Talanca's music

· "Revolver" - The Beatles USA 1966

2012-01-28T04:45:00.000-08:00

The original US LP release of Revolver, the band's tenth on Capitol Records and twelfth US album, marked the last time Capitol would release an altered UK Beatles album for the US market. As three of its tracks—"I'm Only Sleeping", "And Your Bird Can Sing" and "Doctor Robert"—had been used for the earlier Yesterday... And Today Capitol compilation, they were simply removed in the US version, yielding an 11 track album instead of the UK version's 14 and shortening the time to 28:20. The album's 30 April 1987 release on CD in USA standardised the track listing to the original UK version. Having been available only as an import in the US in the past, the 14 track UK version of the album was also issued domestically in the US on LP and cassette on 21 July 1987. The CD was remastered in 2009. The US version has never been available on that format.

http://www.mediafire.com/?w0s55ozwug7r8dc

01- Taxman
02- Eleanor Rigby
03- Love You To
04- Here, There and Everywhere
05- Yellow Submarine
06- She Said, She Said
07- Good Day Sunshine
08- For No One
09- I Want To Tell You
10- Got To Get You Into My Life
11- Tomorrow Never Knows

· "Yesterday... And Today" - The Beatles USA 1966

2012-01-28T04:23:00.000-08:00

Yesterday and Today (rendered as "Yesterday… And Today" on the record label and in most published discographies) is the tenth Capitol release by the The Beatles and the twelfth overall U.S. release. It was issued only in the United States and Canada. The album is remembered primarily for the controversy surrounding its original cover image, the "butcher cover" featuring the band dressed in white smocks and covered with decapitated baby dolls and pieces of meat. Probably this is the reason why it’ll never be released officially on CD format. This album saw the release of all of the tracks from the previous two British releases that were not included on their American counterparts: Help! ("Act Naturally" and "Yesterday") and Rubber Soul ("Drive My Car", "Nowhere Man", "If I Needed Someone", and "What Goes On"). The recent single "Day Tripper" / "We Can Work It Out" was also included, as were three tracks from the upcoming LP, Revolver: "I'm Only Sleeping", "Doctor Robert", and "And Your Bird Can Sing", issued here in preliminary mixes. This cutting up of their albums irritated the Beatles, who felt they had "put a lot of work into the sequencing" of the British versions. In fact, “Revolver” and this album were to be the last examples of this practice. Released in June 1966, a short time before what would be their last tour, this album's controversial cover marked the first time that the Beatles' judgment was severely criticized by the media and the public. Nevertheless, the album reached #1 on the U.S. Billboard charts by July 30, 1966 and was certified gold soon after. Apart from the so-called butcher cover, this album is of interest to collectors for the appearance of unique mixes tracks unavailable elsewhere. Because of Capitol Records' haste to release new product, mono and stereo pre-mixes of "Dr. Robert", "And Your Bird Can Sing", and "I'm Only Sleeping" were made for the US and sent by Martin specifically for this album; also the stereo mixes of "Day Tripper" (mixed October 26,1965) and "We Can Work It Out" featured here (both mixed on November 10, 1965 and then scrapped on August 09, 1966 from Abbey Road vaults) differ from the UK official stereo mixes which were done sometime later that year (November 10, 1966) specifically for the British compilation Oldies… But Goldies, so these included here (I mean officially only here) are the original 1965 mixes which were later discarded for all later releases.

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01- Drive My Car
02- I'm Only Sleeping
03- Nowhere Man
04- Dr. Robert
05- Yesterday
06- Act Naturally
07-And Your Bird Can Sing
08- If I Needed Someone
09- We Can Work It Out
10- What Goes On?
11- Day Tripper

