DELUXE EDITION ear friends, After two classical albums I am so excited to finally release my new crossover record, Explosive. I have had a lot of time to think about what direction I wanted to take; I’ve had the luxury to create something without any guidelines, but of course that also brings a responsibility to deliver something exciting. For me, it was very important to introduce my fans more and more to my own compositions. Eleven original pieces are on this album Dand I have to say it feels great to finally show that side of me. Having artists like Nicole Scherzinger and Xavier Naidoo sing my songs is a dream come true - I still can't believe it! Of course I am a bit anxious to see what you guys will think. Hopefully you will enjoy this album as much as I had fun writing, producing and recording it. Sincerely, David DAVID GARRETT FT. THE ROYAL PHILHARMONIC ORCHESTRA 01 Dangerous 02 Explosive 03 Serenity ft. Nicole Scherzinger 04 Lose Yourself 05 Adventure Island 06 Midnight Waltz 07 How Many Times ft. Xavier Naidoo 08 Unlimited Symphony 09 They Don’t Care About Us ft. Valentina Babor 10 Thinking Out Loud 11 Innovation 12 Ritmo Español 13 Baboushka 14 Baroque Fantasy 15 Furious 16 Wrecking Ball 17 Fuel 18 Melancholia 19 O Fortuna 20 S e r e n i t y instrumental version 21 Explosive backing track find out how to play along below! 01 Dangerous 03 Serenity 05 Adventure ‘Dangerous’ from David Guetta was a big track ‘Serenity’ is the first emotional, original compo- Island in 2014. I wanted to start this album with some- sition on this album. The idea was to pay homage thing very modern, exciting but also symphon- to the great Disney soundtracks which I loved ‘Adventure Island’ is inspired by the music of ic. On top of that, it’s a tune many people will listening to as a child and still enjoy today. This Hans Zimmer. He has written so many wonder- recognize. Even though there are a lot of origi- piece is written purely for orchestra, rich with ful film scores including Pirates of the Caribbe- nals on this album, I wanted to ease people into colour and symphonic texture. It will hopeful- an, The Rock, Inception, The Dark Knight, Pearl this new project. For me this new album is all ly hit a romantic nerve with the audience. I was Harbour, Sherlock Holmes, Gladiator and The about the here and now and ‘Dangerous’ has it fortunate enough to get my dear friend Nicole Da Vinci Code just to name a few! As I am a all - great rhythms combined with a catchy mel- Scherzinger to put her vocals on this track - huge fan of his work, this is my tribute to one of ody and a very strong harmonic progression. Thank you again for making this happen. the greats. For me the essence of his composi- Together with the iconic Royal Philharmon- tions lies in a very catchy melody which always ic Orchestra I feel we achieved a new exciting 04 gives you that feeling of: “I have heard that tune sound which jump-starts this very “explosive” Lose Yourself before.” That’s his genius. ‘Adventure Island’ is album. filled with all the typical Hans Zimmer ingredi- Even though it’s a contemporary track, ‘Lose ents, and I hope he will like it. 02 Yourself’ by Eminem is an absolute classic! Tak- Explosive en from the soundtrack of the movie 8 Mile, it 06 received an Oscar for the best original song in Midnight Waltz ‘Explosive’ is the first original composition on 2002 - rightfully so. Re-arranging something this album. It is also the first “original” that I’ve that iconic always creates a big challenge for an Midnight Waltz is my take on a traditional, be- ever shot a music video for! That is something I arranger. As everybody knows the piece very loved genre. While in the process of writing, will always remember and be very proud of. It’s well, I had to put my own personal spin on it to I felt like using a slightly different approach. quite different to anything I’ve written in the make it powerful for my instrument. Honestly, Historically a waltz is always known to be very past. It’s inspired by electronic/deep house mu- I had no idea when I started demoing how this light and positive. I wanted to change that and sic which has become a huge movement world- would turn out. Instinctively though I knew that create something a little bit darker with more wide in the last few years. Additionally I felt like this could be something amazing if I got it right. depth. The challenge was to write a waltz that creating a very classical, virtuosic melody to go Using most of the original harmonies, I added will not only move your feet but also your heart. along with the intricate rhythms - I almost see some additional chord progressions. After that I it as a traditional scherzo in a totally different started listening very carefully to the lyrics and package. then composed a melody on top of the vocal rhythms. I think what we have created is some- thing which people will recognize yet will sound fresh and new to the ear. 07 How Many times 09 They Don’t Care 11 Innovation First of all, I have to say that I am very honoured About Us ‘Innovation’ is a full-on dance number, inspired to have Xavier Naidoo on my album. I have want- by club life all around the world. It is meant to ed to work with him for a very long time and I Michael Jackson’s ‘They Don’t Care About Us’ capture that energy and experience which just am super excited that it finally happened. Dur- is one of his most epic songs. When it comes to makes you want to move. On this track I also ing the last few weeks of recording the album, covering a Michael Jackson piece, I always find got to experiment with the violin