1. THE GAME NEEDED ME 2. MEMPHIS & 53RD 3. DRILLING 4. THE FIX 5. EL TORRENTE 6. PACHUCA SUNRISE 7. MICHIO'S DEATH DRIVE 8. HOORAY 9. FULFILL THE DREAM 10. THE PIGWAR 11. THIS AIN'T A SURFIN MOVIE
Tracklista: 1. This Is 2. Freedom 3. If You Only Knew 4. Break 5. React 6. Day At The Races 7. Remember His Name 8. What's Golden 9. Thin Line - Jurassic 5 & Nelly Furtado 10. After School Special 11. High Fidelity 12. Sum Of Us 13. DDT 14. One Of Them 15. Hey 16. I Am Somebody 17. Acetate Prophets
Tracklista:1. The 'One'2. This Is the First of Your Last Warning (Icelandic Version)3. Bruttermania4. This Is the First of Your Last Warning (English Version)
In 1773 the English music historian Charles Burney cautioned that the works of CPE Bach were ‘so uncommon, that a little habit is necessary for the enjoyment of [them]’. In fact, he claimed, many critics faulted Bach for writing works that were ‘fantastical’ and ‘far-fetched’. Burney, however, then rushed to Bach’s defence. ‘His flights are not the wild ravings of ignorance or madness, but the effusions of cultivated genius. His pieces … will be found, upon a close examination, to be so rich in invention, taste, and learning, that … each line of them, if wire-drawn, would furnish more new ideas than can be discovered in a whole page of many other compositions.’Indeed, Carl Philipp Emanuel Bach (1714–1788), second son of Johann Sebastian, was both revered and criticized by his contemporaries for his bold departures from conventional modes of musical expression. During his years as ‘first harpsichordist’ at the court of Frederick the Great of Prussia, and later as music director of the principal churches in Hamburg, Bach perfected a highly original and intensely personal compositional style known as the empfindsamer Stil (literally, the ‘sensitive style’). As the works on this recording show, Bach’s approach to musical expressiveness found voice in frequent mood changes, wide melodic leaps, abundant rests and ‘sighing’ motifs, irregular phrase structures, the juxtaposition of contrasting rhythmic figures, deceptive cadences, and dramatic, rhetorical harmonic interjections. Bach became particularly renowned for his ability to improvise fantasias—seemingly free-form, stream-of-consciousness flights of fancy characterized by unmeasured rhythm and distant harmonic excursions. Yet underlying even the most improvisatory of his compositions is a coherent structure. Bach himself instructed his students to construct such fantasias by first devising a strict harmonic foundation, and he even published an analysis of one of his own pieces in which he presented the skeletal framework lying beneath its surface irregularity.Emanuel Bach’s music thus breaks dramatically away from, yet also builds upon, the early eighteenth-century style perfected by his father. His compositions mark one of the first—and among the most inspired—repudiations of the Baroque aesthetic, in which a single unified mood dominates each movement. Significantly, however, Bach does not simply contrast two emotional states, as is typical in later Classical works, but rather explores a multitude of affects juxtaposed in close proximity and often set off by rests or dynamic changes. In fact, CPE Bach not only set in motion many of the changes that would become manifest in the music of Haydn and Beethoven, but also looked beyond the Classical period to many of the ideals of the nineteenth century. That is not to say that Bach could not compose works using a more traditional Baroque language. In fact, as we will see, several of the sonatas on this disc illustrate just such compositional versatility.All of the works on this recording were composed during the 1740s, while Emanuel Bach was in the service of King Frederick II of Prussia—who was not only a feared military potentate, but also a flautist of considerable ability. Bach began working for Frederick in 1738; and soon after Frederick ascended the throne in 1740, Bach was appointed court accompanist, a post he retained for over a quarter of a century. Although the appointment carried prestige, Frederick did not reward Bach with a particularly large salary. His pay, though comparable to that of many of the other court musicians, was less than a sixth that of Frederick’s flute teacher, Johann Joachim Quantz, for example. Frederick’s tastes were extremely conservative and he favoured above all the works of the competent, but far less imaginative Quantz and Carl Heinrich Graun. Bach, in turn, expressed a rather unflattering assessment of the king’s flute-playing, noting especially a disturbing unsteadiness of rhythm. Bach’s tenure at the court was thus marked by a tension that may well be reflected in the style of these early sonatas. After Telemann died in 1767, vacating the position in Hamburg, Bach was finally able to secure a more musically rewarding job.Emanuel Bach composed more than three hundred keyboard works during his lifetime. His sonatas are mostly in three movements—fast–slow–fast—with the finales tending to be lighter than the first two. Empfindsamer characteristics are most notable in the slow movements.The earliest three sonatas on the disc—H25, H27 and H29 (Wq48/2, 4, and 