Logowanie
Te tytuły za chwilę znikną z oferty
Arne Domnerus, Bengt Hallberg, Georg Riedel, Egil Johansen
Jazz at the Pawnshop
NAJWYŻSZY, NAJBARDZIEJ AUDIOFILSKI WINYLOWY NOŚNIK NA ŚWIECIE
CHOPIN, LISZT, Martha Argerich, Claudio Abbado, The London Symphony Orchestra
Concerto for Piano and Orchestra No. 1 in E minor, op. 11 / Concerto for Piano and Orchestra No. 1 in E flat major
UHQCD - dotknij Oryginału - MQA (Master Quality Authenticated)
Gregorio Paniagua, Atrium Musicae de Madrid
La Spagna Paniagua
Premiera nowego nośnika Ultimate HQCD
Audiophile Classic - Extended HD2
KODALY, ALBENIZ, Minneapolis Symphony Orchestra, Antal Dorati
Hary Janos Suite, / Iberia
Extended High Definition Mastering 2
DVORAK, Columbia Symphony Orchestra, Bruno Walter
Symphony No. 9 From the New World
Extended High Definition Mastering 2
Miles Davis, Julian 'Cannonball' Adderley, Paul Chambers, Jimmy Cobb, John Coltrane, Bill Evans, Wynton Kelly
Kinf Of Blue
Extended High Definition Mastering 2
GOUNOD, Vienna State Opera Orchestra, Armando Aliberti
Faust / Vienna Waltzes
Extended High Definition Mastering 2
RIMSKY-KORSAKOV, L'Orchestre de la Suisse Romande, Ernest Ansermet
Scheherazade
Extended High Definition Mastering 2
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Osobowości
TCHAIKOVSKY, MENDELSSOHN, Martha Argerich, Charles Dutoit, Royal Philharmonic Orchestra
Piano Concerto No. 1 in B-flat minor, Op. 23 / Concerto for Violin, Piano and String Orchestra in D minor -
Nikt nigdy szybciej tego koncertu nie zagrał. Wirtuozeria i maestria
Husker Du
Warehouse: Songs & Stories
- 1. These Important Years (Mould) - 3:49
- 2. Charity, Chastity, Prudence, and Hope (Hart) - 3:11
- 3. Standing in the Rain (Mould) - 3:41
- 4. Back from Somewhere (Hart) - 2:16
- 5. Ice Cold Ice (Mould) - 4:23
- 6. You're a Soldier (Hart) - 3:03
- 7. Could You Be the One? (Mould) - 2:32
- 8. Too Much Spice (Hart) - 2:57
- 9. Friend, You've Got to Fall (Mould) - 3:20
- 10. Visionary (Mould) - 2:30
- 11. She Floated Away (Hart) - 3:32
- 12. Bed of Nails (Mould) - 4:44
- 13. Tell You Tomorrow (Hart) - 2:42
- 14. It's Not Peculiar (Mould) - 4:06
- 15. Actual Condition (Hart) - 1:50
- 16. No Reservations (Mould) - 3:40
- 17. Turn It Around (Mould) - 4:32
- 18. She's a Woman (And Now He Is a Man) (Hart) - 3:19
- 19. Up in the Air (Mould) - 3:03
- 20. You Can Live at Home (Hart) - 5:25
- Husker Du - group
99.00 PLN
2 LP-180G 33rpm:
Nr kat.: 7599255441Label : Warner Music
It's cleaner and more produced than any of their records, which is one reason why many Hüsker Dü fans have never fully embraced their second double-album, Warehouse: Songs and Stories. Granted, Warehouse boasts a fuller production — complete with multi-tracked guitars and vocal, various percussion techniques, and endless studio effects — that would have seemed out of place a mere two years before its release. However, Flip Your Wig and Candy Apple Grey both suggested this full-fledged pop production and it's to Hüsker Dü's credit that they never sound like they are selling out with Warehouse. What they do sound like is breaking up. Although there was a schism apparent between Bob Mould and Grant Hart on Candy Apple Grey, they don't even sound like they are writing for the same band on Warehouse. But the individual songs on the album are powerhouses in their own right, as both songwriters exhibit a continuing sense of experimentation — Hart writes a sea shanty with "She Floated Away" and uses bubbling percussion on "Charity, Chastity, Prudence and Hope," while Mould nearly arrives at power pop with "Could You Be the One?" and touches on the singer/songwriter-styled folk rock with "No Reservations." Warehouse doesn't have the single-minded sense of purpose or eccentric sprawl of Zen Arcade, but as a collection of songs, it is of the first-order. Furthermore, its stylish production — which makes pop concessions without abandoning a punk ethos — pointed the way to the kind of "alternative" rock that dominated the mainstream in the early '90s. In all, it was a fine way for one of the most important bands of the '80s to call it a day. — Stephen Thomas Erlewine