sound. Hav- I sent him a few demos hoping that he would myself realising how much hidden detail is in the ing a very heavy bass line and drums, the violin like one of them. I can’t tell you how happy I original arrangement. Although it is repetitive, needed to cut through on top of it. I was very was when he agreed to do this track. I original- it keeps your attention with its driving energy. fortunate to work with the guys from Future ly intended it to be just an instrumental piece You could almost compare this piece with the Cut in London and it was fascinating to see how with high energy and a very strong electronic/ classical concept of a fugue but instead of web- they obsessively worked on the mix. It’s a totally house rhythm. When I heard Xavier’s voice on it bing one melodic motif, it’s the rhythm that different approach and I am very proud to have though, suddenly the feel of the piece changed! keeps going through variations, not losing its gone down this new path; Music never stands He really completed the work and did some- core structure until its “explosive” climax. still and is always on the move. thing to it beyond my expectations. Thanks Xavier - You are a true artist. 10 Thinking 12 Ritmo Español 08 Unlimited Out Loud While on tour in South America, I woke up one morning at 4:30am with this tune in my head. Symphony Ed Sheeran is everywhere! No seriously, he is. As I did not want to forget it I quickly recorded Everywhere I go I see his tour posters back- the idea on my phone. After that I went back ‘Unlimited Symphony’ is a piece that I wrote stage. And trust me, I’ve travelled all over the to bed and got a few more hours of sleep – It’s together with John Haywood in Mallorca over world this year. That being said, ‘Thinking Out funny sometimes how song ideas just happen. the summer of 2015. Sitting in my living room Loud’ is an instant classic. It’s a song I enjoyed A few months later, while recording demos in watching the beautiful sunset, we got inspired listening to myself on the road. Naturally, I had the studio, I listened back again to a very sleepy to capture the moment in music. Having so my own orchestral version growing in my mind me on the phone. Surprisingly I liked the idea many “high energy” pieces on this record, it felt and I substituted Ed Sheeran’s band with the so much that I went ahead and recorded a full necessary to tone it down here and there - life is Royal Philharmonic Orchestra. Using a sym- version of it. ‘Ritmo Español’ turned out to be all about balance, and so is an album. You need phony orchestra in a totally new way, the track quite a traditional South American song. I feel the cold to appreciate the warmth; you need the sounds classical yet also modern and edgy. that the sound of the flamenco-style guitar noise to love the silence etc. So of course this combined with an R&B groove gives this album album also needed a heart and soul to work in yet another colour. its entire form. 13 might know, when it comes to playing the vio- always take risks to be innovative and musically Baboushka lin, virtuosity is a big part of it. Creating a high demanding. ‘Fuel’ is yet another great example speed technical masterpiece, which showcases of their amazing song writing skills. ‘Baboushka’ is based on a very old Russian folk all my skills, just felt like the right thing to do tune. We decided to keep the melody and struc- especially for an album called Explosive. In the 18 ture but rewrote everything else. Even though end a record is all about excitement; that “wow” Melancholia it was written hundreds of years ago, it still has factor which keeps the listener on the edge of that kind of modern feel to it. I wanted to rede- their seat. sign ‘Baboushka’ completely and take it into the Writing that perfect song is something every world of EDM (Electronic Dance Music.) Hav- 16 composer dreams of. Finding harmonies that are ing played it live all around the world, I knew it Wrecking Ball new but also sound familiar is the key to a suc- would be a great piece to record. It just makes cessful piece. It is interesting that the composi- people smile. In 2014, I was doing a TV show in the UK to pro- tions I write quickly always end up being the ones mote my album Timeless. Just before the show that make the album. So I guess thinking about 14 started I was asked by the producers of the writing too much and reworking it over and over Baroque show to play a few quick, popular songs includ- again “Beethoven style” is not my thing! ing ‘Wrecking Ball’. At first I have to admit I was Fantasy a bit hesitant – Miley Cyrus always felt a bit like 19 a guilty pleasure and I had never really listened O Fortuna ‘Baroque Fantasy’ is my tribute to the great to her songs very closely. However once I start- Antonio Vivaldi and Johann Sebastian Bach. ed playing the melody, I realised that it’s a beau- ‘O Fortuna’ is one of the most recognizable, Of course the arrangement itself is not Ba- tiful piece of music. I decided to rearrange it as classical tunes. Even if you never listen to clas- roque, that’s where the fantasy part comes in. an almost classical piece, putting the orchestra sical music, you will certainly recognise this Nevertheless, melodically and harmonically it in the centre of it. I think it will surprise many piece. Originally just for orchestra and choir, has its roots in that time period. people as much as it surprised me. it is truly one of the great compositions of the 20th century. This work has been on my “things 15 17 to do list” for quite a while now as it suits my Furious FUEL instrument perfectly.