6)—appeared in Bach’s first published keyboard collection, the so-called Prussian Sonatas of 1742. The six sonatas in this collection made a major impact on keyboard-writing in Germany and were extolled by several of Bach’s contemporaries and followers, among them Joseph Haydn, who recalled being so entranced when he sat down to play them that he did not leave the keyboard until he had read through the entire set. Modern commentators as well have heralded these works as solidifying a new style of keyboard-writing. Peter Wollny in The New Grove Dictionary of Music and Musicians (2001) takes pains to note that the Prussian Sonatas and the Württemberg Sonatas (published two years later) ‘form a landmark in the history of keyboard music … In these collections Bach systematically, and for the first time, showed how it was possible to write affecting keyboard music freed from the suite tradition.’The three Prussian Sonatas recorded here show the principal traits of Bach’s music. Movements in the new empfindsamer Stil rub shoulders with more conservative, traditional ones; startling parenthetical insertions evoke surprise and wonder; irregular phrase structures form the foundation of musical invention; and improvisatory influences mark transitional passages.The opening movements of H25, H27 and H29 all exhibit the most notable characteristic of Bach’s early style. The music’s forward momentum is periodically interrupted by short rhetorical interpolations ranging from one to four bars in length, often marked piano, sometimes set off by rests, and always featuring interchanges of mode or dramatic harmonic discursions. Such interpolations create asymmetrical phrase structures and give the music the ‘quirky’ effect that provoked his contemporaries’ bewilderment. In several instances these interpolated asides could simply be lifted wholesale from the composition, but to do so would be to rob the works of their most poignant and interesting moments.The opening movement of the A major Sonata H29 is particularly replete with such interjections. An extended rest appears almost immediately—following the first two-bar truncated theme—as if Bach paused during the process of composition to gather his thoughts. In fact, recurrent interpolations seem to govern the movement’s overall structure, forming a kind of compositional logic underlying its surface irregularity. This movement also features another typical Emanuel Bach trait: a repeated-note accompaniment figure (first in the right hand, then in the left) that creates an agitated dominant pedal point.Rhetorical rests and frequent dynamic contrasts dominate the slow movement of the Sonata in B flat major H25, which also features another common trait of this composer: dotted-rhythm figures functioning as dramatic interjections that recall the accompanied recitatives of Baroque opera. Bach exploits this figuration most dramatically just before the end of the movement, where a diminished seventh chord is repeated in the left hand.The first movements of both H25 and H27 open with six-bar themes—a phrase structure Bach used not only in his keyboard sonatas but also in his works for other instruments (for example, the flute sonatas he composed for Frederick during this period). Indeed, the six-bar phrase in itself provides a feeling of asymmetry, as it generally arises from the expansion of a four-bar unit through extension at the end (H25) or interpolation in the middle (H27).Bach felt that an ability to extemporize was a crucial indicator of skill in composition. In fact, he wrote in his influential Versuch über die wahre Art das Clavier zu spielen that one could predict success in composition for anyone with an ability to improvise. The impact of improvisation is apparent in many of the works on the disc, even those that on the surface seem rigidly metrical, a good example being the second reprise in the opening movement of the C minor Sonata H27.In contrast to the style of these ‘sensitive’ movements several others show Bach’s skill in traditional forms. Among the most conservative, but also the most engaging, is the finale of H27, a virtuosic gigue in a standard rounded binary form. Yet even here Bach’s individual personality is well in evidence, particularly in the second reprise with its delightful two-bar interpolation marked piano and its diversion to a diminished seventh chord lead-up to the half cadence preceding the return. Another retrospective piece is the slow movement of the same work (H27). Here the dominant three-voiced texture evokes the ubiquitous Baroque trio sonata with its disposition of two treble instruments and accompanying bass. Similarly, the finale of the A major Sonata H29 shows Bach’s mastery of Baroque counterpoint. An inspired exploration of the so-called ‘learned style’, it also manifests Bach’s own idiosyncratic language. The insertion on this recording of French Baroque ornamentation on the repeat of each half reinforces the movement’s rococo character.Unlike the three sonatas from the early 1740s, the Sonata in G minor H47 (Wq65/17) from 1746—perhaps the most remarkable work on this disc—remained unpublished in Bach’s lifetime. The sonata begins with an unbarred fantasia