Tracklista: 1. Sulphur & Starlight 2. Wolf Moon 3. God Particle 4. Summerland 5. A Glass Forest 6. The Well’s Run Dry 7. Ode To The Future 8. Be Your Sins 9. Dust & Shadow 10. Khione 11. The Ascent To Summerland
Tracklista:1. The Story of the Snowman2. Walking in the Air3. The Story Continued4. Introduction5. The Story Begins6. The Bird7. The Duck8. Grandfather9. The Wolf10. The Duck Escapes11. The Wolf Stalks the Bird and the Cat12. Peter Prepares to Catch the Wolf13. The Bird Diverts the Wolf14. Peter Catches the Wolf15. The Hunters Arrive16. The Procession to the Zoo
Tracklista: 1. Ivory Stages 2. You Have Changed 3. Hero 4. Where The Rainbow Dies 5. Runnin' Like A Wolf 6. No One's Crying 7. Changing The Direction 8. Struggling Along 9. Fly Away 10. Upright Smile 11. The Song Of Evening 12. Alone Again 13. Thundergods 14. Shining 15. Ivory Stages 16. Hero 17. Where The Rainbow Dies 18. You Have Changed 19. Running Like A Wolf 20. No One's Crying 21. Changing The Direction 22. Struggling Along 23. Fly Away 24. Upright Smile 25. Alone Again 26. The Song Of Evening 27. Shining 28. Thundergods
Tracklista: 1. All The Way 2. Two Lane Blacktop 3. On The Road 4. Working Man 5. Hellbender 6. County Jail 7. Burn 8. Goin' Down 9. White Wolf 10. AR-15 11. Cougar Rock 12. Devil's Night 13. Ride On 14. Redline 15. Big Rig
When we encounter this work for the first time, we discover a new song landscape – a delightfully hybrid country where Italian folk earthiness is wedded to the highest German art. Wolf had already proved himself a giant of the lied in his settings of Mörike (1888), Goethe (1888/9) and others, and he had long been adept at inspired syntheses of word and tone. But by 1890 the composer had reached a phase in his life where he no longer needed the monumental grandeurs of German literature to achieve his ends. He had already turned his gaze south to the Mediterranean; the songs of the Spanisches Liederbuch strike a new hedonistic note in his work. But the surprise of the Italienisches Liederbuch (translations by Paul Heyse of essentially anonymous folk lyrics drawn from collections by Tommaseo, Tigri, Dalmedico and others) is that the composer also delights in the joys of Lilliput, and ‘Auch kleine Dinge …’, the opening song in the set, is the very work to declare his new miniaturist sympathies.The song microscope (an instrument yet to be invented by science but long at the disposal of Wolf enthusiasts) shows that the amalgam of music and poetry which is the Italienisches Liederbuch is a volatile substance teeming with frantic activity, unguessed-at by the many, invisible and inaudible to the uninformed ear and eye, and yet hugely colourful when viewed through the right lens and heard through the right amplifier. Multitudinous protons and neutrons jostle within even the simplest of song texts, and Wolf at the height of his powers, in Einsteinian fashion, knew how to harness the secret power of these atoms of poetry to create a music of explosive power – music which belies its modest dimensions. The intense human activity of an Italian village is mirrored by a parade of the tiniest and most subtle musical devices and inflections seemingly with lives of their own, and with the sophistication and the inevitability of living organisms. The people depicted in Heyse’s collection are atoms of society, part of a bustling and vibrant community, yet somehow anonymous in that their behaviour in love – or when angry, spiteful, or laughing – is archetypal, as repetitive and inevitable as life itself. And as a result of the composer entering into the spirit of these words in the most profound way, there is in this combination of music and poetry a timelessness which places the work far beyond the realms of nineteenth-century song and Italian pastiche.The work is about patterns of life – ever changing, and yet ever the same. A celebration of these living litanies in Wolf’s hands is no less than life-enhancing. We hear what is going on beneath the surface to such an extent that we do not stop to ask whether these rispetti are contemporary with Cosimo de Medici, Vittorio Emmanuele or Mussolini. A staged and costumed Italienisches Liederbuch would thus reveal nothing that we cannot already hear in the music; the point of Wolf’s writing is to lead us deep into the poetry with the smallest number of extraneous distractions. The banalities of mere story-telling are transcended by a scenario which needs no lighting because it is brilliantly lit from within; it needs no mise-en-scène because it is bound together by the variety and unpredictability of life itself. The composer himself is the conductor, for he left the performers more than enough detailed instructions to remain firmly in charge. Of the cast of three, the pianist is rooted firmly to the spot, hopefully in front of a better instrument than could ever be found in an Italian village, and the other two alternate in song without ever combining their voices in duet. Only once, or possibly twice, does the composer permit them to address each other directly. Many an opera lover would find this a distinctly unpromising recipe for an evening’s entertainment. And yet if we use our ears and listen to our hearts we have to declare that here is a triumph of the lied over the operatic form sacred to the real Italians. This is only one of the delicious paradoxes of a work, so small and yet so large, so complex yet so simple, which is one of the enduring masterpieces of the civilized world.Wolf never heard both parts of his Italienisches Liederbuch together, although a letter of October 1893 to Dr Strecker in Mainz shows that a complete performance of the work – at a time when only twenty