Commentator Martin Tyler presents this interactive football quiz, with over 1500 questions designed to stretch even the biggest football fan.

• Data premiery 2006-01-22
• Nośnik DVD

Tracklista:1. The World That I Created2. Spirit3. Same Hands4. I'm in Love Tonight5. Know One Will Ever Know6. Never Feel This Young7. God Song8. The Believer (I'm Never Wrong)9. I Wanna Lift You Up10. Whirlwind of Rubbish11. Holy Holy

• Wykonawca Evangelist
• Data premiery 2015-12-11
• Nośnik Vinyl / 12" Album

Tracklista:1. This Is Giving Up2. Meanwhile, in Hell...3. You Guys Want One of These?

• Wykonawca The Flatliners
• Data premiery 2017-09-15
• Nośnik Płyta Analogowa

This second volume of works by James MacMillan explores his liturgical music as well as orchestral work: his deep commitment to the Catholic faith and his dramatic and colourfully expressive writing for the orchestra have two constants during the course of his career, with frequent overlapping between the two.O may seem at first to be a fashionably enigmatic title. In fact, it is the vocative “O” found in so many liturgical texts, and famously, in the Latin rite, the “O” antiphons which frame the Magnificat at vespers on the last seven days of the season of Advent. The vocative “O” in these remarkable texts addresses Christ, using a title drawn from the Old Testament prophecies of Isaiah and Micah – Sapientia (Wisdom), Adonai (Lord of Israel), Radix Jesse (Root of Jesse), Clavis David (Key of David), Oriens Radiant Dawn/Daypring), Rex Gentium (King of the Nations), Emmanuel (God with us), the initials of which, when reversed, form a Latin acrostic – “Ero cras”, meaning“Tomorrow I come”.In 2007 MacMillan set the antiphon for 21 December, O Oriens, in English translation as O Radiant Dawn, one of the series of “Strathclyde Motets” that the composer has written for practical liturgical use, simple of texture and memorable of melody. The present work is an adaptation of the motet, made in 2008, for three treble voices, trumpet in C and string orchestra. The musical material of the motet is left intact, gently haloed and amplified by the strings, but the bipartite structure of the original is changed by the insertion of a central section, heralded by the trumpet, in which the voices construct a meditative fantasy on the vowel “O”, while the wide-ranging trumpet writing seems to project the radiance of the Christological title of the text. The trumpet returns at the end of the work, hovering over pulsing choral repetitions of the word “Amen”.Tryst is the earliest work on this disc, and was written in 1989 to a commission from the St Magnus Festival in Orkney. It was first performed there by the Scottish Chamber Orchestra, under the direction of Paul Daniel in June of that year. The work is in one movement made up of five sections, and is dedicated to Susan Loy, the composer’s grandmother, who died in March of that year. In many ways this is the work in which the composer’s technique and vocabulary proclaimed that he was a presenceto be reckoned with, though wider renown would come with The Confession of Isobel Gowdie, completed in the following year. The work’s title comes from a poem in Scots by William SoutarO luely, luely cam she inAnd luely she lay doun:I kent her be her caller lipsAnd her breists sae sma’ and roun’.(O softly, softly came she inand softly she lay down:I knew her by her fresh lipsAnd her breasts so small and round.)MacMillan initially wrote a simply melody for the poem, a melody that has, as he notes, “persistently appeared, in various guises, in many works composed since – a congregational mass setting, a tiny fragment for violin and piano (After the Tryst) and ... in my music theatre piece Búsqueda. Not only has it cropped up again in this piece, but it has provided both the title and the emotional core of the music.”Though the poem is apparently a straightforward love poem, MacMillan finds in it a whole world of conflicting sentiments, associations which are transferred to the melody, which has thereby attained the status of symbol in his work, suggesting, he says “commitment, sanctity, intimacy, faith ... love, but it is also saturated witha sadness as if all these things are about to expire.”This ambiguity is what makes Tryst such a compelling piece. There is certainly a feeling of farewell, and lamentation, but even though one might also detect acceptance, the work is far from pacific. Indeed, it opens with what one might describe as a violent keening, a glissando- drenched duet for clarinets combined with loud interjections from the whole orchestra. There is also a more “ceremonial” style of writing, perhaps suggesting Stravinsky’s  Symphonies of Wind Instruments as an ancestor, or just possibly even the chorales of Birtwistle, that first appears in the second section ofthe work. This solemnity is gradually transformed into a kind of intoxicated dance, but again, consistent with the mercurial quality of the work, we are unexpectedly presented with a calmly beautiful chorale, played by pianissimo strings in a way that suggests a consort of viols, under soaring, questing violins, prefiguring moments in both Veni, Veni, Emmanuel (1991-2; recorded on volume 1 of this series, Challenge CC72540) and Seven Last Words from the Cross (1993). This in turn is transformed into a folk lament, but one framed and coloured by the full resources of the orchestra. The final section brings back the chorale-like material from the central section, but once again, it is contradicted by faster, more athletic writing; in keeping with Soutar, the music fades softly away to nothing:Sae luely, luely cam she inSae luely was she gaen:And wi’ her a’ my simmer days Like they had never been.(So softly, softly came she inSo softly was she gone:And with her all my summer days As though they had never been.)MacMillan’s settings of the Magnificat and Nunc dimittis were written in 1999 and 2000 to commissions from the BBC and Westminster Cathedral respectively. The Magnificat was intended to be sung at the first BBC broadcast of choral evensong of the new Millennium, from Wells Cathedral, and both works exist in versions for choir and organ and for choir and orchestra. They are both large-scale, celebratory compositions, with dramatic and colourful writing for the orchestra – the spacious, haunting orchestral opening is surely one of the most unforgettable scene-settings for this text ever written – and making use of predominantly homophonic choral writing, rather different from the composer’s preference in general for melisma and highly decorated melodic lines, so that when more ornamented writing does appear, at “He hath filled the hungry with good things...”, it is the more striking. The doxology is positively shocking in its blazing, brassy, almost snarling portrayal of divine glory, but the quiet dynamics of the choral “Amens” and the final descent into mysterious calm with string glissandi imitating doves are a typically subtle MacMillan touch.While the Nunc dimittis shares material with the Magnificat (most obviously the final “Amen”), it appears in a different guise, with much transformed modally. The work opens with basses quietly intoning the word “Lord” on a low E, doubled by cellos and double-basses and enveloped in a bass drum roll. The composer emphasizes in his noteto the work the “unusual” chirping unison melody that subsequently appears for trebles, altos and tenors, doubled in the organ version by the sesquialtera stop, and orchestrally by woodwind, trumpet with mute and harmonics on the violin. At the end the music subsides back onto the basses’ low E, the starting point for this awe-struck exclamation of faith.

