The Truman Show (Complete Score)

Philip Glass & Burkhard Dallwitz

DAT Transfer
35 Tracks - 67:14

minimal
minimal mirror
Thanks to Basil

El Dorado by John Adams

El Dorado (1996)

John Adams's El Dorado is in some ways program music, with a twist. It's an imaginary accompaniment, he writes in the liner essay, to a diptych with the unmolested nature of the New World in one panel and that same world with man in it in the other panel. Certainly Adams's characterization of the piece's drama is apt, as it indeed bursts with fierceness at exactly the point where man comes to believe in dominating and subjugating nature, where any hint of the romantic tradition crashes headlong into a more radical revision of both minimalism and percussion-charged late-20th-century orchestration. The piece is aimed at the same subject occupying so many composers in 1992, the collision of worlds 500 years earlier in the Americas. Adams follows this big, broad-shouldered work with an orchestration of Franz Liszt's La Lugubre Gondola and a reduced arrangement of Ferruccio Busoni's Berceuse Élégiaque. Both are funereal works, elegiac in their temperament and brimming with a dramatic depth that compliments El Dorado's rises and crashing falls beautifully. --Andrew Bartlett

minimal

1. El Dorado: Part I - A Dream of Gold 12:40
2. El Dorado: Part II - Soledades 16:17
3. Berceuse elegiaque (des Mannes Wiegenlied am Sarge seiner Mutter) 8:16
4. The Black Gondola 9:48

El Niño by John Adams (Merry Christmas anticipated)

Minimalist Christmas

El Niño (2001)

Lorraine Hunt Lieberson, mezzo-soprano
Dawn Upshaw, soprano
Willard White, baritone
Theatre of Voices - Paul Hillier, artistic director
London Voices - Terry Edwards, choir director
Deutsches Symphonie-Orchester Berlin
Kent Nagano, conductor

EL NIÑO is American composer, John Adams' version of THE MESSIAH. It too, tells the story of the birth of Christ but from various modern, mostly female points of view. Orchestrated by The Berlin German Symphony Orchestra under the conduction of Kent Nagano

Disc: 1
minimal 1 (in one only track, sorry)

1. I Sing Of A Maiden
2. Hail, Mary, Gracious!
3. La Anunciacion
4. For With God No Thing Shall Be Impossible
5. The Babe Leaped In Her Womb
6. Magnificat
7. Now She Was Sixteen Years Old
8. Joseph's Dream
9. Shake The Heavens
10. Se Habla De Gabriel
11. The Christmas Star

Disc: 2
minimal2 (in one only track, sorry)

1. Pues Mi Dios Ha Nacido A Penar
2. When Herod Heard
3. Woe Unto Them That Call Evil Good
4. And The Star Went Before Them
5. The Three Kings
6. And When They Were Departed
7. Dawn Air
8. And He Slew All The Children
9. Memorial De Tiatelolco
10. In The Day Of The great Slaughter
11. Pues Esta Tritando
12. Jesus And The Dragons
13. A Palm Tree

The Death of Klinghoffer by John Adams

The Death of Klinghoffer (1991)



Opera composed by John Adams and English libretto by the poet Alice Goodman.
Performed for the Orchestra of the Opera de Lyon.
Conductor: Kent Nagano

The opera tells the true story of the hijacking of the passenger liner Achille Lauro by the Palestine Liberation Front in 1985, and the resulting death of Jewish-American passenger Leon Klinghoffer. It was the center of a great controversy when it was performed in the United States in late 1991 and early 1992. A British Channel 4 television version, with the London Symphony Orchestra conducted by Adams, was directed by Penny Woolcock in 2003. There was also a performance by Scottish Opera at the 2005 Edinburgh Festival.

The Death of Klinghoffer is written in a style similar to the minimalist music made popular by composers such as Philip Glass and Steve Reich. Adams is inspired by the sacred oratorios of Johann Sebastian Bach, in which intervallic relationships such as affekt are used to evoke certain emotions. Other musical inspirations come from Arnold Schoenberg's Pierrot Lunaire. Schoenberg's use of atonality and of sprechstimme provides comic relief when sung by the character of a flamboyant, sneering Austrian woman. The drama is portrayed primarily in long monologues by individual characters, with commentary by the chorus, which does not take part in the action. The monologues occasionally overlap during moments of heightened drama, adding to the confusion of the scene.