that soon gives way to a strictly metred section featuring running semiquaver triplets in unison in the two hands. The strict metre, however, soon devolves into another unbarred section, after which a startling contrast appears: a galant motif in B flat major. Bach allows none of these motifs to reach a satisfying conclusion, however. Brief reappearances of the galant theme (often accompanied by echo effects) are interrupted by the unison triplets, and the rhythm repeatedly disintegrates into recollections of the fantasia. This extraordinary piece takes the listener on a wild journey into Bach’s ‘fantastical’ world, ending with a half cadence that ushers in a complete change of scenery: the gentle second-movement sarabande in G major. If this slow dance in triple metre, with its characteristic accent on the second beat, reminded Bach’s listeners in some ways of the early eighteenth-century suite, its harmonic excursions, dynamic contrasts, and moments of rhetorical interjection certainly did not. In short, the movement is a perfect example of Bach’s attempts to mould past influences into a new innovative language. The sonata ends with an equally extraordinary Allegro built around a descending chromatic motif whose pitches appear in an almost spasmodic off-kilter rhythm along with interjected higher notes. Several times Bach halts the momentum with rests followed by his typical parenthetical insertions, or with reminiscences of the first movement’s fantasia. The entire sonata presents a stunning example of Bach’s wild, highly eccentric language tempered by his heritage of rationality.Although the latest sonata on the disc—the E flat major H50 of 1747—exhibits many of the stylistic traits already discussed, its opening movement has a galant character that sets it apart from the other compositions. Here Bach’s language at times becomes almost Mozartian, showing his mastery of the late eighteenth-century aesthetic. Most notable in this sonata, however, is the poignant slow movement, the most stunning example of the empfindsamer style on this recording. Fragmented phrases interspersed with rests and underlaid with frequent contrasts of dynamics characterize the introspective opening eight-bar phrase. The second phrase, in contrast, becomes more continuous, until a melody in dotted-rhythm octaves in the left hand intrudes. These three thematic ideas recur throughout the movement, which ends with an improvisatory flourish leading to a fermata, elaborated on this recording by an extensive cadenza mirroring Bach’s own improvisational inspirations. The sonata then concludes with a virtuosic Presto in 3/8—a perpetual motion corrente recalling the Baroque suite, but filled with Emanuel Bach’s eccentricities.The slow movement of H50—and similar movements with notated dynamic contrasts—raises the question of the instrument for which Bach’s sonatas were intended. Clearly, much of his work at Frederick’s court involved harpsichord-playing, but the harpsichord could only effect quick dynamic contrasts through the use of a double manual. On the clavichord—an instrument Bach loved and which he used throughout his life—the player could create dynamic changes by variations in finger pressure, but the overall range was restricted to piano or softer. By the late 1740s, however, Frederick had still another keyboard instrument at his court: the fortepiano (a fact made particularly famous by JS Bach’s visit in 1747, on which occasion he improvised a fugue on one of these instruments using a theme provided by Frederick). Therefore, performance of these works by Emanuel Bach himself on the piano is not only possible, but even likely.The history of Western music is characterized by periodic solidification of compositional norms, followed by rebellions, and then by the establishment of new norms with contrasting aesthetic principles. The rebellious stages—that is, the transitionary years between the stable ‘periods’ designated by later historians—are the most unsettled, but often the most intriguing as well. Like Monteverdi before him and many others after him, Emanuel Bach disrupted the established practices of his past in a search for a new aesthetic expression. In fact, his experimentation with rapid mood change, harmonic surprise, rhythmic variety, and rhetorical outburst anticipates, in some ways, the Romanticism of the nineteenth century even more than the style of his immediate followers in the eighteenth. (Beethoven, for one, was highly influenced by Emanuel Bach, and critics have pointed out the composer’s effect on Schumann as well.) The juxtaposition of these traits with elements reminiscent of Bach’s high-Baroque heritage, however, made his works sit uneasily with many of his contemporaries. Even today, his keyboard music is rarely performed, not because the pieces are unworthy (they are, in fact, astonishing), but because to render them successfully requires a willingness to take risks with tempo, rhythm, articulation and dynamics. Doing so, however, opens up a world of expression that still sounds novel and refreshing, illustrating the richness of invention and ‘effusions of cultivated genius’ Burney heralded more than two hundred years ago.
