2CD VERSION, 4TH ALBUM FROM 2005 1.1. PREY FOR ME 1.2. CLAPHAM 1.3. WRETCHED SOUL 1.4. THE WORLD I ALWAYS DREAMED OF 1.5. START YOUR DESCENT 1.6. MY OWN OBLIVION 1.7. IT'S JUST YOU AND ME 1.8. THE ANSWERS 1.9. FROM WHERE YOU'RE STANDING 1.10.
Tracklista: 1. Don't Ask2. Overdraft in Overdrive3. Don't Turn Me Away4. Memories5. Notell Hotel6. Les Nouveaux Riches7. Action Man in a Motown Suit8. Listen With Your Eyes9. Lying Here With You10. Survivor11. The Power of Love12. Memories (US Mix)13. We've Heard It All Before14. Tomorrow's World Today15. Run Away16. Les Nouveaux Riches (Edit)17. You're Coming Home Again
Tracklista: CD 1 1. Gazpacho 2. Cannibal Surf Babe 3. Beautiful 4. Afraid of Sunlight 5. Out of This World 6. Afraid of Sunlight 7. Beyond You 8. King CD 2 1. Icon 2. Live Forever 3. Second Chance (AKA Beautiful) previously unreleased 4. Beyond You previously unreleased / Demo Version 5. Cannibal Surf Babe previously unreleased / Version 6. Out of This World previously unreleased / Studio Outtake [Version 7. Bass Frenzy previously unreleased 8. Mirages previously unreleased / Demo Version 9. Afraid of Sunlight previously unreleased / Acoustic Demo
Wydana rok po śmierci Joeya Ramone, legendarnego głosu grupy Ramonem, jego pierwsza solowa płyta. "Don't Worry About Me" wyprodukował Daniel Rey, który zagrał również na gitarze. Wokalista zawarł na płycie między innymi wspaniały cover "What A Wonderful World" Louisa Armstronga oraz "1969" The Stooges. Reszta to kompozycje autorskie, w których zagrali między innymi Marky Ramone, Captain Sensible (The Damned), czy Jerry Only (Misfits). Tracklista: 1. What A Wonderful World 2. Stop Thinking About It 3. Mr Punchy 4. Maria Bartimoro 5. Spirit In My House 6. Venting 7. Like A Drug I Never Did Before 8. Searching For Something 9. I Got Knocked Down (But I'Ll Get Up) 10. 1969 11. Don'T Worry Ab
Tracklista:1. Beyond the 452. Falling Down3. Warheads Ltd4. El Chupacabra5. All Summer Long6. Lost in Memory7. Into the Ether8. New World Decay9. Haunted (Prelude)10. Haunted
Stephen Hough writes … These songs, lovingly selected by Robert and myself from hundreds of others, share an ‘Edwardian’ identity—dating from the late Victorian years when Edward VII was waiting in the wings, to the decade or so following his death, when the wings themselves were a memory, having been destroyed in The Great War. The songs come from a tradition where emotions were not trivialized, and so could be sung about without shame or embarrassment. Although the tears admittedly had some sugar mixed with the salt, they could be freely shed until the adolescent 1920s made crying unfashionable. This change of fashion was not without some justification though; it was difficult to create tragic fiction when in wardrobes across the land there hung the fading clothes of millions of men—casualties not of changing fashion but of their owners’ bodies lifeless in the fields of Flanders, stained by the dye of mud and blood. There is a profound nostalgia and a deep-rooted conservatism in this repertoire. ‘That is no country for young men!’ The young leave home, whereas these songs call us home, to take shelter from the storms of change, and to take refuge from the thundering race of Time. The nostalgia is a longing, too, for a lost cultural home, decaying with Edward VII, destroyed with George VI. We cannot make fun of these songs when we perform them or listen to them. The slightest cynical smile or amused, knowing glance will destroy their magic completely. They are shy of the modern age. Rather we have to enter their world with respect and affection—a gentler world which the twentieth century did, in a sense, leave behind. If we do this, a great surprise can occur. We may discover that this world, with its poignant, searing emotions, is not so alien after all, but is, in a strange way, our home. Robert White writes … When I met Stephen Hough in New York in the mid-eighties I was astonished to find that this distinguished young solo pianist was so in tune with the beautiful English ballads of the late nineteenth and early twentieth centuries—songs I had been singing all my life. We began to perform this repertoire together. I found it a joy to work with such a gifted pianist who, having grown up in England, understood the style of this music on a deep emotional level. When word came that Ted Perry was interested in our making an album of these songs for Hyperion we jumped at the opportunity. We originally thought of limiting the selection to English songs written in the Edwardian era of 1901 to 1910 but, as we examined numerous works, we realized that the basic style and feelings expressed in this rich repertoire extended well beyond Edward VII’s reign. As a result, we expanded our time frame backwards and forwards, from The Lost Chord—written in 1877—to Song to the Seals—written in 1930. For the same reasons, we