Disc: 1

minimal

1. Chorus Of Exiled Palestinians
2. Chorus Of Exiled Jews
3. Act I, Scene 1: It Was Just After One Fifteen (The Captain)
4. Act I, Scene 1: My Grandson Didi, Who Was Two (Swiss Grandmother)
5. Act I, Scene 1: Give These Orders (Molqi)
6. Act I, Scene 1: So I Said To My Grandson (Swiss Grandmother)
7. Act I, Scene 1: We Are Sorry For You (Mamound)
8. Act I, Scene 1: Ocean Chorus
9. Act I, Scene 2: Now It Is Night (The Captain)
10. Act I, Scene 2: I Think If You Could Talk Like This (The Captain)
11. Act I, Scene 2: I Have Often Reflected That This Is No Ship (The Captain)
12. Act I, Scene 2: I Kept My Distance (Austrian Woman)
13. Act I, Scene 2: Those Birds Flying Above Us (Mamoud)
14. Act I, Scene 2: Night Chorus


Disc: 2

minimal

1. Act II: Hagar Chorus
2. Act II, Scene 1: Come here. Look. (Molqi)
3. Act II, Scene 1: I've Never Been A Violent Man (Leon Klinghoffer)
4. Act II, Scene 1: You Are Always Complaining Of Your Suffering (Rambo)
5. Act II, Scene 1: I Must Have Been Hysterical British Dancing Girl)
6. Act II, Scene 1: It Is As If Our Earthly Life Were Spent Miserably (Omar)
7. Act II, Scene 1: Desert Chorus
8. Act II, Scene 2: My One Consolation (Marilyn Klinghoffer)
9. Act II, Scene 2: Klinghoffer's Death
10. Act II, Scene 2: Every Fifteen Minutes, One More Will Be Shot (Mamoud)
11. Act II, Scene 2: Aria Of The Falling Body
12. Act II, Scene 2: Day Chorus
13. Act II, Scene 3: Mrs. Klinghoffer, Please Sit Down (The Captain)
14. Act II, Scene 3: You Embraced Them! (Marily Klinghoffer)

Road Movies by John Adams

Road Movies (1995)
Hallelujah Junction (1996)
Phrygian Gates (1977-78)
China Gates (1978)

Composer - John Adams
Piano - Andrew Russo
Violin & Piano II - James Ehnes
covers-320@

minimal

01 Phrygian Gates 29:39
02 Hallelujah Junction 16:57
03 China Gates 5:21
04 Road Movies. relaxed groove 5:24
05 Road Movies. meditative 6:06
06 Road Movies. 40% swing 5:23

Steve Reich, the father...

STEVE REICH
New York, 3 de octubre de 1936

Reich es conocido por ser uno de los pioneros del minimalismo, con Philip Glass, Terry Riley y La Monte Young.

Las ideas que Reich ha desarrollado incluyen el uso de loops en cinta (tal como en sus primeras obras It's Gonna Rain y Come Out), efectos de fase repetidos (Phase Patterns, Violin Phase y Piano Phase), y nuevos conceptos musicales (Pendulum Musi y Four Organs). Estas composiciones han tenido una importante influencia en la música contemporánea americana. Luego Reich, ha seguido explorando nuevas formas de expresión musical, como Drumming, Music for 18 Musicians, The Cave, City Life y Three Tales. The Guardian ha descrito a Reich como uno de los pocos compositores que "alteró la dirección de la historia de la música". En el año 2006 ha sido distinguido con el Praemium Imperiale y en el 2007 con el Polar Music Prize.

El estilo de composición de Reich ha influido a muchos otros compositores y grupos musicales, entre ellos a Philip Glass (especialmente en sus primeras obras), John Adams, la banda de rock progresivo King Crimson, el guitarrista de New Age Michael Hedges, el músico electrónico y de arte-pop Brian Eno, los compositores asociados con el festival Bang on a Can (entre ellos David Lang, Michael Gordon y Julia Wolfe), y el músico de rock indie Sufjan Stevens. Su música también ha sido una fuente de inspiración para los músicos de Ambient y Techno. Una línea melódica de su obra de 1987 Electric Counterpoint fue utilizada por The Orb en su Little Fluffy Clouds de 1991. Esta conexión ha sido honrada en un álbum de 1999 por DJs y músicos electrónicos, Reich Remixed, editado por Nonesuch Records

También ha influenciado a artistas visuales como Bruce Nauman, y ha expresado su admiración por el montaje que la coreógrafo Anne Teresa De Keersmaeker hace con sus obras ("Fase" (1983), set de cuatro de sus primeras obras; "Drumming" (1998); y "Rain", con música de "Music for 18 Musicians").

