Artykuł KARAJAN – 1960s <br /> BOX SET – LIMITED EDITION – 82 CD<br /> Deutsche Grammophon pochodzi z serwisu Cleartone.

Artykuł CHOPIN<br />Klavierkonzert Nr. 1 in e-moll, op. 11<br />Maurizio Pollini, Paul Kletzki, Philharmonia Orchestra pochodzi z serwisu Cleartone.

 Recorded on 20, 21 & 23 September 1960 (Symphony No.5) and 5 & 6 January 1959 (Finlandia) at London’s famous Kingsway Hall venue.

• Produced by Walter Legge and Engineered by Douglas Larter (Harold Davidson – Finlandia)

• Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS80 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional playback head.

 Pressed on 180g vinyl to audiophile standards

 Featuring the original album artwork

 “There is some wonderful playing from the Philharmonia, of course, especially beautifully soft, feathery, string playing. The scherzo itself is played with great brilliance”, GRAMOPHONE, September 1961

Artykuł SIBELIUS<br />Symphony No.5 in E flat major, Op.82<br />Herbert von Karajan, The Philharmonia Orchestra pochodzi z serwisu Cleartone.

The fifth Tyrannosaurus Rex album was also the first T. Rex set, as Marc Bolan abbreviated the band name at the same time as enlarging everything else — most notably the group’s sound. Transitional through and through, T. Rex is the obvious successor to Beard of Stars, but it’s clearly looking toward Electric Warrior, a point proven when the band hit the tour and TV circuits early in 1971. But „Jewel,“ „Sun Eye,“ „Beltane Walk,“ and „One Inch Rock“ are all bona fide Bolan classics and, if T. Rex itself was to be overshadowed by the simultaneous success of the „Ride a White Swan“ single (pointedly not included on the album), then that only allowed Bolan more time in which to plan his next move. In many ways, this is the quintessential Bolan album, the last to be made before his entire life was swallowed up by superstardom, but the first to begin imagining what that could be like. Certainly he has an awful lot of fun revisiting one of his earliest ever compositions, „The Wizard,“ while his ambition is writ large throughout the opening and closing snippets of „The Children of Rarn,“ excerpts from a full-fledged concept album that he was then contemplating. You also get „Is It Love?,“ one of his most contagiously underrated compositions ever, but really, there’s not a sour moment to be found all album long. And it might just be the last Bolan album that you could say that about.

Artykuł T.REX<br />T.Rex pochodzi z serwisu Cleartone.

„I don’t really do conventional…“ – Marianne Faithfull

Recorded in New Orleans with a core of exceptional local musicians, Horses and High Heels features eight cover versions and four original songs co-written by Marianne Faithfull, four songs which feature the virtuoso guitar playing of John Porter, a musician/producer friend most noted for his work with Roxy Music, Eric Clapton and The Smiths. The album also includes one song with lyrics specially written for her by Irish playwright Frank McGuiness (the evocative „The Old House“), two cameo appearances on guitar from another old friend, Lou Reed, plus further cameos from Dr. John and MC5’s Wayne Kramer. It’s all exquisitely produced by long-term collaborator Hal Willner, the soundscape alchemist behind the critically-lauded Easy Come, Easy Go (2009), her astonishing collection of covers and duets featuring more of the kind of people Marianne calls friends, from Keith Richards and Jarvis Cocker to Rufus Wainwright and Nick Cave.

There’s the brooding, spectral guitar-rock of Greg Dulli & Mark Lanegan’s ‚The Stations‘, the swooning, country-rock tinge of R.B. Morris‘ „That’s How Every Empire Falls“ and the bar-room blues and ’70s soul revue thrills of Jackie Lomax’s „No Reason“. „We chose some soul material this time which I was very unsure of at first,“ muses Marianne. „No Reason, Back In Baby’s Arms, Gee Baby, these songs are more vocally demanding and it was quite frightening. But I think we managed it.“ Elsewhere are glimmering ’70s soul classics, from the gorgeous, steel-guitar-layered „Love Song“ (originally written by ’70s song-writer Lesley Duncan and made famous by Elton John), the bewitching piano reverie of Carol King’s ‚Goin‘ Back‘ (definitively recorded in ’66 by Dusty Springfield) and her positively Shakespearian rendition of the Shangri-Las masterpiece, „Past Present and Future“.

Her four original new songs are a revelation: the folky and unfeasibly rousing „Why Did We Have To Part?“, an elegy to the end of a long relationship „I just couldn’t resist a break-up song – and the pain is over‘, to the rollicking, Hammond swirl of ‚Prussian Blue‘ (a paean to her life in Paris), the rhythmically compelling, Celtic-folk-tinged ‚Horses and High Heels‘ and the joyous ‚Eternity‘ featuring a sampled Arabian-jazz flourish from Brian Jones‘ recording in Morocco with the Master Musicians of Jajouka (1968’s „Brian Jones Presents: The Pipes of Pan at Jajouka“). „It’s all a very different style for me,“ notes Marianne, „much more rhythmic. And a very modern record, it’s not looking back to the past at all. All the songs are about now, you know?“

Marianne is, they say, the Godmother of Goth, both doomed romantic and ultimate bohemian survivor. A teenage pop star, rock star’s girlfriend and iconic beauty in the 1960s

Artykuł Marianne Faithfull<br /> Horses and High Heels pochodzi z serwisu Cleartone.

Artykuł Roy Orbison<br /> In Dreams pochodzi z serwisu Cleartone.

Artykuł Elvis Presley <br />Elvis‘ Golden Records Volume 3 pochodzi z serwisu Cleartone.

Artykuł Sam Cooke<br />Mr. Soul pochodzi z serwisu Cleartone.

Artykuł Rex Harrison, Julie Andrews<br />My fair lady pochodzi z serwisu Cleartone.

Artykuł Original Broadway Cast<br />West Side Story pochodzi z serwisu Cleartone.