songs existed – was planned. Although this plan never came to fruition, the work is comparable to Schubert’s Winterreise in that both composers and their friends seem to have regarded Book I of their respective cycles (a halfway house in each case) as finished works worthy of performance in their own right.The absence of a performing tradition of the Italienisches Liederbuch in the composer’s own lifetime has given later performers carte blanche in deciding a performing order for the songs. This has been encouraged by the publication of a Wolf handbook by Edition Peters in which various running orders are suggested, and by the late Erik Werba who also concocted and published a number of different sequences, some of which have been recorded. Countless singers and pianists have had a great deal of fun shuffling the songs to make connections between them on the basis of ‘she said to him’ and ‘he then said to her’. The enjoyable thing about this is that the work can seem subtly different each time, but there are also a number of dangers. It seems a mistake, for reasons outlined above, to attempt to operaticize Wolf’s cycle (it has been ‘staged’ in American music colleges more than once), but it is also important to acknowledge that the ‘cycle’ is in fact two separate works, one completed in 1891 and the other in 1896. Greater stylistic differences (and much more time) separate these two books than separate the two books of Winterreise. The second Italian set has a different mood and certainly a different style of piano accompaniment. As the work is usually given with an interval, it seems only wise to allow those twenty minutes to stand for the five-year gap between the two groups of songs.When Felicity Lott, Richard Jackson and I performed the work for the first time (at the Purcell Room, London, in October 1975, in honour of Flora Nielsen’s 75th birthday) I devised an order which mixed the two parts unmercifully, grouping songs under sub-headings taken from Tommaseo’s Canti Toscani – one of the sources of Heyse’s translations. Thus the songs were arranged together under ‘L’amore ineguale’, ‘Serenate’, ‘Preghiere e rimproveri’ and so on. This seemed a good idea at the time, but I am now convinced that the composer knew exactly what he was doing when he made his own order for publication. For each of the two books Wolf chooses a wonderful motto song, and for each of them a high-spirited virtuoso finish. Throughout there are subtle juxtapositions of key, metre and tempo to provide contrast and relief, except where the composer wishes to suggest a link when certain songs seem to glide into each other.It was the late Walter Legge who impressed on me (during long sessions with my young colleagues in 1975 as well as with Schwarzkopf in 1976) that of all composers Hugo Wolf was master, if not of his own sad destiny, then of his songs. His relationships with publishers were fraught with difficulty precisely because he was so punctilious about the exact pagination of his music. If he had a recital programme printed he supervised each detail of it, including the flowers which embellished the foot of each page. His relationship with singers (whom he regarded as mostly stupid) was always tense because he demanded absolute fidelity to his intentions. He was unquestionably a tyrant in matters musical and Legge continued this tradition with great relish, arriving at my door to coach the young team with a cigar in one hand and a metronome in the other, both instruments of torture in their various ways. I am extremely grateful to him now, however, because he showed us that, in terms of his own music, Wolf knew best. No other composer has left so many detailed instructions (including metronome marks) for a set of songs; to obey Wolf’s dynamics and tempo indications as far as possible (far easier said than done) is to obtain the best results on the concert platform. Having come to admire the way that the composer is able to ‘rule from the grave’ (something that I believe was his intention as far as his songs are concerned) it is inconceivable to me that, having been composed with immense effort and superhuman care, the songs of the Italienisches Liederbuch were thrown together in an arbitrary sequence on the whim of the moment, and without that careful thought and intention which is the Absicht of the obsessively controlling artist. In the composer’s own order, which on the whole eschews quasi-operatic resonances of dialogue and cute response, we hear the kaleidoscope of village life (rather than see it) and our ears are encouraged to listen to all the riches which lie beneath these serenades, laments and dramatic confrontations. This is the way the composer carefully planned to present his work to posterity.I confess to one departure from this which I think has a certain musicological validity. The ‘hatching’ of a work like this on a stop-go basis with gaps of years and a sudden deluge of creativity is highly fascinating. I have presented a performance of the cycle in Wigmore Hall, and again at the Walton Estate on Ischia, in which the songs were performed in the order in which they were composed. They were linked by readings from the composer’s letters to friends which showed the various moods of elation and depression which governed the work’s genesis. This order has the advantage of course of not mixing songs from the two periods. We were denied the excitement of ‘Ich hab’ in Penna …’ to end the evening, but had the hauntingly beautiful (and also appropriate) ‘Was für ein Lied …’ instead. Presenting an evening like this shows the cycle as ‘work in progress’, but I remain convinced that the best order for a recording is the composer’s own.
