Tracklista: 1. Both Sides Now2. Angel Eyes3. Yellow and Blue4. Impulse5. The Second Time6. Train to Norway7. I'm Through With Love8. Conversation III9. Mela's Interplay10. Body and Soul11. What Are You Going the Rest of Your Life?
Tracklista:1. Selfhood2. Your Bloody Wings3. Portland4. I Won't Taint5. The More You Ask Me, the Less I'm Sure6. Sunday's Hand7. 228. Pale9. Gold10. Room With a Grey View11. My Wild One
1. LIFE TREE - WITH J-SOUL 2. SONG FOR A GIRL FT. BLACKFEEL WITE 3. THROUGH A FOG 4. LOOK AROUND FT.DANIEL MIMRA 5. BREATHLESS 6. EVELYN FT.ALI.BI 7. SAVE THE WORLD - WITH MARS NEEDS LOVERS 8. ELEPHANT RIDE - WITH AKSHAI FT.AVIS VOX 9. CLOSER TO M
Tracklista:1. Punk Rock Saved My Life2. Ready for the Storm3. Never Break Us Down4. One Mile from Heaven5. Ihr6. My Time Before I Die7. In Love With the Avenue8. Mercenary Blues9. Revolution10. I'm Away11. Fighting for Gold12. Latigo13. Eat Dust14. With the Ghouls15. Punk Rock Girl16. Frankenstein Syndrome17. Down at the Parking Lot18. I Miss My Baby19. The Devil's Advocate20. Change the World21. Whiskey Love22. Prost, Cheers, Nastrovj
Dwie wspaniałe płyty Erica Claptona w jednym opakowaniu! Do kartonika włożono nagrodzony Grammy, pochodzący z 2000 roku wspólny album Slowhanda z B.B. Kingiem oraz wydany 16 lat później koncertowy materiał Anglika, który powstał ze specjalnym udziałem jego wielkiego przyjaciela JJ Cale'a. "Riding With The King" to pokaz tego, jak najwięksi czują bluesa. Choć niektórzy malkontenci psioczyli, że brzmienie krążka jest zbyt wygładzone, jak na wydawnictwo bluesowe, zdecydowanie przeważały bardzo optymistyczne recenzje płyty. Mistrzowie spotykali się na scenie i w studiu parokrotnie wcześniej, lecz dopiero pod koniec XX wieku udało im się zarejestrować wspólny album. Produkcją zajął się Eric, on też zapewnił muzyków sesyjnych, którymi byli głównie ci, towarzyszący mu na koncertach. Gdy nagrywano płytę, Clapton miał lat 55, zaś B.B. King 74. Zarejestrowano niemal wyłącznie cudze kompozycje, w tym tak znane, jak "Hold On, I'm Comin'" Isaaca Hayesa. Na "Live In San Diego With Special Guest JJ Cale" zapisano wyjątkowo koncert Erica Claptona, jaki odbył się 15 marca 2007 roku w iPayOne Center w San Diego. Był on częścią trasy koncertowej poświęconej promocji płyty „The Road to Escondido”, wspólnego dzieła Slowhanda i JJ Cale'a. Na scenie pojawili się wybitni muzycy, chociażby genialni gitarzyści Derek Trucks i Doyle Bramhall II. W ciągu dwóch godzin zabrzmiało kilkanaście piosenek, a w pięciu z nich na estradzie pojawił się JJ Cale (w tym w napisanych przez siebie "After Midnight" i "Cocaine"). Wspaniałego Roberta Craya można usłyszeć w zamykającym całość utworze "Crossroads". Tracklista: CD 1 1. Riding with the King 2. Ten Long Years 3. Key to the Highway 4. Marry You 5. Three O'Clock Blues 6. Help the Poor 7. I Wanna Be 8. Worried Life Blues 9. Days of Old 10. When My Heart Beats Like a Hammer 11. Hold On, I'm Comin' 12. Come Rain or Come Shine CD 2 1. Tell The Truth 2. Key To The Highway 3. Got To Get Better In A Little While 4. Little Wing 5. Anyday 6. Anyway The Wind Blows 7. After Midnight 8. Who Am I Telling You? 9. Don’t Cry Sister 10. Cocaine 11. Motherless Children 12. Little Queen Of Spades 13. Further On Up The Road
Tracklista: 1. Metal Division 2. Eye To Eye 3. Hail To The King 4. Here Comes The Winter 5. Curse Of The Slayer 6. Dracula 7. Together We Fall 8. Die With The Hammer 9. Reincarnation 10. Mirror Of A Broken Heart 11. Victory Is Mine
Tracklista: 1. Chainsaw Lust 2. Cannibal Holocaust 3. And You Will Live In Terror 4. It Lives In The Woods 5. Blood Freak 6. Embalmed Yet I Breathe 7. Burning Moon Sickness 8. Blaspheme The Body 9. Flowers Of Flesh And Blood 10. Unearthed 11. London (13 Demon Street) 12. Insane For Blood 13. Bleeding Torment 14. Mental Decay 15. Beast With Feral Claws 16. Reborn Through Black Mass 17. Вий 18. Fear The Priest
In the summer and early autumn of 1781, Joseph Haydn began work on the six quartets we know today as Op. 33, or more eruditely as Hoboken III: 37-42. They are also known popularly as the “Jungferne” quartets, the “Russian” quartets and “gli scherzi”.In the late autumn of that year, Haydn sent letters to several “gentleman amateurs, great connoisseurs and patrons of music” inviting them to subscribe to manuscript parts of “for the price of 6 ducats… 6 Quartets for 2 violins, viola and violoncello concertante… written in a new and special way.” That Haydn was in a position to send such a letter was due to the wonderful gift Prince Nicolaus Esterhazy gave his Kapellmeister in 1779 – license to write