Otros coreógrafos conocidos han creado obras con la música de Reich, incluyendo a Jirí Kylían, Laura Dean. Laura Dean ha usado en sus coreografias muchas obras de Reich, como en sus obras Quartet Squared (Phase Patterns)Drumming (1975), Tehilim (1984), Impact (1985), Force Field (1986) o Space (1988).

Otros coreógrafos que han usado música de Reich son Eliot Feld, Alvin Ailey, Lar Lubovitch, Maurice Bejart, Lucinda Childs, Siobhan Davies y Richard Alston. ("Falling Angels", un montaje sobre Drumming Part I"), a Jerome Robbins para el ballet clásico de New York City ("Eight Lines") y a (1972), Square Dance (1972) Walking Dance (con música de Clapping, 1972)

Steve Reich - Eight Lines

Steve Reich works 10 discs box 65-95

Early Works (1965-70)

Disco 1 de 10

minimal

1. Come Out
2. Piano Phase
3. It's Gonna Rain, Part I
4. It's Gonna Rain, Part II
5. Four Organs

-----------------------------------------------------------------

Drumming (1970/1971)
Disco 2 de 10
for 4 pairs of tuned bongo drums, 3 marimbas, 3 glockenspiels, 2 female voices, whistling and piccolo


minimal

1. Part 1
2. Part 2
3. Part 3
4. Part 4

-----------------------------------------------------------------
Music For Mallet Instruments,
Voices And Organ -
Clapping Music - Six Marimbas
Disco 3 de 1o

minimal

1. Music For Mallet Instruments, Voices And Organ
2. Clapping Music
3. Six Marimbas

-----------------------------------------------------------------
Music for 18 Musicians, for 4 female voices & 16 instruments (1974–76)
Disco 4 de 10

Composed by Steve Reich
with Thad Wheeler, Cheryl Bensman Rowe, Nurit Tilles, Marion Beckenstein, Jeanne LeBlanc, Evan Ziporyn, Jay Clayton, Steve Reich, Leslie Scott, Bob Becker, Phillip Bush, James Preiss, Russ Hartenberger, Timothy Ferchen, Rebecca Armstrong, Edmund Niemann, Elizabeth Lim, Garry Kvistad

minimal

1. Music For 18 Musicians: Pulses
2. Music For 18 Musicians: Section I
3. Music For 18 Musicians: Section II
4. Music For 18 Musicians: Section IIIA
5. Music For 18 Musicians: Section IIIB
6. Music For 18 Musicians: Section IV
7. Music For 18 Musicians: Section V
8. Music For 18 Musicians: Sectionn VI
9. Music For 18 Musicians: Section VII
10. Music For 18 Musicians: Section VIII
11. Music For 18 Musicians: Section IX
12. Music For 18 Musicians: Section X
13. Music For 18 Musicians: Section XI
14. Music For 18 Musicians: Pulses


-----------------------------------------------------------------
Tehillim (1981)
Disco 5 de 10

for voices and ensemble

minimal
mirror rapidshare 2

1. Bonus: Eight Lines
2. Tehillim: Part 1: Fast
3. Tehillim: Part 2: Fast
4. Tehillim: Part 3: Slow
5. Tehillim: Part 4: Fast

-----------------------------------------------------------------

Steve Reich: The Desert Music
Disc 6 de 10

For chorus and orchestra or voices and ensemble (1984),
text by William Carlos Williams.

minimal

1. The Desert Music: First Movement
2. The Desert Music: Second Movement
3. The Desert Music: Third Movement, Part One
4. The Desert Music: Third Movement, Part Two
5. The Desert Music: Third Movement, Part Three
6. The Desert Music: Fourth Movement