For me, one of the most important things in ‘Fuel’ by Metallica is something I have per- music is constantly exploring my limits. Every formed all around the world over the last year. day you have to push yourself further to see In the past I have already reworked a couple of EXPLOSIVE BACKING TRACK how good you can become. Out of this am- different Metallica tunes including ‘Nothing bitious spirit, ‘Furious’ was born. I wanted to Else Matters’ and ‘Master of Puppets’. They To be able to play along with this track, go to write a piece of music so difficult that it seems really are one of my favourite bands and their http://po.st/faber to access the full sheet almost unplayable at first, something Paganini, music is extremely cleverly written. They don’t music. Available for free until 31 December 2015! Wieniawski or Ysaye would have written. As you just follow the conventional song structure but

ALL TRACKS: RECORDED AT: Solo Violin: David Garrett Meseka Studios, Baarn / Wisseloord Studios, Hilversum / Abbey Orchestra: Royal Philharmonic Orchestra Road Studios, London / Electric Lady, NYC / Avatar Studios, NYC Conducted by: Franck van der Heijden MIXED AND MASTERED AT: BAND: Wisseloord Studios, Hilversum Franck van der Heijden Nicole Scherzinger recorded by: Jake Valentine (Track 3) (Guitars, Keyboards & Percussion Programming) Nicole Scherzinger recorded at: The Village Studios, LA (Track 3) Marcus Wolf (Guitar) John Haywood (Piano, Keyboards & Percussion) P 2015 Decca, a division of Universal Music Operations Jeff Allen (Bass Guitar & Upright Bass) Limited (except Track 17) P 2015 Decca, a division Jeff Lipstein (Drums & Percussion) of Universal Music Operations Ltd / Channel Four Television Corporation / Monkey Kingdom Limited (Track 17) PRODUCED BY: David Garrett, Franck van der Heijden & John Haywood DAVID GARRETT WORLDWIDE MANAGEMENT: Executive Producer: Rick Blaskey Rick Blaskey/The Music & Media Partnership

PROGRAMMING BY: ART DIRECTION AND ARTWORK BY: Franck van der Heijden, Thomas Liebchen / DANGEROUS. Berlin John Haywood & Robin Morssink PHOTOS BY: MIX ENGINEER: Philipp Müller Ronald Prent assisted by Erik van der Horst (except Tracks 7 & 11)

MIXING & EDM PROGRAMMING: Future Cut (Darren Lewis & Lyiola Babalola - Tracks 7 & 11)

MASTERING ENGINEER: Darcy Proper

RPO ENGINEERED BY: Simon Rhodes DAVID GARRETT ENGINEERED BY: Stephen Bartlett

TRACKING ENGINEERED BY: Ronald Prent 01. DANGEROUS 05. ADVENTURE ISLAND (Lindy Robbins, David Guetta, Jason Evigan, Samuel Martin & (David Garrett & John Haywood), Published By: Copyright Giorgio Tuinfort), Piano: Giorgio Tuinfort, Published By: BMG Control / Warner Chappell Music Rights Management (UK) Limited / Kobalt Music Publishing Ltd / Warner/Chappell North America Limited / What A Publishing Ltd 06. MIDNIGHT WALTZ (Franck van der Heijden), Published By: Copyright Control 02. EXPLOSIVE (Franck van der Heijden), Published By: Copyright Control 07. HOW MANY TIMES FEATURING XAVIER NAIDOO (David Garrett, John Haywood & Xavier Naidoo), Vocals: Xavier 03. SERENITY FEATURING NICOLE SCHERZINGER Naidoo, Published By: Copyright Control / Edition Wortgewandt (David Garrett, Franck van der Heijden & Alexander Bongartz. / Warner Chappell Music Lyrics by Eliot Kennedy), Vocals: Nicole Scherzinger, Published By: Copyright Control / Warner Chappell Music/ Sony ATV Music 08. UNLIMITED SYMPHONY Publishing / Songs of Universal, Inc. / She Rights Music (BMI) (David Garrett & John Haywood), Published By: Copyright Control / Warner Chappell Music 04. LOSE YOURSELF (Marshall Mathers, Luis Resto & Jeff Bass), Published by: Kobalt Music Publishing Ltd

