Tracklista:1. High Tiding2. This Is a Game3. It No. 34. Let It Come Down5. Sleepin' Pills6. Holly7. Dead Room8. Well It's Fine9. Ain't There Something That Money Can't Buy10. Hands On the Clock
Tracklista:1. I'm Flexible2. She Happens3. Afterprom5. Acceptance Speech4. Return to the Pec Deck6. Because of M.A.S.K.7. Under Wolf Rule8. There Was a Time
Tracklista: 1. Main title 2. Jam 3. Wanna be startin' somethin' 4. Human nature 5. Smooth criminal 6. I just can't stop loving you 7. She's out of my life 8. I want you back / The love you save 9. I'll be there 10. Thriller 11. Billie Jean 12. Working day and night 13. Beat it 14. Will you be there 15. Black or white 16. Heal the world 17. Man in the mirror 18. Credits
Tracklista:1. From Now On2. Flames3. Ain't There Something That Money Can't Buy4. Beggin' (Extended Version)5. Beggin'
Nagrania pochodzą z Wacken Festival z 2001 roku. Tygers of Pan Tang to brytyjska grupa heavymetalowa założona przez gitarzystę Robba Weira w 1978. Jeden z przedstawicieli nurtu NWOBHM. Największe sukcesy osiągnęła w latach 80 XX w. Z wieloma zmianami składu grupa gra do dziś. Tracklista: 1. Intro 2. Rock & Roll Man 3. Euthansia 4. Don't Touch Me There 5. Money 6. Suzy Smiled 7. Wild Cat 8. Insanity 9. Fireclown 10. Straight As A Die 11. Burnin Up 12. Tush 13. Love Potion # 9
Kiedy a-ha zrobili sobie 7-letnią przerwę pod wydaniu piątej płyty "Memorial Beach" (1993), każdy z członków tria - Morten Harket, Magne Furuholmen i Pål Waaktaar-Savoy - skupili się na solowych przedsięwzięciach. Wszystko się zmieniło, gdy grupa została zaproszona na koncert towarzyszący ceremonii wręczenia Pokojowej Nagrody Nobla w 1998 roku, w Oslo. a-ha wykonali wówczas dwie piosenki i szybko wrócili do wspólnego tworzenia. W efekcie powstał idealny na powitanie nowego millenium longplay "Minor Earth | Major Sky", który muzycy promowali podczas bardzo dobrze ocenianej trasy. Dwa lata później wydali "Lifelines" i wówczas było pewne, że wrócili na dobre. Warner Music przygotowało wznowienia dwóch milenialnych albumów, w nowych zremasterowanych wersjach. Ukażą się w formatach podwójnego cd i winyla. Wersje płytowe zostały wzbogacone o bonusy, niepublikowane dema, odrzuty z sesji a nawet koncertowe nagrania. Do obydwu płyt dodano komentarze autorstwa dziennikarza i muzycznego historyka, Kierona Tylera. "Lifelines (Deluxe Edition)" poszerzono o bonusy oraz płytę z 19 wczesnymi wersjami nagrań, demami i piosenkami, które ostatecznie nie trafiły na album. A-ha wrócili na dobre, wydając w 2002 roku następcę "Minor Earth | Major Sky", czyli "Lifelines", udowadniając jednocześnie, że wciąż są w dobrej o ile nie lepszej formie. W tak zwanym międzyczasie Magne Furuholmen zajmował się nie tylko muzyką, ale i sztukami wizualnymi, zespół Påla Waaktaara-Savoya, Savoy, wydał czwarty album "Reasons to Stay Indoors" (2001), a Morten Harket z powodzeniem rozwinął solową karierę. "Morten zasugerował, że powinniśmy zacząć tworzyć coś razem - wspominał Magne." - Tak zaczęła się na nowo nasza współpraca. Na "Lifelines" każdy z członków tria dostarczył własne kompozycje, które później dopracowało sześciu różnych producentów, w tym Stephen Hague, Clive Langer, Alan Winstanley i Martin Landquist. Anneli Drecker użyczyła swego pięknego głosu w kilku nagraniach. Tak powstał najbardziej różnorodny, kolorowy album a-ha, który