-----------------------------------------------------------------

New York Counterpoinnt
amplified clarinet and tape, or 11 clarinets and bass clarinet (1985)
Sextet
for percussion and keyboards (1984)
Disco 7 de 10

minimal

1. New York Counterpoinnt: Fast
2. New York Counterpoint: Slow
3. New York Counterpoint: Fast
4. Sextet: 1st Movement
5. Sextet: 2nd Movement
6. Sextet: 3rd Movement
7. Sextet: 4th Movement
8. Sextet: 5th Movement
9. Works: I. Strings
10. Works: II. Percussion
11. Works: III. Winds And Brass
12. Works: IV. Full Orchestra

-----------------------------------------------------------------

Electric Counterpoint or electric guitar or amplified acoustic guitar and tape (1987, for Pat Metheny)
Different Trains for string quartet and tape (1988)
Disco 8 de 10


Electric Counterpoint performed by Pat Metheny (Pat, you are The best!!!!)
Different Trains performed by Knonos Quartet

minimal

1. Different Trains, America--Before the War (Steve Reich)
2. Different Trains, Europe--During the War (Steve Reich)
3. Different Trains, After the War (Steve Reich)
4. Electric Counterpoint, Fast (Steve Reich)
5. Electric Counterpoint, Slow (Steve Reich)
6. Electric Counterpoint, Fast (Steve Reich)
bonus:
7. Works: Movement I
8. Works: Movement II
9. Works: Movement III

-----------------------------------------------------------------

The cave (Excerpts) (1993)
Disco 9 de 10

Opera Multimedia
For four voices, ensemble and video (with Beryl Korot)

minimal

1. The Cave: Typing Music
2. The Cave: Who Is Abraham?
3. The Cave: Who Is Ishmael?
4. The Cave: Genesis XVIII
5. The Cave: Genesis XXI
6. The Cave: The Casting Out Of Ishmael And Hager
7. The Cave: Machpelah
8. The Cave: Genesis XXV
9. The Cave: Interior Of The Cave
10. The Cave: Surah 3
11. The Cave: El Khalil Commentary
12. The Cave: Who Is Abraham?W
13. The Cave: Who Is Sarah?
14. The Cave: Who Is Hagar?
15. The Cave: Who Is Ishmael?
16. The Cave: The Binding Of Isaac
17. The Cave: The Cave Of Machpelah

-----------------------------------------------------------------

City Life (1995)
Disc 10 de 10

for amplified ensemble

minimal

1. Proverb
2. Nagoya Marimbas
3. City Life: 'Check It Out'
4. City Life: Pile Driver - alarms
5. City Life: 'It's Been A Honeymoon - Can't Take No Mo'
6. City Life: Heartbeats - Boats & Buoys
7. City Life: 'Heavy Smoke'

Philip Glass - Music from Dunvagen

Music from Dunvagen (1995)


Promo CD (1995)

Music by Philip Glass

Minimal (low quality but tracks very rares)

TRACKS:

1-6.		Compassion in Exile
7-8.		Passages
9.		Closing
10.		Façades
11-12.		Phaedra
13-15.		Company
16.		Mindwalk
17-25.		In the Summer House
26-32.		12 Pieces for a Ballet
33-35.		Love Divided By
36-39.		In the Upper Room
40-41.		TSE
42-44.		Thin Blue Line
45.		CIVIL warS — Köln
46-50.		A Brief History of Time
51.		Dressed Like an Egg
52.		Floe 87

REMARKS:

Music from Dunvagen is a promotional CD issued by Dunvagen Music with a collection of excerpts from recordings of Philip Glass compositions that have not been available before.

John Adams by request

John Adams

Worcester, Massachusetts, US.

15 de febrero de 1947

Su creatividad abarca una amplia gama de medios: obras orquestales, ópera, vídeo, película, y danza, así como música electrónica e instrumental. Composiciones suyas como Harmonium, Harmonielehre, Shaker Loops y The Chairman Dances están entre las más conocidas y frecuentemente interpretadas de la música contemporánea americana. En estas obras ha llevado el minimalismo a un terreno nuevo y fresco, caracterizado por las sonoridades luminosas y por un fuerte y dramático acercamiento a las formas musicales.

