Tracklista: LP 1 Side A 1. Approach In A Breeze 2. Transparent Tickle Shining Glace 3. Holding The Oak Side B 1. When We Talk 2. Roots Making Family 3. The Crown Territory LP 2 Side C 1. Supernova Space Time Drift 2. Silentium Larix Side D 1. Pius In Tacet 2. Lichtung
The Early Dreams project represents both a return to the source and a rebirth for Constantinople. It is the start of a new cycle. The group was born ten years ago around a meeting of the sonorous, musical and cultural worlds of two instruments—the setar and the European lute—the first, monodic and drawing melodic contours around the latter’s bass lines and harmonic patterns. This dialogue was complemented by the virtuoso percussion work of Ziya Tabassian and the rich sound of the viola da gamba, which can take on the roles of both bass instrument and solo voice. Since its inception, the ensemble has travelled the world to explore new projects arising out of unique musical encounters between old manuscripts and living musical traditions. Driven by a constant desire to renew itself through creation, the group’s projects draw from existing material while leaving room for informed improvisation. This new cycle begins with Early Dreams, in which the setar, the Baroque guitar, percussion instruments and the viola da gamba mingle with the voice of our long-time collaborator Françoise Atlan over the ostinato bass lines of Spanish and Mexican diferencias from the Baroque era. We used these bass lines, drawn primarily from the works of Lucas Ruis de Ribayaz (c.1626–c.1667) and Santiago de Murcia (c.1682–c.1740), two Spanish instrumentalists and composers whose works were widely played in 17th- and 18th-century Mexico, as a starting point to recreate both instrumental and vocal works. As part of this re-creation process, we immersed ourselves in the cultural essence of this promising New World and went to the heart of Baroque-era Mexico in search of what had fashioned the spirit of composers from the period: the fabric of the music, some written works, the grandeur of its cathedrals, and the treasures of its libraries. The cultural context of Mexico of that time is fascinating. There is clearly a strong Spanish influence on the society and as a result on the repertoire. Yet, Baroque Mexican culture stands out from its Spanish cousin by its religious and cultural syncretism. A major intellectual figure symbolizes the spirit of the entire period for both Mexico and Spain: Sor Juana Inés de la Cruz (1648–1695), the first great Latin American poetess.We were overwhelmed by her impassioned poetry and texts, and the musicality of her writing made us want to bring it to life again. A highly intellectual figure, Sor (sister) Juana Inés de la Cruz also composed music and was an undisputedly talented singer. However, her scores and compositions have not survived. To remedy this situation, we selected some of her poems and set them to music over known bass lines of the period. As part of this (re)creation project, we teamed up with Canadian composer Michael Oesterle and invited him to write a piece. Sharing our fascination for the poetry and time of Sor Juana, he composed Tres sonetos, a very personal reading of this famous scholar’s work. Throughout this creative process, we kept an image of Sor Juana playing and singing her poems over these ostinato bass lines in our hearts. Françoise Atlan, performing Baroque repertoire for the first time, lends her warm and unique voice to the project. Actively involved in the creative process and a veritable restorer of a flamboyant past, she devoted her remarkable talent to the service of this key literary and intellectual figure’s poems. The virtuosic dialogues between the Baroque guitar, the Persian setar, the viola da gamba and the percussion instruments also recreate a unique sound, one that is characteristic of our group. It’s a sound that is both ancient and modern, tinged with Mediterranean and Middle-eastern sonorities, this time with a daring gaze toward the New World, nourished with respect and admiration for one of the most celebrated women scholars of New Spain, Sor Juana Inés de la Cruz. Sor Juana Inés de la CruzThe life of Sor Juana is relatively well known in spite of the normal uncertainties given the three centuries and the geographical distance separating her time and place from our own. Our modern fascination with Sor Juana could be explained by the uniqueness of her personality – an indispensable source of information is her biography written by the Mexican man of letters and diplomat Octavio Paz (1941–1998), winner of the Nobel Prize for literature in 1990. However, the primary source remains Sor Inés’ own autobiography, entitled Respuesta a Sor Filotea (Reply to Sister Filotea), published in 1691, and virulently criticized in intellectual circles. Juana Inés de Asbaje y Ramírez de Santillana, who was born in San Miguel Nepantla, in Mexico (New Spain at the time), in 1651 (some researchers say 1648) and died in Mexico City in 1695, seems to have been the illegitimate daughter of an adventurer who never admitted his paternity and a landed woman who never married. In a world where women were not allowed access to knowledge, and in particular a formal education, the young Inés demonstrated spectacularly precocious intellectual gifts (she wrote her first text at the age of seven) and rose up against prejudice by devising a scheme to disguise herself as a man in order to attend university. Although her plan failed, her mother sent her to Mexico City in 1664, and her remarkable talents eventually drew the attention of the court of Marquis de Mancera, Viceroy of Mexico, who was charmed by this) rare instance, for the time, of a female poet, and one with such a sweet and likable nature. She soon became a lady-in-waiting of the viceroy’s wife and proved to be just as brilliant in philosophy, theology, mathematics and astronomy, not to mention music, as she was in literature. She wrote with great relish, setting down poems, plays and texts to be sung at church—the popular villancicos so typical of Spanish music and essential components of the Empire’s great religious feasts. Her only interest being in the arts and sciences, Juana knew full well that the monastic world would allow her to dedicate herself entirely to these pursuits. Her first attempt to enter a Carmelite convent failed, but in 1669, she was successful and turned her back on the lavish court life and took the veil, becoming Sor Juana Inés de la Cruz at the monastery of Jeronimas de Puebla, where she continued to write and fascinate her compatriots throughout the world. At the monastery, Sor Inés was free to develop her immense intelligence and devote herself to her love of literature.What makes her œuvre so interesting is undoubtedly the numerous perspectives under which she is considered. Some see her as the ultimate expression of a certain Spanish classicism, others as incarnating the first expression of a true American identity. There are convincing justifications for either interpretation. Hence, her poem “Primer Sueño” (Early Dream), which describes the dreamlike voyages of the human soul, falls into a tradition of Spanish literature whose most obvious representative is Luis de Góngora (1561–1627), while her plays cannot but display her admiration for Calderón. But as Octavio Paz writes, numerous works, including “Primer Sueño,” are influenced by the Hermetic, mystical tradition of the Jesuit Athanasius Kircher. The polemics arising from her Reply to Sister Filotea clearly illustrate the problems raised by the existence of such a brilliant woman. A response to a letter attacking her for her focus on literature and the sciences and suggesting that she instead concentrate on theology, Sor Inés’ Reply is a remarkable text on the recognition of women in society of the day. It also takes a run at the inordinate power of the Inquisition, a sign that her personality, so highly appreciated by her contemporaries, also had an opinionated and determined side. Defending the place of women in society, Sor Inés was also a fervent advocate of other victims of social prejudice: She viewed prostitutes with a sympathetic regard and was also among the voices standing up for black slaves and aboriginals in Spanish territories. However, the Reply attracted the wrath of the Archbishop of Mexico, who condemned Sor Juana’s “waywardness.” She resolved to stop writing rather than submit to censure. In the end, only a small portion of Sor Inés’ œuvre, collected today under the title Complete Works, has survived, a quarter of it consisting of religious songs. Legend has it that her writings were saved by the Mexican viceroy’s wife herself, evidence that Sor Inés’ unique voice had echoed deeply among her entourage. Similarly, we now know that her texts were set to music for over a century (until the 1780s) by the most important composers of South America, though her poetry was “adapted” to local practices. It is moving to hear a voice in the struggle for liberty—a voice snuffed out by its suffocating era—sing out once again over the span of the centuries.