whatever works he chose for sale outside of his duties at the Esterhazy court.Haydn’s German phrase describing the pieces was “von einer Neu, gantz besonderer Art”, so indeed, Haydn’s “new and special way” might also be rendered as “new and completely different” or even “novel and entirely exquisite”.To put the price into perspective, a decent set of clothes tailored in Vienna cost 7 Ducats; Haydn’s official salary from the Prince was 600 Ducats/annum, although in fact, with additional awards, his earnings were nearer 1000. Three of Haydn’s letters trying to sell subscriptions for the quartets still exist. The first is addressed to Johann Kaspar Lavater, a Swiss poet, and one of the leading exponents of the Sturm und Drang movement. The second is addressed to Robert Schlecht, Cistercian Abbott of Salmannsweiler in Land Baden (a musically significant hub) a repeat customer, having acquired Haydn’s Symphony No. 24 in 1773. The third is to Prince Oettingen-Wallerstein, whose court was a hotbed of chamber music activity. Beyond hiring an excellent orchestra and fine composers, he encouraged traveling musicians to perform at court there, hosting, among many others, Beethoven in 1787 and Haydn on his first journey to London, in 1791. Haydn anticipated selling 16 such subscriptions, representing approximately one sixth of his annual official pay. In December, 1781, he sent the quartets to his primary publisher, the Viennese house of Artaria, understanding that they would be published after he had satisfied his subscribers. Artaria, however, had the pieces engraved very quickly, and offered them for sale on December 29, 1781. This enraged Haydn, who stood to lose a considerable sum, and he immediately ceased all further correspondence with Artaria (Artaria’s selling price for the engraved quartets was 4 gulden, which represented about 14% of the 6 Ducats Haydn was asking for the manuscript parts). Two weeks later, realizing perhaps the advantage of the long-term relationship with Artaria, Haydn had calmed down; within a month of that, Haydn offered the quartets to Hummel in Berlin, and Forester in London, both of whom published them that year. The Hummel edition featured an engraving of a young maiden, or “Jungferne”, the first of the popular names for the quartets. All of this activity points to the significance and popularity of the works, which were consumed almost exclusively by amateur performers; the notion of a public, professional string quartet concert in most of Europe was still several decades away. The first documented performance of the quartets was in the chambers of the Russian Grand Duke Paul (later Tsar Paul I). Haydn inscribed a dedication on the manuscript copy of the quartets that he gave to the Grand Duke, hence the second popular nickname, the “Russian” Quartets. The third popular name, “gli scherzi” or “the Jokes”, speaks to the music itself. For the first time in his quartets, Haydn replaces the minuet movement with one entitled scherzo; while all six movements share essentially the same form, they demonstrate incredible variety of texture and invention. In the trio section of the scherzo of Op. 33, No. 2 in E flat major (Hob. III: 38, which is itself known as “the Joke”), Haydn specifies fingerings in the first violin part that imply sliding between the pitches (perhaps a slightly tipsy tavern fiddler?). The last movement of the same piece features an elaborate joke, with several false endings, finishing with precisely the same two measures as it began. Haydn again uses the technique of reprise in the opening movement of Op. 33, No. 5 (Hob. III: 41, the “How do you do?”) again using a two-measure unit. As these pieces were intended for private consumption, they are also full of jokes for the performers themselves. One of our favourites is in the last movement of Op. 33, No. 4 (Hob. III: 40), in which the first violinist has awkward string crossings at breakneck speed, while the second violinist essentially fills in the first violinist’s part in the higher octave; what we hear is a simple line, what we see is Haydn torturing the first violinist, making him work a great deal harder than absolutely necessary!
Tracklista: 1. Projection 2. Dive Into The Light 3. Ray 4. 4 5. Taking You Out 6. The Day With Nothing 7. Horoscope 8. It's You 9. In The Rain 10. Trickster 11. Tonight 12. Will 13. Ichika Bachika (Bonus Track)
PEER GYNT SUITE NO.1, OP.46; PEER GYNT SUITE NO.2, OP.55; FUNERAL MARCH IN MEMORY OF RIKARD NORDRAAK (VERSION FOR WIND BAND); OLD NORWEGIAN MELODY WITH VARIATIONS, OP.51; BELL RINGING, OP.54 NO.6