El primer recuerdo musical de John Adams es estar sentado en la sala de estar de su casa de New England escuchando grabaciones. Como acertadamente ha observado “crecí en una casa donde Benny Goodman y Mozart no estaban separados.” Cuatro décadas más adelante, sigue siendo esa apertura a cada variedad de música -americana y europea, vieja y nueva, arte “elevado” o pop "vulgar"– lo que hace que las composiciones de John Adams sean tan distintas. Como Andrew Porter escribió en «The New Yorker», Adams es el creador de un “nuevo lenguaje, flexible, capaz de producir obras de gran escala atractivas y formalmente fuertes. La suya es una música (...) maravillosa”. «Le Monde» dice que su música “... da la impresión de una libertad redescubierta, de una puerta abierta que deja entrar el aire fresco en grandes ráfagas.”

Su música ha desempeñado un papel decisivo en dar la vuelta a la corriente estética teórica del modernismo europeo y conducir a la música hacia un nuevo lenguaje más expresivo, propio del Nuevo Mundo.

Sin embargo, no fue hasta su encuentro con el minimalismo, a mediados de los años 70, cuando encontró una solución a su dilema creativo. Incluso hoy día, habla del minimalismo como “lo único realmente interesante, importante desarrollo estilístico, de los últimos 30 años.” («the only really interesting, important stylistic development in the past 30 years»).

Adams tomaría el minimalismo en una dirección muy diferente de la de Steve Reich o de Philip Glass. Menos interesado que ellos en la música no-occidental, Adams transforma las técnicas minimalistas poniéndolas al servicio de un lenguaje musical mucho más emocional. Rechaza el impersonalismo mecánico del primer minimalismo, exigiendo un grado de cambios más rápido, mostrando una gama “impura” de posibilidades estilísticas. “Estoy intentando incorporar los aspectos trágicos de la vida en mi trabajo —dijo en 1985— que es algo que el minimalismo realmente no hace".

Nixon in China
opera in 3 acts (1985-87)

En 1983, Adams conoció al director escénico Peter Sellars, que le sugirió crear una ópera basada en la reunión histórica de 1972 entre Richard Nixon y Mao Tse-Tung. Adams reaccionó al principio con escepticismo, pero luego comprendió que la ópera, que se había ocupado siempre de mitos y de arquetipos, podía encontrar en Nixon y Mao los personajes propios de nuestro propio tiempo, a pesar de que todos los personajes de la ópera aún vivieran. La mayoría de la gente asumió que ese Nixon in China era una sátira, pero sus autores —Adams, Sellars y el libretista Alice Goodman— explicaron que no debía entenderse como una critica política y, en su lugar, hicieron una ópera comprensiva, casi heroica, enmarcada por unas elegantes rimas pareadas. Comenzo la obra en 1985, y dos años más tarde, en el momento del estreno de la obra, octubre de 1987, el crítico Michael Steinberg podía decir, sin exageración: “ninguna ópera americana ha sido esperada con tal entusiasmo.“

Los primeros dos actos de Nixon in China se llenan con acontecimientos que parecen saltar directamente de los titulares al escenario: el aterrizaje en Pekín, el aria sobre el poder de la televisión, la reunión con Mao en el gabinete presidencial, el elaborado banquete formal. Sin embargo, en el último acto, el humor se vuelve melancólico e introspectivo y los personajes principales mienten en una cama estrecha y meditan sobre sus fallos y aciertos; para ellos, Adams escribió algunos pasajes de la música más conmovedora que nunca ha compuesto.

De todas las composiciones de Adams quizás la más conocida sea esta ópera, estrenada en octubre de 1987 en la «Houston Grand Opera» y que obtuvó dos años más tarde, el Premio Grammy a la “Mejor composición contemporánea” («Best Contemporary Composition»). Con Nixon in China el compositor —junto con el director Peter Sellars, el libretista Alice Goodmandel y el coreógrafo Mark Morris— hizo historia en el mundo de la ópera al iniciar un nuevo tipo de teatro musical, considerado como post-moderno, en el que se mezclan ópera, danza, video y proyecciones. El montaje original de Sellars se ha visto en Nueva York, Washington, Amsterdam, Edimburgo, Los Ángeles, París, Adelaida y Francfort y se han hecho nuevas producciones que se han presentado en Chicago, Helsinki (en finlandés) y Bielefeld (en alemán). La versión de concierto se interpretado recientemente en Londres y Tallinn (Estonia).