Tracks:CD11. Sucker MCs 2. It's Like That3. 30 Days 4. Hard Times 5. Hollis Crew (Krush Groove 2) 6. Can You Rock It Like This 7. Jam Master Jammin' 8. King Of Rock 9. You Talk Too Much 10. My Adidas 11. Walk This Way - Run DMC & Aerosmith 12. You Be Illin' 13. It's Tricky 14. I'm Not Going Out Like That 15. Mary Mary 16. Run's House 17. Roots Rap Reggae 18. It's Not FunnyCD21. Soul To Rock 'n' Roll 2. Down With The King 3. Papa Crazy 4. Rock Box 5. Jam Master Jay 6. Peter Piper 7. It's Like That - Run DMC & Jason Nevins 8. Hit It Run 9. How'd Ya Do It Dee 10. It's Tricky (2008) - Run DMC & Jacknife Lee 11. Tougher Than Leather 12. Beats To The Rhyme 13. You're Blind 14. Darryl And Joe (Krush Groove 3) 15. Together Forever (Krush Groove 4) 16. Ragtime 17. Proud To Be Black 18. They Call Us Run DMC
Wydanie audiofilskie 180 gramSide 11. Purple Haze2. Manic Depression3. Hey Joe4. Love Or Confusion5. May This Be Love 6. I Don't Live TodaySide 21. The Wind Cries Mary2. Fire3. Third Stone From The Sun4. Foxey Lady5. Are You Experienced
Tracklista:1. Ramblin' Man2. My Son Calls Another Man Daddy3. I Can't Escape from Me4. Nobody's Lonesome for Me5. I Can't Help It6. There'll Be No Teardrops Tonight7. Lonesome Whistle8. I Just Don't Like This Kind of Livin'9. Take These Chains from My Heart10. Why Don't You Love Me11. My Heart Would Know12. You're Gonna Change (Or I'm Gonna Leave)
Sony Classical zaprasza do wysłuchania 12 płytowego albumu Charles Gerhardt Conducts Classic Film Scores. Charles Gerhardt, zmarły w 1999 roku, amerykański dyrygent i aranżer zasłynął jako niezrównany wykonawca i interpretator muzyki filmowej. Tracklista: CD 1 1. The Sea Hawk: Main Title - Reunion - Finale (From "The Sea Hawk") 2. Nora's Theme (From "Of Human Bondage") 3. March of the Merry Men - Battle (From "The Adventures of Robin Hood") 4. Juarez: Love Theme (From "Juarez") 5. Kings Row; Main Title (From "Kings Row") 6. Tomorrow (From "The Constant Nymph") 7. Overture (From "Captain Blood") 8. No Father, No Mother, No Name (From "Anthony Adverse") 9. Between Two Worlds: Main Title - Mother and Son (From "Between Two Worlds") 10. Deception: Main Title (From "Deception") 11. The Death of Emily Bronte (From "Devotion") 12. Escape Me Never: Main Title - Venice - March - Love Scene - Finale (From "Escape Me Never") CD 2 1. Lost Horizon (1937) 2. Prelude 3. Foreword Card 4. Riot in Baskui 5. Mob Scene at Refueling Station 6. Morning After the Plane Crash 7. Arrival of the Caravan 8. The Journey Over the Mountains 9. Entrance into Shangri-La 10. Nocturne 11. Riding Sequence 12. The Waterfall 13. Chinese Children's Scherzo 14. Bell Sequence 15. Funeral Cortege of the High Lama 16. Escape from Shangri-La 17. Return to Shangri-La 18. Prelude (From "The Guns of Navarone") 19. The Big Sky 20. Prelude 21. Forest at Night (Nocturne) 22. The Wide Missouri (Epilogue) 23. Overture (From "The Fourposter") 24. Love Scene in the Barn (From "Friendly Persuasion") 25. Choral Finale (From "Search for Paradise") CD 3 1. Adventures of Don Juan 2. The Sea Hawk - Suite 3. Ship in the Night (From "Captain Blood") 4. They Died with Their Boots On 5. Dodge City 6. Parachute Drop (From "Objective Burma") 7. The Sun Also Rises 8. The Adventures of Robin Hood CD 4 1. Main Title: Dixie, Mammy, Tara, Rhett (From "Gone With The Wind") 2. Opening Sequence: The Twins, Katie Bell, Ashley, Mammy (From "Gone With The Wind") 3. Driving Home, Gerald O'Hara, Scarlett, Tara (From "Gone With The Wind") 4. Dance Montage: Charleston Heel and