chose several American songs and one Irish piece, as well as a work by a French composer, for inclusion in this album. What makes these songs so special? The vocal demands are sometimes operatic in scope—in their heyday, the general public did not make such a distinction between ‘popular’ and ‘classical’ voice production—and the melodies and harmonies were crafted by excellent musicians who cared about creating beautiful musical vehicles of human emotions. For me the songs represent a treasure of lyrical expression in the English language which is all but lost today. Having read the above, Ted Perry is moved to write … This CD contains some of the most famous and once-popular songs in the English language. Can there be anybody who does not know Bless this House and The Lost Chord? In fact these two songs are so well-known that nobody seems to want to listen to them nowadays, since they express sentiments too overt and fulsome for our cynical and hard-headed age. They’re redolent of a period long past, with no relevance to the present day. They’re songs our grandparents used to know and love. At least mine did. When Robert and Stephen suggested making a CD of some of these favourites of yesteryear I immediately said yes. I wouldn’t have said it so readily had anybody else suggested it, but knowing Robert’s way with this repertoire I knew that if anyone could re-present some of these fading pages to a modern audience without producing a scornful response, he could—especially with the remarkable keyboard companion he has in Stephen. So they sent me a list of candidates for the programme. I recognized many old favourites: Bird Songs at Eventide by that delightful composer Eric Coates; Haydn Wood’s Roses of Picardy from the time of World War I—surely another of those songs known to all, as is Somewhere a voice is calling and, maybe, Little grey home in the West. At Dawning I didn’t recognize by title but hearing it I remembered it as ‘I love you’. There were many songs in the list which were unknown to me, so I’ve made a few discoveries. I specially liked Duna. (Where is Duna? Is it a real place? I don’t know.) Chadwick’s Allah I also thought much too good to be forgotten. Bantock’s Song to the Seals was known to me by name, but I’d never heard it. So here they are. Twenty-five songs from a time when the world was quite different from what it is today, but songs much too good to be allowed to disappear from our heritage—and in Robert and Stephen’s voice and hands here presented as perfectly as they ever could be. Hyperion Records Ltd © 1995
Tracklista:1. One More Thrill2. Beyond the World of Man3. Turn Out the Lights4. Haunt Me5. Dizzy6. Dangerous7. Bullet On the Run8. Change Your Mind
Tracklista:1. Steam Paves Its Way (The Machine)2. A Love Once New Has Now Grown Old3. This Won't Last Forever4. The Best Is Yet To Come5. Lifeless6. Touch The Sky (When Darkest World Reached Dawn)7. The Swan King8. Flesh And Hair9. A Century In The Curse Of Time
Tracklista: LP 1 Side A 1. Silenced 2. Trapped In The Wake Of A Dream 3. Not Falling Side B 1. (Per)version Of A Truth 2. Mercy, Severity 3. World So Cold LP 2 Side C 1. The Patient Mental 2. Skrying 3. Solve Et Coagula Side D 1. Shadow Of A Man 2. 12:97:24:99 3. The End Of All Things To Come 4. A Key To Nothin
Multiinstrumentalista Graeme Jefferies to legenda i ikona podziemnej kontrkultury z Nowej Zelandii, a jego główny projekt, The Cakekitchen, ma swoje korzenie w nowozelandzkiej muzyce garażowej z lat 80-tych, w której uczestniczyło niezliczona liczba innowacyjnych artystów. który skupili się pod parasolami takich wytwórni jak Flying Nun Records, Propeller czy Pagan Records. „Cakekitchen” pojawił się jako połączenie ponurego i introspekcyjnego post-punku i indie, z silniejszym naciskiem na strukturę i przemyślane podejście kompozycyjne oraz produkcję najbardziej ekspresyjnej i unikalnej muzyki, która pojawiła się w Nowej Zelandii na początku lat 90-tych. Oryginalnie wydany w 1991 roku w Homestead Records, „World Of Sand” jest drugim pełnometrażowym albumem The Cakekitchen. Formacja ta istniała przez około dwa i pół roku, a te kompozycje były przez wielu uważane za szczyt potencjału twórczego grupy. Długo poszukiwany przez kolekcjonerów i fanów, „World of Sand” został wyczerpany i trudny do zdobycia od czasu jego oryginalnego nagrania w 1991 roku. Dais Records ma zaszczyt wydać ponownie ten album na winylu w limitowanej edycji. Undergroundowe indie/ post-punk dla fanów The Chills, Flying Saucer Attack, Velvet Underground, Joy Division, The Clean, The Verlaines, Nick Drake, Felt, Sonic Youth, JPS Experience, Tall Dwarves, etc ... Limitowany czarny wosk + MP3. Tracklista: 1. Ordeal By Water 2. World Of Sand 3. Walking On The Glass 4. Don't Be Fooled By The Label 5. Tomorrow Came Today 6. This Perfect Day 7. Dogs And Cats 8. McCarthy 9. Isle Of Pittsburg 10. Crimson To Gunmetal