• Wykonawca Various Artists
• Data premiery 2013-03-01
• Nośnik CD

Tracklista:1. If This Isn't Love2. I Guess I'll Hang My Tears Out To Dry3. Serenata4. I've Told Ev'ry Little Star5. Barefoot Sunday Blues6. Poor Butterfly7. I Remember You8. Barefoot Sunday Blues (Alternate Take)9. I Remember You (Alternate Take)

• Wykonawca Adderley Cannonball
• Data premiery 2002-09-16
• Nośnik CD

Tracklista: LP 1 1. 33 Trapped Chilean Miners 2. Shaolin Master 3. Irish Jew 4. Does He Take Sugar? 5. 50 Shades Of Snuff 6. Pro Ana Tips N' Tricks 7. This Sore & Broken Blackpool Legacy 8. Wife Swapping Party 9. The Prowler 10. Blackpool Transport 11. Safe To Heaven LP 2 1. Cup Cakes 2. Amateur Cops 3. M61 4. Hey St. Jude 5. Hardhorn Blues 6. All Psychiatrists Are Bastards 7. Flower 8. Oz Oz Alice 9. Prisoner Cell Block H Theme 10. You Don't Want To Hear This Voice 11. St. Petersburg Series 12. Catholic Monochrome Holocaust 13. Psychiatric Underground

