms with a rather more Romantic palette, but there is also an amiable individual character at work which produces music rich in wit and sentiment.In several cases the dates of composition of David’s works are only approximately known. This is the case with the Andante and Scherzo capriccioso, Op 16, which evidently dates from the early 1840s (indeed quite possibly from 1843, the year in which David played Berlioz’s Rêverie et Caprice, which his Op 16 somewhat resembles, under the composer’s baton). This well-balanced diptych offers plenty of opportunities for display, but has more substance than many another bravura showpieces. The Andante begins in D major. After a short and stealthy orchestral introduction the violin announces a tender, lyrical main theme, immediately characterized by the dotted rhythm of its head-motif. It then embellishes it with decorative figuration, but the sweetly melodic character of the music is not disturbed.The whole movement is really only an introduction, however, to the Scherzo capriccioso, launched by the violin’s final ascent in harmonics from the last bar of the Andante. Cast at the outset in D minor, this is a sort of diabolic—or perhaps impish, for its character suggests mischief rather than harm—tarantella of great velocity and brilliance, recalling Berlioz as much as Mendelssohn, though the orchestral tuttis have a solid, Beethovenian ring to them. There is a lilting second subject, and at the centre of the movement dramatic solo entries (fortissimo on the lowest string) introduce an elegant, contrastingly serenade-like tune in C major closely allied to the Andante theme (though there is no slackening of pace here), which is embellished by increasingly bravura double-stopping, and developed in a volatile and fiery manner. All three subjects are reprised, the serenade-like one now in A major and leading into a barnstorming D major coda whose final fff cadential bars must have been guaranteed to bring down the Gewandhaus.Rather more imposing in character, the Violin Concerto No 4 in E major, Op 23 is among David’s most substantial compositions with orchestra. The first movement’s short opening tutti is broadly Classical in outlook, opening with a suave theme for strings and woodwind that is immediately contrasted with a perky march tune for wind instruments and a more lyrical, Mendelssohnian string melody. The violin enters con fuoco in an expressive counter-exposition of this material at much greater length and volubility. A turn to C major instates a Mendelssohnian tune, dolce ed espressivo, as a full-blown second subject, rising to an emotional climax. The rhythms of the march tune then serve as the propulsive power for a development centred almost entirely on the volatile solo line. After a short dramatic orchestral tutti, solo and orchestra combine in a recapitulation which could be described as a second development, because of the remarkably expressive and fluid variants and decorations continually being introduced by the violin. The second subject returns in C major but moves tutta forza into the tonic E. In the coda the solo writing grows yet more ornate and brilliant.The slow movement, an Adagio cantabile in C major, has a beautiful, almost hymn-like opening tune, at first accompanied only by strings. Discreet chromatic turns of phrase do not detract from the tenderness of this charming music. A more agitated theme in A minor (appassionato) introduces a troubled middle section, and then the opening tune returns against a murmuring viola counterpoint in A major before being stated grandly by the soloist with triple- and quadruple-stopping in C major. The more agitated theme returns briefly before a peaceful coda. Although the principal focus of all three movements is (of course) the violin, David scores for the orchestra with exemplary sensitivity and delicacy, and this movement is a prime example of that virtue.The finale is an Allegretto grazioso sonata-rondo in jig time, with a pert, capricious main subject, immediately presented with scintillating violin virtuosity. A flamboyant risoluto is the first episode, followed by a suaver, dolce subject. A return of the main subject leads to a rumbustious tutti, out of which emerges a timpani solo, with which the violin dialogues before returning to the rondo tune. The dolce melody reappears in the tonic E major, until the jig tune takes over again. The timpanist now urges the music forward into a capricious coda, Presto, in which the violin drives merrily to the finish. Though this is in many ways a display concerto, it is rather unusual in that it does not contain a cadenza.David’s Violin Concerto No 5 in D minor, Op 35 is—at least in its first two movements—a work of more serious character, deploying an orchestra which (unlike that of No 