Nixon In China (Opera): Act I Scene 1 - News

Music by John Adams
Libretto by Alice Goodman
First performance at the Houston Grand Opera, October 22, 1987
Original stage production by Peter Sellars with choreography by Mark Morris

Chou En-lai: baritone
Richard Nixon: baritone
Henry Kissinger: bass
Nancy T’ang (first secretary to Mao): mezzo soprano
Second secretary to Mao: alto
Third secretary to Mao: contralto
Mao Tse-tung: tenor
Pat Nixon: lyric soprano
Chiang Ch’ing (Madame Mao Tse-tung): coloratura soprano

Commissioned by the Brooklyn Academy of Music, the Houston Grand Opera and the John F. Kennedy Center for the Performing Arts
Recorded by the original cast with the Orchestra of Saint Luke’s conducted by Edo de Waart on Nonesuch 79177.

CD1 minimal / mirror
CD2 minimal/ mirror
CD3 minimal/ mirror

PDF Complete Libretto

Tracklist

Disc: 1

1. Act I, Scene I: Beginning - Orch Of St. Luke's/Edo De Waart
2. Act I, Scene I: 'Soldiers Of Heaven Hold The Sky'
3. Act I, Scene I: 'The People Are The Heroes Now'
4. Act I, Scene I: Landing Of The Spirit Of '76
5. Act I, Scene I: 'Your Flight Was Smooth, I Hope?'
6. Act I, Scene I: 'News Has A Kind Of Mystery:'
7. Act I, Scene II: Beginning - Orch Of St. Luke's/Edo De Waart
8. Act I, Scene II: 'You Know We'll Meet With Your Confrere The Democratic Candidate If He Should Win.'
9. Act I, Scene II: 'You've Said That There's A Certain Well-Known Tree'
10. Act I, Scene II: 'Founders Come First, Then Profiteers.'
11. Act I, Scene II: 'We No Longer Need Confucius.'
12. Act I, Scene II: 'Like The Ming Tombs.'
13. Act I, Scene III: Beginning - Orch Of St. Luke's/Edo De Waart
14. Act I, Scene III: 'Ladies And Gentlemen, Comrades And Friends,'
15. Act I, Scene III: 'Mr. Premier, Distinguished Guests,'
16. Act I, Scene III: Cheers

Disc: 2

1. Act II, Scene I: Beginning - Orch Of St. Luke's/Edo De Waart
2. Act II, Scene I: 'Look Down At The Earth,'
3. Act II, Scene I: 'This Is Prophetic!'
4. Act II, Scene I: 'At Last The Weather's Warming Up.'
5. Act II, Scene II: Beginning - Orch Of St. Luke's/Edo De Waart
6. Act II, Scene II: 'Oh What A Day I Thought I'd Die!'
7. Act II, Scene II: 'Whip Her To Death!'
8. Act II, Scene II: Tropical Storm
9. Act II, Scene II: 'Flesh Rebels'
10. Act II, Scene II: 'I Have My Brief'
11. Act II, Scene II: 'It Seems So Strange'
12. Act II, Scene II: 'I Am The Wife Of Mao Tse-Tung'

Disc: 3

1. Act III: Beginning - Orch Of St. Luke's/Edo De Waart
2. Act III: 'Some Men You Cannot Satisfy.'
3. Act III: 'I Am No One.'
4. Act III: The Maos Dance
5. Act III: 'Sitting Around The Radio'
6. Act III: 'Let Us Examine What You Did.'
7. Act III: 'When I Woke Up I Dimly Realized The Jap Bombers Had Given...
8. Act III: 'I Have No Offspring.'
9. Act III: 'I Can Keep Still,'
10. Act III: 'After That The Sweat Had Soaked My Uniform'
11. Act III: 'Peking Watches The Stars,'
12. Act III: 'You Won At Poker.'
13. Act III: 'I Am Old And I Cannot Sleep'

John Adams
Violin Concerto (1993)/Shaker Loops (1977-83)

Gidon Kremer, violin

[Tracks 1-3]
London Symphony Orchestra
Kent Nagano, conductor

[Tracks 4-7]
Orchestra of St. Luke's

minimal

01. Violin Concerto: I. [14:56]
02. Violin Concerto: II. Chaconne: Body through which the dream flows [11:30]
03. Violin Concerto: III. Toccare [07:46]
04. Shaker Loops: I. Shaking and Trembling [08:25]
05. Shaker Loops: II. Hymning Slews [05:08]
06. Shaker Loops: III. Loops and Verses [06:54]
07. Shaker Loops: IV. A Final Shaking [03:56]