Toe Polka, Southern Belle Waltz, Can Can (From "Gone With The Wind") 5. Grazioso, Mammy, Ashley, Ashley and Scarlett, Scarlett, Ashley and Melanie Love Theme (From "Gone With The Wind") 6. Civil War, Fall of the South, Scarlett Walks Among the Wounded (From "Gone With The Wind") 7. True Love - Ashley Returns to Tara from the War - Tara in Ruins (From "Gone With The Wind") 8. Belle Watling (From "Gone With The Wind") 9. Reconstruction, The Nightmare, Tara Rebuilt, Bonnie, The Accident (From "Gone With The Wind") 10. Mammy and Melanie on the Staircase - Rhett's Sorrow (From "Gone With The Wind") 11. Apotheosis: Melanie's Death, Scarlett and Rhett, Tara (From "Gone With The Wind") CD 5 1. 20th Century-Fox Fanfare with the CinemaScope Extension and Street Scene 2. Captain From Castile 3. Conquest 4. Pedro and Catana 5. Cathy's Theme (From "Wuthering Heights") 6. Hornpipe (From "Down To The Sea In Ships") 7. The Song of Bernadette 8. Prelude 9. The Vision 10. The Hunters (Main Title) [From "The Bravados"] 11. Anastasia (Main Title) 12. London Calling (From "The Best Of Everything") 13. Airport (Main Title) 14. The Robe 15. Main Title 16. Elegy 17. Caligula's March 18. The Map of Jerusalem CD 6 1. Casablanca 2. Passage to Marseille: Rescue at Sea 3. The Treasure of the Sierra Madre 4. The Big Sleep: Love Themes 5. The Caine Mutiny: March 6. To Have and Have Not: Main Title: Martinque 7. The Two Mrs. Carrolls 8. Sabrina: Main Title; The Larrabee Estate 9. The Left Hand of God: Love Theme 10. Sahara: Main Title 11. Virginia City: Stagecoach; Love Scene 12. Key Largo CD 7 1. The Death Hunt (From "On Dangerous Ground") 2. Prelude: Xanadu - Snow Picture (From "Citizen Kane") 3. Theme and Variations (Breakfast Montage) [From "Citizen Kane"] 4. Aria from Salammbo (From "Citizen Kane") 5. Rosebud and Finale (From "Citizen Kane") 6. The Sea - The Lagoon (From "Beneath the 12-Mile Reef") 7. Descending (From "Beneath the 12-Mile Reef") 8. The Octopus - Homecoming (From "Beneath the 12-Mile Reef") 9. Concerto Macabre for Piano and Orchestra (From "Hangover Square") 10. Talking Drums - Prelude: The Riverboat - Petticoat Dance - The Safari (From "White Witch Doctor") 11. Tarantula - The Lion (From "White Witch Doctor") 12. Nocturne (From "White Witch Doctor") 13. Abduction of the Bakuba Boy - The Skulls (From "White Witch Doctor") 14. Lonni Bound by Ropes - Departure (From "White Witch Doctor") CD 8 1. Prince Valiant: Suite 2. Prelude 3. King Aguar's Escape 4. The Fens 5. The First Chase 6. The Tournament 7. Sir Brack's Death and Finale 8. A Place In The Sun - Suite 9. Prelude 10. Angela 11. Loon Lake 12. Farewell & Frenzy 13. The Farewell 14. The Bride of Frankenstein: The Creation of the Female Monster 15. Sunset Boulevard - Suite 16. Main Title 17. Norma Desmond 18. The Studio Stroll 19. The Comeback: Norma as Salome 20. Old Acquaintance - Elegy for Strings 21. Rebecca - Suite 22. Prelude 23. After the Ball 24. Mrs. Danvers 25. Confession Scene 26. Manderley in Flames 27. The Philadelphia Story 28. Metro-Goldwyn-Mayer Fanfare 29. Main Title 30. The True Love 31. Taras Bulba - The Ride to Dubno CD 9 1. Overture (From "The Private Lives of Elizabeth and Essex") 2. The Prince and the Pauper 3. Main Title 4. The Boys Go to Play 5. Epilogue 6. In the Forest 7. The Sea Wolf 8. Main Title 9. Escape in the Fog 10. Love Scene 11. Finale 12. Cello concerto in C, Op.37 (From "Deception") 13. Night Scene (From "Another Dawn") 14. Of Human Bondage 15. Main Title 16. Christmas 17. Sally 18. Lullaby 