został ciepło przyjęty przez krytyków, a w Niemczech dotarł na 1. miejsce notowania. Jak pokazuje drugi krążek dołączony do edycji deluxe "Lifelines", a-ha mieli więcej piosnek niż te, które zmieścili na płycie. Znalazły się wśród nich "The Breakers", "Sole Survivor" czy "To Show It Is To Blow It". "The Breakers" później zostało nagrane przez zespół Påla, Savoy. Sesje odbywały się w Londynie, Nowym Jorku i Oslo. Niektóre z tamtych próbnych nagrań trafiły na reedycję, ukazując jak pomysły przeradzały się w takie hity jak "Lifelines" czy "Dragonfly". W dość surowej, wczesnej wersji dema "Forever Not Yours" wyraźnie słychać, jak płodny, pełen pomysłów był duet Magne-Morten, pracując nad późniejszym przebojem. Tracklista: CD 1 1. Lifelines 4:17 2. You Wanted More 3:39 3. Forever Not Yours 4:06 4. There’s A Reason For It 4:13 5. Time & Again 5:03 6. Did Anyone Approach You? 4:10 7. Afternoon High 4:30 8. Oranges On Appletrees 4:16 9. A Little Bit 4:10 10. Less Than Pure 4:13 11. Turn The Lights Down 4:14 12. Cannot Hide 3:19 13. White Canvas 3:27 14. Dragonfly 3:19 15. Solace 4:20 Bonus Tracks 16. Did Anyone Approach You? (Tore Johanson Mix) 5:56 17. Time & Again (Langer & Wainstanley version) * 5:49 18. Lifelines (Apoptyma Berzerk Remix) 6:25 CD 2 1. Lifelines (Demo) 5:18 2. You Wanted More (Demo)* 4:01 3. Forever Not Yours (Demo)* 4:12 4. There’s A Reason For It (Demo)* 4:13 5. The Breakers * 3:25 6. Time & Again (Demo)* 5:11 7. Did Anyone Approach You? (Demo)* 4:01 8. Afternoon High (Original Demo) 4:39 9. Oranges On Appletrees (Early Mix)* 3:59 10. Sole Survivor * 4:09 11. Less Than Pure (Demo)* 4:18 12. To Show It Is To Blow It (Demo)* 4:10 13. Turn The Lights Down (Demo)* 4:00 14. Cannot Hide (Demo)* 3:14 15. There’s A Reason for it (A Break In The Clouds)* 4:21 16. One In a Million (Demo)* 2:45 17. Dragonfly (Demo)* 3:34 18. Solace (Early Version)* 4:11 19. Differences (Original Demo) 2:47 * Previously Unreleased
This disc is the first 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 those 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 this 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, Op 48). The folksongs of 1894 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 evening 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.Graham Johnson © 2010
01. Miles Davis - Compulsion02. Cannonball Adderley - I got Rhythm03. Dave Brubeck - The Duke04. Stan Getz - Don't worry about me05. Dizzy Gillespie - Desafinado06. Charles Mingus - Just for Laughs (Part 2)07. John Clotrane - Naima08. Quincy Jones – Exoduns09. George Benson - There never will be another you10. Eric Dolphy - Little Ditty11. Thelonious Monk - Round midnight12. Chalie Parker – Crazeology
A1 Go No More A-RovingA2 Because Of A3 The LettersA4 UndertowA5 Morning Glory A6 On That DayB1 Villanelle For Our Time B2 There For YouB3 Dear HeatherB4 NightingaleB5 To A TeacherB6 The Faith
"Cold Like War" to już piąty album w dyskografii Post hard-core'owców z Michigan. Zespół określany jest mianem jednego z najbardziej energetycznych i najciężej pracujących składów sceny metalcore. Rzecz do bardzo głośnego słuchania! Tracklista: 1. Vultures With Clipped Wings 2. Cold Like War 3. Two Hands 4. Lost In The Moments 5. Foreign Fire 6. Wasted Age 7. Encoder 8. If There’s Nothing Left To See 9. Promise Me 10. Learning To Survive