09. THEY DON’T CARE ABOUT US 15. FURIOUS FEATURING VALENTINA BABOR (Franck van der Heijden), Published By: Copyright Control (Michael Joe Jackson), Piano: Valentina Babor, Valentina Babor appears courtesy of DEAG Music, Published By: Sony/ATV Music 16. WRECKING BALL Publishing (UK) Ltd (Lukasz Gottwald, Maureen Anne McDonald, Stephan Moccio, Sacha Skarbek & Henry Russell Walter), Published By: BMG 10. THINKING OUT LOUD Rights Management (UK) Limited / EMI Music Publishing Ltd. / (Ed Sheeran & Amy Wadge), Published By: BDI Music Ltd / Sony / Kobalt Music Publishing Ltd / Universal MCA Publishing Ltd ATV Music Publishing (UK) 1 7. F U E L 11. INNOVATION (Kirk Hammett, Lars Ulrich & James Hetfield), Published By: (David Garrett & John Haywood), Published by: Copyright Creeping Death Music Control / Warner Chappell Music 18. MELANCHOLIA 12. RITMO ESPAÑOL (David Garrett & John Haywood), Published by: Copyright (David Garrett & John Haywood), Guitar: Miguel Casas, Control / Warner Chappell Music Published by: Copyright Control / Warner Chappell Music 19. O FORTUNA 13. BABOUSHKA (Carl Orff. Lyrics: Traditional Latin text), Choir: Cantus Domus, (Traditional, David Garrett & Franck van der Heijden), Published Published By: Schott Musik International GmbH & Co.KG by: Copyright Control / Warner Chappell Music 20. SERENITY (INSTRUMENTAL VERSION) 14. BAROQUE FANTASY (David Garrett, Franck van der Heijden & Alexander Bongartz), (Antonio Vivaldi, David Garrett & Franck van der Heijden), Published by: Copyright Control / Warner Chappell Music / Sony ATV Published by: Copyright Control / Warner Chappell Music Music Publishing / Songs of Universal, Inc. / She Rights Music (BMI)

21. EXPLOSIVE BACKING TRACK (Franck van der Heijden), Published by: Copyright Control

irst of all, I would like to thank my re- sure I always end up reading the small print! cord company, Universal, for their Thank you. A huge thank you goes out to my belief and support: Dickon, Frank, family, and especially Alex for helping me to Dirk, Sergio, Gavin, Jess, James and write ‘Serenity’. It is because of you that I can their great teams. Another thank-you do what I do. Love you all very much. I would goes out to The Agency Group espe- also like to thank my dear friends all around the cially Neil, Heulwen, Angie and Juliet. world. Life is only meaningful with honest and F sincere people around. Of course this whole journey would not be pos- sible without the creative input from my fellow Thanks to my management TMMP for organiz- band mates! Franck, John, Jeff, Jeff and Marcus! ing my life: Rick Blaskey, Paul and Pippa. Here You guys are the best and the backbone of my are a few others who have a big impact on my sound. Big thanks also to all my other collabo- life: Burkhard, Birgit, Jens, Evelyn, Sara, Tobias rators on this album: the Royal Philharmonic and Yvonne. Thank you Ronald for yet again de- Orchestra, Xavier Naidoo, Nicole Scherzinger, livering a great mix of the album. A big thanks in Valentina Babor and the guys from Future Cut. advance to Elke for organizing a tough but amaz- A huge thank you also goes out to Giorgio Tuin- ing promo schedule to make sure that Explosive fort who wrote ‘Dangerous’. I feel honoured that will turn out to be a success. I also would like to he recorded the piano part for my new version! thank my partners: Thomas Sabo and Audi!

This album and pretty much everything would And... Most importantly I would like to thank my not be possible without my tour manager and fans from the bottom of my heart. I would be friend, Jörg. You always push me to be better nothing without you. Thank you for being by my then I believe I can be. Tough love, but I would side. I love you all! not want it any other way.

Thomas at Dangerous for helping me create this amazing album design. You always find the right visuals for my albums. Phillipp Müller, my favorite photographer, who always makes me look great.

I also want to give a special thank you to my team from DEAG Music: Peter, Jan and Andy. Christoph Schmökel, my lawyer, who makes david-garrett.com

P & C 2015 Decca, a division of Universal Music Operations Ltd. The copyright in this sound recording is owned by Decca, a division of Universal Music Operations Limited. All rights reserved, unauthorised copying, hiring, lending, public performance and broadcasting prohibited. 00602547491107 / 00602547491121 / 00602547538765