W/ JOE GITTLEMAN (MIGHTY MIGHTY BOSSTONES) 1. ARMBANDS & BRAIDS 2. CHOPSTICK BRIDGE 3. ALL THAT YOU'VE HEARD 4. LOT LIKE THIS 5. JUDY 6. ABOUT YOU 7. NEXT STOP IS THE LAST STOP 8. GONE & FORGOTTEN 9. STREETLIGHT 10. FILLMORE EAST 11. AIRPLANE
Tracklista:1. I'm in the Mood for Love3. Easy to Love2. I Feel a Song Coming On4. Rap Tap On Wood5. I've Got You Under My Skin6. Swingin' the Jinx Away7. Pennies from Heaven8. Was It Rain?9. Harbour Lights10. So Many Memories11. I'm Getting Sentimental Over You12. Please Be Kind13. Gypsy Love Song (With Bing Crosby)14. I'm Falling in Love With Someone (With Bing Crosby)15. Falling in Love With Love16. This Can't Be Love (With Rudy Vallée)17. The Man I Love18. Moonglow19. Blue Moon20. Am I Blue?21. Say It Over and Over Again22. When You Wish Upon a Star23. In the Cool of the Evening24. In Waikiki25. Serenade in Blue26. At Last27. Why Do I Love You? (With Tony Martin)
Tracklista:1. Caribea2. Lullaby3. Tree Trail4. "Death, When You Come to Me, May You Come to Me Swiftly; I Would Rather Not Linger, Not Linger"5. Big Cat6. Frog Bog7. To a Sea Horse8. Dance Rehearsal9. Surf Session, Part 1.10. Surf Session, Part 2.11. Surf Session, Part 3.12. "Trees Against the Sky, Fields of Plenty, Rivers to the Sea. This, and More, Spreads Before Me."13. Tap Dance14. Oo Debut15. Drum Suite16. Street Scene
Dzięki staraniom Lion Stage Records wkrótce ukażą się dwa długo oczekiwane krążki kultowego zespołu Stage of Unity – "Jah Bring I" i "Good Connection".Utwory z obydwu płyt zostały zarejestrowane na początku lat dziewięćdziesiątych i ukazały się na kasetach magnetofonowych. Teraz zostały wskrzeszone w nowym cyfrowym wcieleniu pod nazwą The Rainbow Power. Nad opieką brzmienia czuwało studio AS ONE.Wrocławskie Stage of Unity to muzyczny fenomen zajmujący w polskim reggae miejsce obok takich składów jak Bakshish i Izrael. Bujające, mocno gitarowe roots reggae w wykonaniu Stage of Unity uformowało muzycznie całe pokolenie fanów i twórców polskiego reggae.Jamajska modlitwa Stage of Unity wyrywa z matni Babilonu i przenosi do świata pokoju i dobrych wibracji. Spokojny wokal Kristafariego oraz kojące gitarowe riffy wprowadzają w łagodny trans przypominając wszystko to, co w reggae najlepsze. Ocierające się o dub brzmienie jest wzbogacone gorącymi solówkami i sprawnie przemyconym rockowym beatem. Muzyka SoU to prawdziwie dobre połączenie z delikatną częścią naszej natury, to tęskniące granie, które wprowadzi twoje serce w rytm miłości.Legenda Stage of Unity jest wciąż żywa wśród fanów, a utwory takie jak “War in a Babylon”, “Good Connection”, czy “List do św. Pawła” to dla wielu najlepsze karty polskiej sceny reggae. Albumy "Jah Bring I" i "Good Connection" zostały na nowo zremasterowane. Na "Good Connection" znajdą się pięć niepublikowanych dotąd utworów.Lista utworów:Jah Bring I:1. Ruszaj2. Next Day3. List Od św.Pawła4. Każdy Dzień5. This One6. War Ina Babylon7. Jah Brings I8. Vision9. LegaliationGood Connection:1. War Ina Babylon2. Rainbow3. This One4. Good Connection5. Sometimes6. I Live7. No Control It8. She Comes Like Spring9. The Poison10. Rise Up11. Wise Man12. Midnight Dread13. Legalization14. Wielbłąd15. Rainbow - DUB16. This One - DUB17. Good Connection - DUB18. I Live - DUB
Tracklista: LP 1 1. Zak And Sara 2. Smoke 3. Fred Jones, Pt. 2 4. Gracie 5. All U Can Eat 6. Steven's Last Night In Town 7. Boxing 8. Annie Waits 9. Brick LP 2 1. Evaporated 2. Intro To Not The Same 3. Not The Same 4. The Ascent Of Stan 5. Lullabye 6. Narcolepsy 7. Rock This Bitch 8. The Luckiest
Tracklista: 1. 1,000,000 Died To Make This Sound 2. 13 Blues For Thirteen Moons 3. Black Waters Blowed/Engine Broke Blues 4. BlindBlindBlind
Tracklista:1. Filament2. Kidnapping3. Are You Reality? (Feat. Heidemann)4. Alpine Ghost Fire5. Beneath This Roof (Feat. Tom Walkden)6. Let's Fail7. Dreamescape (Feat. Gerard McNeice)8. You Don't Feel Like This (Feat. Tom Walkden)9. Firmament
This recording of the Saint John Passion by the Bach Choir of Bethlehem – America’s oldest Bach society -- is an acknowledgement of an important part of its history. In 1888, fresh from studying with Reinberger in Munich, J. Fred. Wolle conducted the Bethlehem Choral Union in the first complete American performance of this Passion in Bethlehem’s Moravian Church. Ten years later, the Choral Union morphed into the Bach Choir that came into being to perform the B Minor Mass in 1900. Although there were a few gaps in the early years, the annual Bethlehem Bach Festival continues to bring the music of Bach to thousands of people from across the United States and beyond. Bach’s Saint John Passion is one of the masterworks of the choral repertory, but it took time for it to be acknowledged as the masterpiece it truly is. It was re-discovered after Mendelssohn’s performance of the Saint Matthew Passion in 1829 had stunned the music world, awakening it to the superlative quality of Bach’s vocal music, and, at the same time, creating an upsurge in the performance of choral music in general, which continues to this day. The interest generated by the Saint Matthew Passion threw the spotlight on the other Passion that Bach composed, the Saint John Passion. The comparison with the Saint Matthew Passion often meant that the Saint John Passion was thought to have been a more