4) includes trombones. Indeed, it begins Allegro serioso with a substantial orchestral tutti establishing an atmosphere of Sturm und Drang through its rising, thrusting opening theme with prominent dotted rhythm. There is a plaintive second idea, and then a chorale-like phrase on the horns introduces the violin’s first entry, with an espressivo variant of the opening theme. Throughout this work, in fact, David uses the orchestra in a more atmospheric and colourful way than in No 4, although it is still outshone by the marvellously conceived solo part. The soloist now embarks on a full-blown counter-exposition, finding pathos where the orchestra found drama, but also plenty of opportunities for bravura turns of phrase. The soloist then moves on to a more feminine dolce theme that adds a new element, and rhapsodizes up to a stern D minor tutti, marked by the first entry of the trombones. From here on begins the development, in which the violin takes up a variant of the dolce theme before re-working all the subjects with continuous bravura. The stormy, harried emotional atmosphere mounts until the dolce tune returns, sweetly indeed, in A major. Recapitulation blends with an ever more brilliant coda, the climax coming with the violin singing out ff largamente over dramatic string tremolos before the stentorian final bars.A romantic horn solo opens the G major Adagio, leading the violin to share a touching cantilena of elevated nostalgia. Such music might be described as sentimental, but it is also beautiful, and charmingly conceived in its orchestral setting. It rises to a passionate protestation, and then an ad libitum link (it is too short to call it a cadenza) leads into the final cadence, which segues directly into the finale. Starting with excited orchestral preparation, this Vivace movement is a headlong, breathless dance that finds us seemingly among Mendelssohn’s fairies, with the violin the most brilliant elfin dancer of all. The orchestra adds enthusiastic assent to its caperings. A con grazia episode in A major moves in a slightly statelier measure, but the sense of fun is never lost. A larger tutti introduces a broader espressivo tune in F major, but the principal Peaseblossom dance soon returns. The con grazia subject comes back in D major (as if to prove the movement a sonata-rondo); and then for a moment we hear a tender reminiscence of the Adagio’s cantilena. Only for a moment, however, for the fairies are off again, into a molto animato coda of irresistible élan. This scintillating, will-o’-the-wisp affair, with its echoes of Mendelssohn’s A Midsummer Night’s Dream music, is such an original and delightful invention that one is amazed this concerto is not better known. It may be ‘violinist’s music’, but it is an example of the genre that we can all enjoy.
Tracklista:1. Overture2. Oh, What a Beautiful Mornin'3. All Er Nuthin'4. The Sound of Music5. My Favourite Things6. Climb Every Mountain7. When I Marry Mr. Snow8. If I Loved You9. You'll Never Walk Alone10. I Have Dreamed11. Shall We Dance12. Getting to Know You13. I'm Gonna Wash That Man Right Outa My Hair14. Younger Than Springtime15. A Wonderful Guy16. Twin Soliloquies/Some Enchanted Evening
Tracklista:1. Watson's Scotch Measure - Lady Mary Hay's Scotch Measure2. Muirland Willie - Hoop Her & Gird Her - Merrily Danced The Quaker's Wife - The Hemp Dresser3. The Yellow-Haired Laddie - Afton Water4. Argyle Bowling Green - Earl Of Hyndford's Reel - Miss Farquharson Of Invercauld's Reel - Hon. Mrs. Campbell Of Lochnell's Reel5. Hey, Tutti, Taitie (Scots, Wha Hae)6. The Bashful Lover - Corn Riggs - Sic A Wife As Willie Had - Duncan Gray - Red House7. O'er The Muir Amang The Heather8. The Miller's Daughter - My Wife's A Wanton Wee Thing - Deuks Dang Ower My Daddy - I Hae A Wife9. Ca' The Ewes10. Invercauld's Reel - The Lea Rig - Rattlin Roarin Willie - Col. David Stewart Of Garth11. Killiecrankie12. Lock Erroch Side - Rothiemurchus Rant - Bonnie Lass Of Fisherrow - The Marquis Of Queensberry13. Lads Of Leith - The Highway To Edinburgh14. Miss Johnstone - Mr. Ferguson Of Raith's Strathspey - Green Grow The Rashers - Tibby Fowler O' The Glen - The Drummer15. My Nanie O16. Sir Walter Scott - Dainty Davie - Mr. John Trotter Of Castlelaw's Hornpipe17. Wandering Willie - Major Graham Of Inchbrakie - McLauchlane's Scots Measure18. Within A Mile Of Edinburgh Town - Bonny Wee Thing - Wha Can Help It19. 20. For A' That An' A' That (A Man's A Man)21. Goodnight & Joy Be Wi' Ye A' - Gates Of Edinburgh - The Bottom Of The Punch Bowl - The Cairdin' O't
1. ROCK'N'ROLL MUSIC 2. IT'S OK 3. HAD TO PHONE YA 4. CHAPEL OF LOVE 5. EVERYONE'S IN LOVE WITH YOU 6. TALK TO ME/TALLAHASSEE LASSIE 7. THAT SAME SONG 8. TM SONG 9. PALISADE'S PARK 10. SUSIE CINCINNATI 11. A CASUAL LOOK 12. BLUEBERRY HILL 13.