Tracklista: LP 1 1. Can't Play Dead 2. Can't Play Dead 3. Curse Me Good 4. Curse Me Good 5. What Makes a Good Man? 6. What Makes a Good Man? 7. The Big Bad Wolf 8. The Big Bad Wolf 9. Be Mine 10. Be Mine 11. Same Ol' 12. Same Ol' 13. Just My Luck 14. Just My Luck 15. The Lonesome Road 16. The Lonesome Road 17. Don't Say Nothing 18. Don't Say Nothing 19. Blood Love Dirt Soup 20. Blood Love Dirt Soup LP 2 1. Can't Play Dead (Instrumental) 2. Curse Me Good (Instrumental) 3. What Makes a Good Man? (Instrumental) 4. The Big Bad Wolf (Instrumental) 5. Be Mine (Instrumental) 6. Same Ol' (Instrumental) 7. Just My Luck (Instrumental) 8. Lonesome Road (Instrumental) 9. Don't Say Nothing (Instrumental) 10. Blood Love Dirt Soup (Instrumental) 11. A Lesson Learnt
5-płytowy zestaw zawiera 100 bluesowych hitów. Wśród wykonawców znajdują się między innymi takie gwiazdy bluesa jak: Muddy Waters, Howlin' Wolf, Sonny Boy Williamson, Otis Rush, John Lee Hooker, Elmore James, James Cotton, Buddy Guy, Albert King, Magic Sam, Albert Collins, Otis Spann, Junior Wells, J.B. Lenoir, Little Walter, Jimmy Reed Tracklista: CD 1 1. Hangover - Roosevelt Sykes 2. Dust My Blues - Elmore James 3. Need Your Love So Bad - Little Willie John 4. Ain't That Loving You Baby - Jimmy Reed 5. I Hear You Knocking - Smiley Lewis 6. Mannish Boy - Muddy Waters 7. Smokestack Lightnin' - Howlin' Wolf 8. My Babe - Little Walter 9. Keep It To Yourself - Sonny Boy Williamson (Ii) 10. Corrinne, Corrina - Big Joe Turner 11. Forty Days And Forty Nights - Muddy Waters 12. I Can't Quit You Baby - Otis Rush 13. I Asked For Water (She Gave Me Gasoline) - Howlin' Wolf 14. From The Bottom - Sonny Boy Williamson 15. Walking The Blues - Champion Jack Dupree 16. Forty Four - Howlin' Wolf 17. Don't Start Me Talkin' - Sonny Boy Williamson 18. Who - Little Walter 19. (She Put The) Whamee On Me - Screamin' Jay Hawkins 20. It's My Life - Bobby Blue Bland CD 2 1. Just Make Love To Me - Muddy Waters 2. The Things That I Used To Do - Guitar Slim 3. You're So Fine - Little Walter 4. Poison Ivy - Willie Mabon 5. Make My Dreams Come True - Elmore James 6. Reconsider Baby - Lowell Fulson 7. I'm Your Hoochie Coochie Man - Muddy Waters 8. You Don't Have To Go - Jimmy Reed 9. Play A Little While - J.B. Lenoir 10. Pouring Down Rain - John Lee Hooker 11. Kissing In The Dark - Memphis Minnie 12. Sloppy Drunk Blues - Jimmy Rogers 13. I Want To Be Loved - Muddy Waters 14. Story Of My Life - Guitar Slim 15. Last Night - Little Walter 16. I'm Ready - Muddy Waters 17. Wanderin' Heart - T 18. Rockin' Daddy - Howlin' Wolf 19. I'm Mad - Willie Mabon 20. Shake Baby Shake - Champion Jack Dupree CD 3 1. Call It Stormy Monday But Tuesday Is Just As Bad - T 2. Honey Hush - Big Joe Turner 3. You're A Fool - Willie Mabon 4. Daddy Rollin' Stone - Otis Blackwell 5. The Come Back - Memphis Slim 6. Party Girl - T 7. Hole In The Wall - Floyd Dixon 8. Moanin' At Midnight - Howlin' Wolf 9. Fussin' And Fightin' Blues - Little Junior's Blue Flames 10. Hide Away - Freddie King 11. Truckin' Little Woman - Willie Nix 12. Straighten Up Baby - James Cotton 13. The Wolf Is At Your Door - Howlin' Wolf 14. I'm Tore Down - Freddie King 15. Rock