• Wykonawca Ceramic Hobs
• Data premiery 2018-02-09
• Nośnik Płyta Analogowa

Tracklista:1. When I Go2. Bad Habits3. Love and Trust4. The Bottle Wins Again5. Found the One6. When Love Is Not Enough7. Trust You to Dig My Grave8. No Mercy in This Land9. Movin' On10. Nothing at All

• Wykonawca Harper Ben
• Data premiery 2018-03-30
• Nośnik CD

Though only one cantata gets to bear the nickname, Bach  actually wrote many works that could be described as wedding cantatas. Some of them are lost, others are of debatable authorship, but of those that remain, four are collected on this 2008 disc. The performances by Ton Koopman leading the Amsterdam Baroque Orchestra & Choir are taken from their set of the complete extant cantatas with the four works here recorded in 1994, 1996, and 2002. Though Koopman  has shown himself to be a master Bach  conductor, one sometimes got the sense in listening to his sacred cantatas that the composer's Lutheran ethos sat less well with his naturally ebullient personality than did the far more cheerful secular cantatas. This disc substantiates that hunch: these are four of the most joyful performances in the entire collection with brilliant playing, shinning singing, bright colors, and vigorous rhythms. The soloists are consistently excellent, though soprano Barbara Schlick is particularly radiant in Der Herr denkt an uns, BWV 196, and soprano Lisa Larsson is especially emotional in Weichet nur, betrübte Schatten, BWV 202. With skimpy notes and no texts, this disc may not appeal to Bach  devotees. But with crisp sound and festive performances, it may well appeal to more casual fans of the German Baroque master. ~ James Leonard, All Music Guide

• Wykonawca Various Artists
• Data premiery 2008-08-01
• Nośnik CD

Tracklista: CD 1 1. Too Hot to Handle (Single Version) 2. Serpentine Fire (Promo Version) 3. Blame It On the Boogie 4. Baby Don't Change Your Mind 5. Woman in Love (Single Version) 6. Got to Be Real (US Single Version) 7. Heartache No. 9 (Special Remix Version) 8. Birthday (12" Version) 9. More Than One Way to Love a Woman (7" Version) 10. You Gonna Make Me Love Somebody Else 11. Nights (Feel Like Getting Down) [single Version] 12. This Time Baby (Tom Moulton Mix) 13. Let Me Talk (12" Version) 14. Splashdown (Single Version) 15. The Groove 16. Shining Star (Single Version) CD 2 1. Can You Find the Time? 2. Never Too Much (Original Remix) 3. Nights Over Egypt 4. I Want'cha Back 5. Inside Out (12" Version) 6. Love Come Down (12" Version) 7. Free and Easy (Maxi Single Version) 8. My Love Is Waiting (Alternate Vocal Mix) 9. I'm Back for More (Single Version) 10. Jump to It (Single Version) 11. Rocket (12" Version) 12. I Know (Extended Dance Version) 13. Save the Overtime (For Me) [12" Mix] 14. Searching for That Lady 15. This Place Hotel (Aka Heartbreak Hotel) (Single Version) CD 3 1. Crazy (Single Version) 2. Stone Love 3. B Boys (12" Version) 4. Nobody's Gonna Get This Lovin' But You (Special Version) 5. Stay Here With Me (12" Version) 6. Take a Chance (12" Version) 7. Step By Step (Extended Mix) 8. Fidelity (12" Version) 9. All of Me for All of You (Re-mixed Version) 10. Dial My Number (Extended Dance Version) 11. Just Another Lover (Extended Remix) 12. Lovey Dovey (Long Version) 13. Runner (7" Version) 14. Here and Now

• Wykonawca Various Artists
• Data premiery 2017-12-08
• Nośnik CD / Box Set

Tracklista:1. This Ain't the Summer of Love2. True Confessions3. The Reaper4. E.T.I5. The Revenge of Vera Gemini6. Sinful Love7. Tattoo Vampire8. Morning Final9. Tenderloin10. Debbie Denise

• Wykonawca Blue Oyster Cult
• Data premiery 2015-07-31
• Nośnik Płyta Analogowa