180 gram audiophile vinyl. Tracklista: LP 1Side A 1. Scene One: Regression 2. Scene Two: I. Overture 1928 3. Scene Two: II. Strange Deja Vu 4. Scene Three: I. Through My Words 5. Scene Three: II. Fatal Tragedy Side B 1. Scene Four: Beyond This Life 2. Scene Five: Through Her Eyes LP 2Side C 1. Scene Six: Home 2. Scene Seven: I. The Dance Of Eternity 3. Scene Seven: II. One Last Time Side D 1. Scene Eight: The Spirit Carries On 2. Scene Nine: Finally Free
Koncert Boya George'a i Culture Club zarejestrowano w Sydney, Australia w 1984 roku.Czas: 77 minut, obraz: 4:3, DTS Digital Surround Sound, Dolby Surround 5.1, PCM Stereo, Region 0. Tracklista: 1. Take Control 2. Mister Man 3. I'll tumble 4 ya 4. It's a Miracle 5. Karma Chameleon 6. Black Money 7. Love Twist 8. Do you really want to hurt me 9. Church of the Poison Mind 10. Victims 11. Time (Clock fo the heart) 12. Miss me blind 13. White Boy 14. That's the way (I'm only trying to help you) 15. Melting Pot
Craig David to jeden z najbardziej rozpoznawalnych artystów brytyjskich, ikona R&B lat 00, który sprzedał ponad 13 milionów płyt! Artysta powraca na scenę muzyczną po blisko 6 latach milczenia. Premierę płyty zatytułowanej „Following My Intuition” zapowiadały trzy single: „One More Time”, „When Bassline Drops” i „Nothing Like This”.
W/ JERRY DONAHUE 1. THE ARK 2. BAKER STREET 3. RIGHT DOWN 4. THE LINE 5. CITY TO CITY 6. STEALIN' TIME 7. MATTIE'S RAG 8. WHATEVER'S WRITTEN IN YOUR HEART 9. HOME AND DRY 10. ISLAND WAITING FOR THE DAY
Tracklista: CD 1 1. I Walk The Line 2. Dream Baby 3. Broken Promises 4. Cry, Cry, Cry 5. Big Mamou 6. The Shelter Of Your Arms 7. Folsom Prison Blues 8. Healing Hands Of Time 9. Rock Island Line 10. Rainy Day Blues 11. Hey! Porter 12. Burning Memories 13. Half A Man 14. Guess Things Happen That Way 15. What Can You Do To Me Now? 16. Born To Lose 17. It's So Easy 18. Both Ends Of The Candle 19. Don't Think Twice, It's Alright 20. Goodnight, Irene CD 2 1. Face Of A Fighter 2. Get Rhythm 3. White Lightning 4. Ballad Of A Teenage Queen 5. Some Other Time 6. Crying 7. Cold, Cold Heart 8. Blame It On The Times 9. Lorena 10. Big River 11. Jole Blon 12. Touch Me 13. So Doggone Lonesome 14. Sally Was A Good Old Girl 15. A New Way To Crey 16. You Win Again 17. I Let My Mind Wander 18. Love's Gonna Live Here 19. Belshazzar (Undubbed Version) 20. End Of Understanding
Podwójnie platynowy w USA, kultowy hardrockowy album „Slide It In” grupy Whitesnake ukazuje się ponownie. Wydany oryginalnie w 1984 roku album był pierwszym wydawnictwem formacji Davida Coverdale'a, które pokryło się platyną w USA. Na całym świecie „Slide It In” rozszedł się w ponad 4 mln egzemplarzy i zapoczątkował okres wielkich sukcesów komercyjnych Whitesnake za oceanem. To właśnie na tym albumie znalazły się takie znakomite kompozycje formacji jak „Love Ain't No Stranger”, czy „Slow An' Easy”. Z okazji jubileuszu 35-lecia premiery płyta ukazuje się ponownie pod tytułem „Slide It In: The Ultimate Special Edition”. Będzie znacząco wzbogacona i pojawi się jako siedmiopłytowy zestaw, 6CD/1DVD. Clou wydawnictwa będą zremasterowane wersje albumu, angielska i amerykańska. Do tego dochodzi cała masa niepublikowanych wcześniej nagrań ze studia i z koncertów, teledyski, a także wywiad na temat albumu z Davidem Coverdalem. Całość uzupełnia 60-stronicowa książeczka w twardej oprawie z mnóstwem zdjęć sprzed lat oraz wspomnień na temat płyty. Przygotowano również inne format „Slide It In”. Dostępne będzie wydanie jako 2CD ze zremasterowanymi wersjami amerykańską i angielską, do których dodano nagrania bonusowe. Ukaże się to również w formacie 2LP oraz jako pojedynczy kompakt z wersją amerykańską. Oprócz Davida Coverdale'a w nagraniach szóstego w dyskografii Whitesnake albumu „Slide It In” brali udział wybitni muzycy, chociażby gitarzyści Micky Moody i Mel Galley, basista Colin Hodgkinson, klawiszowiec Jon Lord, a wersji amerykańskiej gitarzysta John Skyes oraz oryginalny basista zespołu Neil Murray. Partie perkusji nagrał genialny Cozy Powell. Tracklista: CD 1 1. Gambler (US Mix) (2019 Remaster) 2. Slide It In (US Mix) (2019 Remaster) 3. Slow An' Easy (US Mix) (2019 Remaster) 4. Love Ain't No Stranger (US Mix) (2019 Remaster) 5. Give Me More Time (US Mix) (2019 Remaster) 6. Standing In The Shadow (US Mix) (2019 Remaster) 7. Hungry For Love (US Mix) (2019 Remaster) 8. All Or Nothing (US Mix) (2019 Remaster) 9. Spit It Out (US Mix) (2019 Remaster) 10. Guilty Of Love (US Mix) (2019 Remaster) CD 2 1. Gambler (UK Mix) (2019 Remaster) 2. Slide It In (UK Mix) (2019 Remaster) 3. Slow An' Easy (UK Mix) (2019 Remaster) 4. Love Ain't No Stranger (UK Mix) (2019 Remaster) 5. Give Me More Time (UK Mix) (2019 Remaster) 6. Standing In The Shadow (UK Mix) (2019 Remaster) 7. Hungry For Love (UK Mix) (2019 Remaster) 8. All Or Nothing (UK Mix) (2019 Remaster) 9. Spit It Out (UK Mix) (2019 Remaster) 10. Guilty Of Love (UK Mix) (2019 Remaster) 11. Need Your Love So Bad (Single B-Side) (2019 Remaster) 12. Gambler (7"" Eddie Kramer Mix 1983) (2019 Remaster) 13. Guilty Of Love (7"" Eddie Kramer Mix 1983) (2019 Remaster)
Jeśli kochanie post-punk i synth-pop składanka "Electric Language" z pewnością stanie się dla was repetytorium wiedzy o niekoniecznie oczywistych i ogólnie znanych wykonawcach z fali tzw "brytyjskiego boomu". Przepięknie wydany box na 4 płytach CD streszcza owe zjawisko eksplorując przeszło 80 kompozycji z których każda zachwyca, zaciekawia i pozostaje w pamięci. Całość została przepięknie opisana w grubej książce i wydana w formie boksu. Tracklista: CD 1 1. Thomas Dolby - "Windpower" 2. Alan Burnham - "Science Fiction" 3. The Normal - "Warm Leatherette" 4. Alex Fergusson - "Stay With Me Tonight" 5. Colourbox - "Tarantula" 6. 