19. Finale CD 10 1. Prelude (From "The Red House") 2. The Morgan Farm, The New Hired Hand, Swimming Scene (From "The Red House") 3. Meg Finds the Red House (From "The Red House") 4. Teller Shoots at Meg (From "The Red House") 5. Pete's Death and Finale (From "The Red House") 6. The Love of the Princess (From "The Thief of Bagdad") 7. The Bottle, First Meeting (From "The Lost Weekend") 8. The Mouse and the Bat, Nightmare (From "The Lost Weekend") 9. Love Scene and Finale (From "The Lost Weekend") 10. Sunstroke, River Journey (From "The Four Feathers") 11. Mrs. Dietrichson, The Conspiracy (From "Double Indemnity") 12. Scherzo: Hawks in Flight (From "Knights of the Round Table") 13. Song of the Jungle (From "The Jungle Book") 14. The Dream Sequence, The Mountain Lodge (From "Spellbound") 15. Overture (From "Ivanhoe") CD 11 1. Now, Voyager 2. King Kong 3. Saratoga Trunk: As Long As I Live 4. The Charge of the Light Brigade: Forward the Light Brigade 5. Four Wives: Symphonie Moderne 6. The Big Sleep 7. Johnny Belinda: Suite 8. Since You Went Away: Main Title 9. The Informer 10. The Fountainhead CD 12 1. Fanfare - It Can't Be Wrong (From "Now Voyager") 2. Fanfare (From "Now, Voyager") 3. It Can't be Wrong (From "Now, Voyager") 4. Blindness (Judith's Theme)/Winter/Resignation (From "Dark Victory") 5. Blindness (Judith's Theme) (From "Dark Victory" 6. Winter (From "Dark Victory") 7. Resignation (From "Dark Victory") 8. Main Title (From "A Stolen Life") 9. Elizabeth (From "The Private Lives of Elizabeth and Essex") 10. Forsaken (From "Mr. Skeffington") 11. Main Title/Stanley and Roy; Finale (From "In This Our Life") 12. Main Title (From "In This Our Life") 13. Stanley and Roy (From "In This Our Life") 14. Finale (From "In This Our Life") 15. Main Title (From "All About Eve") 16. Waltz (From "Jezebel") 17. Main Title/Rosa Moline/The Train/Rosa's Death (From "Beyond the Forest") 18. Main Title (From "Beyond the Forest") 19. Rosa Moline (From "Beyond the Forest") 20. The Train (From "Beyond the Forest") 21. Rosa's Death (From "Beyond the Forest") 22. Carlotta (From "Juarez") 23. Main Title (From "The Letter") 24. Main Title - Henriette and the Children - Love Scene - Finale - End Cast (From "All This, and Heaven Too") 25. Main Title (From "All This, and Heaven Too") 26. Henriette and the Children (From "All This, and Heaven Too") 27. Love Scene (From "All This, and Heaven Too") 28. Finale (From "All This, and Heaven Too") 29. End Cast (From "All This, and Heaven Too")
Tracklista:1. Didn't I (Blow Your Mind This Time)2. Funny Feeling3. When You Get Right Down to It4. Baby I Love You5. Delfonics Theme (How Could You) [instrumental Version]6. Trying to Make a Fool of Me7. Down Is Up, Up Is Down8. Over and Over9. Think About Me10. I Gave to You11. Hey Love12. I'm a Man13. Too Late14. Love You Till I Die15. Looking for a Girl16. Walk Right Up to the Sun17. Round and Round18. Baby I Miss You19. Delfonics Theme (How Could You) [vocal Version]20. Tell Me This Is a Dream
Zespół grający muzykę z gatunku metalu Walls Of Blood. Prezentuje płytę zatytułowaną „Imperium” nagraną w 2018 roku i zawiera dziesięć niepowtarzalnych utworów. Płytę otacza aura ciężkiego brzmienia, która emitują niezrównane pokłady metalowej energii w postaci dźwięków, dając słuchaczowi niebywałe przeżycia muzyczne. Tracklista: 1. Leave This World Behind 2. Discordia 3. Waiting To Die 4. Blood Sacrifice Ritual 5. Tarnished Dream 6. Walls Of Blood 7. The Fault Of Man 8. Dark Lords Of Sleep 9. Junkhead 10. Seven Spirits