Me - Muddy Waters 16. How Long - Memphis Slim 17. How Many More Years - Howlin' Wolf 18. Livin' With The Blues - Sonny Terry And Brownie Mcghee 19. By The Water - Snooks Eaglin 20. San - Ho CD 4 1. Ain't Nobody's Business - Jimmy Witherspoon 2. That's All Right - Mama 3. Sit And Cry - Buddy Guy 4. Rollin' Stone - Muddy Waters 5. You Sure Can't Do - Buddy Guy 6. Rollin' And Tumblin' - Muddy Waters 7. When The Lights Go Out - Jimmy Witherspoon 8. The Sky Is Crying - Elmore James 9. Travelin' To California - Albert King 10. 61 Highway Blues - Mississippi Fred Mcdowell 11. Call Me If You Need Me - Magic Sam And Shakey Jake Harris (Vocal) 12. Good Morning Little Schoolgirl - Smokey Hogg 13. Turn On Your Lovelight - Bobby Blue Bland 14. I Could Cry - Junior Wells 15. I Got My Mojo Working - Muddy Waters 16. Dyna Flow - Albert King 17. Everything Gonna Be Alright - Magic Sam 18. You Better Move On - Arthur Alexander 19. Poor Lover's Blues - Big Joe Turner 20. I'm A King Bee - Slim Harpo CD 5 1. Spoon's Blues - Jimmy Witherspoon 2. Lay Some Flowers On My Grave (Digitally Remastered) - Blind Willie Mctell 3. Love Me With A Feeling (Digitally Remastered) - Magic Sam 4. Junker's Blues - Champion Jack Dupree 5. My Daily Wish - Robert Jr. Lockwood And His Band 6. It Must Have Been The Devil - Otis Spann 7. I've Got A Woman Part 1 - Jimmy Mcgriff 8. Sweet Old Chicago - Roosevelt Sykes 9. C.C. Rider - Chuck Willis 10. Easy - Big Walter Horton 11. The Hustle Is On - T 12. You Know Yeah - Pee Wee Crayton And His Guitar 13. The Day Will Come - Blind John Davis 14. The Sun Is Shining - Jimmy Reed 15. Going Back To Memphis - Sunnyland Slim 16. The Freeze - Albert Collins 17. Hey, Mrs. Jones - Jimmy Witherspoon 18. Someday Baby - Big Joe Williams 19. You Will Need Me - Lonnie Johnson 20. Night Time Is The Right Time - Roosevelt Sykes
Tracklista: LP 1 1. Dracula 2. Journey To The Inn 3. The Inn 4. The Crypt 5. Carriage Without A Driver 6. The Castle 7. The Drawing Room 8. Excellent, Mr. Renfield 9. The Three Consorts Of Dracula 10. The Storm 11. Horrible Tragedy 12. London Fog 13. In The Theatre 14. Lucy's Bitten 15. Seward Sanatorium 16. Renfield LP 2 1. In His Cell 2. When The Dream Comes 3. Dracula Enters 4. Or A Wolf 5. Women In White 6. Renfield In The Drawing Room 7. Dr. Van Helsing And Dracula 8. Mina On The Terrace 9. Mina's Bedroom/The Abbey 10. The End Of Dracula
Tracklista: 1. The Last Winter 2. Skjaldborg 3. Ragnarok 4. When The Fog Still Burn 5. Bergheim 6. The Serpent And The Wolf 7. Valkyrias Call 8. Battle For Asgard 9. When The Fog Still Burn (live studio version) 10. Skjaldborg (live studio version)
Dynamiczna aura jaka otacza band Lemuria to rockowe brzmienie zespołu. Muzycy pochodzą z Ameryki i są aktywni na scenie od 2004 roku. Artyści grają takie gatunki muzyczne jak: indie rock, punk rock, emo czy power pop. Tracklista: 1. Prologue (The Land Of The Beast) 2. A Plague Upon The Land 3. The Hysterical Hunt 4. Between Man And Wolf 5. As Darkness Falls 6. Of Winter And Hell [Explicit] 7. A Secret Life 8. Deceptive Hibernation 9. An Elusive Monster 10. Endgame (The Impending Truth) 11. Epilogue (Before The Dawn) 12. A Dream That Never Came