simple work, in that it called for less complexity in terms of the vocal and instrumental resources. But the differences between the two Passions are not because one is superior to the other but because they are settings of two different narratives, each one written from a different perspective. The Passion narrative in Saint Matthew’s Gospel is interpretative and deals with the cosmic implications of the tragedy. The Passion narrative in Saint John’s Gospel is more dramatic and displays the unfolding details of the suffering of Jesus – and their effect on those caught up in it – in personal terms. Thus Bach’s setting of the Saint Matthew Passion is somewhat detached, distant and reflective, like looking down on an event from high above, whereas his Saint John Passion is dramatic, immediate and compelling, like being on the edge of an apron stage for the performance of a Shakespeare play – so close that you are virtually part of the action. Bach’s Saint Matthew Passion is more measured, with places of rest, where the action stops and the significance of what has just taken place is interpreted. In contrast, the Saint John Passion is almost breathless in its progress through the sequential events of the Passion, and the chorales and arias heighten this intensity. The Saint Matthew portrays the Passion something like a tableau to be observed: the Saint John, as a sequence of events to be experienced. Today Bach’s Passions are heard very differently from how they were first heard in Leipzig. Contrary to what one might think, they are liturgical music. The Saint John Passion was not written as an independent oratorio, though that is how we usually hear it – in the same way we hear Handel’s Messiah, Haydn’s Creation, Mendelssohn’s Elijah, or Britten’s War Requiem. But Bach wrote it for a community at worship, not an audience at leisure. It was composed for a liturgical service, vespers on Good Friday. It was designed to be heard in the context of prayer, preaching and congregational song. The two halves were not meant to incorporate an intermission but an hour-long sermon on the Passion of Jesus. When we hear this work, we hear it out of context. We do not hear it as part of the Holy Week music. We do not hear it as liturgical music, performed at vespers on Good Friday. We hear it in an entirely different context – modern, non-ecclesiastical, and in a concert hall setting (even though it may take place in a church), or disembodied through speakers or ear-buds – where the music comes to us detached from its original context and is heard in isolation and judged on its own terms and for its own sake. We can be historically informed in our performance, by using period instruments. We can learn the appropriate performance practices associated with this music. But what we cannot do is hear this music with 18th-century ears. We have 21st-century ears that cannot pretend to have unheard the sounds of Schoenberg, Stravinsky and Stockhausen. We have 21st-century minds that cannot fabricate the limitations of an 18th-century world-view. Therefore we have to create our own context in which to hear this work. In philosophical terms, we have to interpret what we hear so that it makes sense in our modern world, and each one has to create our own philosophical context. Some will hear this music – as indeed it is – as a statement of Christian faith, still powerful, even though it is heard outside of its original liturgical and theological contexts. Others, who do not share this belief, will ignore its text and subject matter and receive it as marvelous music. But even though it is magnificent music, it is disturbing music. It is, after all, the musical exposition of the trial and execution of one who is innocent, while everyone else in the story is less than perfect. But it is not an exercise in despair. This music proves beyond all doubt that, while human nature might be seriously flawed, it is nevertheless capable of creating works of art that give us hope to live by. Just listen to that closing chorale, almost entirely in the major mode, whereas most of the Passion that precedes it has been in the minor. So at the end, hope conquers despair, death is followed by resurrection. Robin A. Leaver
Album Lambchop „This (Is What I Wanted To Tell You)” ukazał się nakładem City Slang. Zmiana jest tak subtelna i skromna, że możesz nawet nie zauważyć, że do niej doszło. Jednak na 42-minutowym czternastym albumie Lambchop - rozbrajającej i intymnej spowiedzi pod tytułem „This (Is What I Wanted To Tell You)” - Kurt Wagner zrobił krok do przodu, jego głos pokazuje nowe piękno. Z chwilą, gdy zniknęły zabiegi autotune'owe znane z ostatnich płyt Lambchop, jego głos stał się otwarty i szczery, jak gitara akustyczna i samotna harmonijka, które podążają za nim. Odczucia praktycznie wypełniły pęknięcia jego oszałamiającym barytonem, po raz pierwszy od wielu lat pokazanym w surowej postaci. „If I gave you a hundred dollars to record just three words/I could make the perfect song,” („Gdybym dał ci sto dolarów na nagranie tylko trzech słów / Mógłbym stworzyć idealną piosenkę”) - śpiewa, uwypuklając zarówno wrażliwość głosu, jak i słów.
Tracklista:1. Mass Destruction/Mass Alienation2. A Sigil Burnt Deep Into the Flesh3. This Is Hel(e)l4. Cosmos Is Out of Order