Kontrabas, bas elektryczny – Jim Mercer Bębny – Martin Deegan Harmonijka– Paul Lamb Gitara – Johnny Whitehill Wokal, gitara – Chad Strentz Tracklista: 1. The Pillow 2. If The Tables Were Turned 3. Sweet, Sweet Woman 4. I’m Packin’ Up 5. My Prayer 6. That’s No Good To Me 7. Sometimes I Wonder 8. All Because Of You 9. Roll With It 10. Should Be Mine 11. Waiting On You 12. John Henry Jumps In 13. Don’t Answer The Door 14. Come Back Baby 15. My Baby Left Me 16. Jump For It
Tracklista: CD 1 1. Two For One 2. Mr. Good Blues 3. Peanut Head 4. Stupid But Not Crazy 5. Nits And Wits 6. Gone With The Blues 7. I Want A Little Girl 8. Gee Baby Ain't I Good To You 9. Blue Rift 10. Since I Fell For You 11. Willow Weep For Me CD 2 1. Till There Was You 2. Answer Me My Love 3. Willow Weep For Me 4. Little Girl Blue 5. Something I Dreamed Last Night 6. Something Wonderful 7. I Remember You 8. Someone To Watch Over Me 9. Remember 10. This I Dig Of You 11. Dig Dis 12. Split Feelins 13. Soul Station 14. If I Should Lose You CD 3 1. Bags' Groove (Take 1) 2. Bags' Groove (Take 2) 3. Airegin 4. Oleo 5. But Not For Me (Take 2) 6. Doxy 7. But Not For Me (Take 1) 8. Wonder Why 9. My Funny Valentine 10. Moonray 11. The Nearness Of You 12. Stonewall 13. I Should Care CD 4 1. Waltz For Debby 2. Goodbye 3. Who Cares? 4. Venice 5. Toy 6. Elsa 7. Nancy (With The Laughing Face) 8. Know What I Mean? 9. Just A Closer Walk With Thee 10. Joshua Fit De Battle Of Jericho 11. Nobody Knows The Trouble I've Seen 12. Go Down Moses CD 5 1. Light Blue 2. Coming On The Hudson 3. Rhythm-A-Ning 4. Epistrophy (Theme) 5. Blue Monk 6. Evidence 7. Epistrophy (Theme) 8. The Kerry Dancers 9. Black Is The Colour Of My True Love's Hair 10. Green Grow The Rushes 11. The Londonderry Air 12. 251 Daze 13. Oh, Now I See 14. Hush-A-Bye 15. Ballad For Monsieur CD 6 1. Straightaway 2. Foolin' Myself 3. You Go To My Head 4. My Melancholy Baby 5. Pennies In Minor 6. Sweet And Lovely 7. Easy Livin' 8. Midway 9. Salt 10. His Master's Voice 11. Old Hat 12. Blues Serenade 13. Let's Play The Blues 14. I'll Be Seeing You 15. Muy 16. Metropolitan Blues 17. Raintree County CD 7 1. Hog Callin' Blues 2. Devil Woman 3. Wham Bam Thank You Ma'am 4. Ecclusiastics 5. Oh Lord Don't Let Them Drop That Atomic Bomb On Me 6. Eat That Chicken 7. Passions Of A Man 8. Out There 9. Serene 10. The Baron 11. Eclipse 12. 17 West 13. Sketch Of Melba 14. Feathers CD 8 1. Tenor Conclave 2. Just You, Just Me 3. Bob's Boys 4. How Deep Is The Ocean 5. Trane Whistle 6. Whole Nelson 7. You Are Too Beautiful 8. Stolen Moments 9. Walk Away 10. Jaws CD 9 1. The Last Time I Saw Paris 2. Just In Time 3. Toot, Toot, Tootsie (Goo' Bye) 4. What Is There To Say? 5. Dearly Beloved 6. Ev'ry Time We Say Goodbye 7. Cutie 8. It Could Happen To You 9. Mangoes CD 10 1. You Don't Know What Love Is 2. Lil Rousin' 3. Stella By Starlight 4. Billy's Blues 5. Rouse's Point 6. (There Is) No Greater Love 7. Three For The Festival 8. Moon Song 9. A Sack Full Of Soul 10. The Haunted Melody 11. Blues For Alice 12. We Free Kings 13. You Did It, You Did It 14. Some Kind Of Love 15. My Delight