100% Manmade Fibre - "Fantasy" 7. Testcard FG - "Bandwagon Tango" 8. Be-Bop Deluxe - "Elecrtical Language" 9. Dalek I - "The World" 10. Chain Of Command - "Honour Among Thieves" 11. Orchestral Manoeuvres In The Dark - "Red Frame/White Light" 12. The Legendary Pink Dots - "Red Castles" 13. Ice The Falling Rain - "Lifes Illusion" 14. Music For Pleasure - "The Human Factor" 15. Poeme Electronique - "She's An Image" 16. Box Of Toys - "I'm Thinking Of You Now" 17. New Musik - "The Planet Doesn't Mind" 18. Schlemeimer JK - "Hope Deep Inside" 19. Native Europe - "The Distance From Koln" 20. Voice Of Authority - "Technical Miracle" CD 2 1. The Human League - "Circus Of Death" 2. The Passage - "XOYO" 3. A Popular History Of Signs - "Crowds" 4. Chris & Cosey - "October (Love Song)" 5. Laugh Clown Laugh - "Feel So Young" 6. Basking Sharks - "Croatia" 7. Thomas Leer - "Mr Nobody" 8. Fad Gadget - "Ricky's Hand" 9. Local Boy Makes Good - "Hypnotic Rhythm" 10. The Mobiles - "Drowning In Berlin" 11. Edward Ka-spel - "Even Now" 12. Passion Polka - "Lying Next To You" 13. Naked Lunch - "Rabies" 14. The Limit - "Do It" 15. Robert Calvert - "Work Song" 16. Quadrascope - "Baby Won't Phone" 17. Electronic Ensemble - "It Happened Then" 18. Jeanette - "In The Morning" 19. Those Attractive Magnets - "Nightlife" 20. Beasts In Cages - "My Coo Ca Choo" CD 3 1. The Bodhi-beat Poets - "Your Love Is Like A Slug" 2. Eyeless Ni Gaza - "Veil Like Calm" 3. Camera Obscura - "Destitution" 4. Drinking Electricity - "Good Times" 5. Zoo Boutique - "Happy Families" 6. Fiat Lux - "Feels Like Winter Again" 7. Colin Potter - "Falling Downstairs" 8. David Harrow - "Our Little Girl" 9. Futurhythm - "It Never Rains In Outer Space" 10. Goat - "Zennor" 11. Final Program - "Videomatic" 12. Pink Industry - "Taddy Up" 13. Play - "You Don't Look The Same" 14. The Fast Set - "Children Of The Revolution" 15. Two - "Trace Of Red" 16. Shox - "Lying Here" 17. The Builders - "Daytime Assassins" 18. Section 25 - "Beating Heart" (12" version) 19. Joe Crow - "Absent Friends" 20. Faction - "Jamaica Day" CD 4 1. Tim Blake - "Generator (Laserbeam)" 2. Lori & The Chameleons - "Touch" 3. Jupiter Red - "The Secret Affair" 4. Blue Zoo - "I'm Your Man" 5. Jesus Couldn't Drum - "Even Roses Have Thorns" 6. Techno Pop - "Paint It Black" 7. Kevin Harrison - "Chase The Dragon" 8. Thirteen At Midnight - "Other Passengers" 9. Freeze Frame - "Your Voice" 10. Time In Motion - "Stay With You" 11. The Toy Shop - "Live Wires Kill" 12. Analysis - "Surface Tension" 13. Paul Haig - "Time" 14. Solid Space - "Contemplation" 15. Martin O'Cuthbert - "Committed To Vinyl" 16. Science - "Look Don't Touch" 17. Charlie's Brother - "The Wishing Tree" (Megatree mix) 18. The Quarks - "Working Model" 19. Eddie & Sunshine - "There's Someone Following Me" 20. Hybrid Kids - "Hapapy Xmas (War Is Over)"
Tracklista:1. Laser Beam2. Love Trap3. Wicked Them a Say4. Tribal War5. Mr. Landlord6. Bad Boy Posse7. King of the Arena8. Got to Tell the People9. Mr. Babylon10. Satisfaction11. Prophecy12. Ababa John I13. Time and Place14. Take Heed15. A Class DJ16. Just Care for I