· "Rubber Soul" - The Beatles USA 1965

2012-01-28T04:09:00.000-08:00

Rubber Soul, the ninth Capitol Records album and eleventh official US release (T-2442 & ST-2442), came out in the United States three days after the British release, and began its 59-week long chart run on Christmas Day. It topped the charts for six weeks from 8 January 1966, before dropping back. The album sold 1.2 million copies within nine days of its release, and to date has sold over six million copies in America. Like other pre-Sgt. Pepper Beatles albums, Rubber Soul differed markedly in its US and UK configurations; indeed, through peculiarities of sequencing, the US Rubber Soul was deliberately reconfigured to appear a "folk rock" album to angle The Beatles into that emerging and lucrative American genre during 1965, thanks to the addition of "I've Just Seen a Face" and "It's Only Love" (leftovers from the UK Help!) and the deletion of some of the more upbeat tracks ("Drive My Car", "Nowhere Man", "If I Needed Someone", and "What Goes On"). The tracks missing on the US version would later surface on the Yesterday and Today collection (with "Nowhere Man" and "What Goes On" being released on a single in the meantime). The track variation resulted in a shorter album length, clocking in at 29:59. In addition, the stereo mix sent to the US from England has what are commonly called "a false start" at the beginning of "I'm Looking Through You." The track is also slightly shorter at the end. The false starts are on every American stereo copy of the album from 1965 to 1990 and are also on the CD boxed set, The Capitol Albums Vol. 2. The US version of "The Word" is also recognisably different because it has Lennon's double-tracked vocals, an extra falsetto harmony on the left channel during the last two refrains, maracas panning to the right channel during the instrumental break and then back to the left channel and the fade is a little longer. Also, on the US mono LP of this album, the version of "Michelle" has louder percussion and the fade-out runs ten seconds longer.

http://www.mediafire.com/?ig1wj9g5jf8f7b7

01- I've Just Seen A Face
02- Norwegian Wood (This Bird Has Flown)
03- You Won't See Me
04- Think For Yourself
05- The Word
06- Michelle
07- It's Only Love
08- Girl
09- I'm Looking Through You
10- In My Life
11- Wait
12- Run For Your Life

· "Help!" - The Beatles USA 1965

2012-01-28T04:00:00.000-08:00

The North American version, the band's eighth Capitol Records album and tenth overall, includes the songs in the film plus selections from the orchestral score composed by Ken Thorne and performed by the George Martin Orchestra, which contains one of the first uses of the Indian sitar on a pop album. "Ticket to Ride" is the only song on the American release in duophonic stereo (also known as "fake stereo") reprocessed from the mono mix. This American release was a true soundtrack album, mixing the first seven songs with orchestral material from the film. Of the other seven songs that were on the British release, two were released on the US version of the next Beatles album, Rubber Soul, two were back-to-back on the next US single and then appeared on Yesterday and Today, and three had already been on Beatles VI. This album is available on CD as part of The Capitol Albums, Volume 2 box set. This set also includes the mono version of the American release, which is purely a stereo-to-mono fold-down mix, including the "fake stereo" duophonic "Ticket To Ride" folded down to mono again, despite Capitol already having the mono mixes for the single releases of both that song and "Help!". The American version of Help! reached the number one spot on the Billboard album charts for nine weeks starting on 11 September 1965.

http://www.mediafire.com/?ksdd33285v4kg8v

01- James Bond Theme (Instrumental) + Help!
02- The Night Before
03- From Me To You Fantasy (Instrumental)
04- You've Got To Hide Your Love Away
05- I Need You
06- In The Tyrol (Instrumental)
07- Another Girl
08- Another Hard Day's Night (Instrumental)
09- Ticket To Ride
10- The Bitter End/You Can't Do That (Instumental)
11-You're Gonna Lose That Girl
12- The Chase (Instrumental)

· "Beatles VI" - The Beatles USA 1965

2012-01-28T03:47:00.000-08:00

Beatles VI is The Beatles' seventh Capitol Records release in the United States (including The Beatles' Story). It was the ninth album released into that market in less than one and a half years (Vee-Jay Records and United Artists Records also released one album each during that period). The LP was released in both mono and stereo versions, and includes two tracks recorded specifically for the North American market: "Bad Boy" and "Dizzy Miss Lizzy", both covers of Larry Williams songs, and both recorded on Williams' birthday (10 May 1965), marking perhaps the only time that the Beatles recorded material especially for North America. "Dizzy Miss Lizzy" was soon included on the British release of the Help! album, but "Bad Boy" was not released in the United Kingdom or anywhere else around the world until the 1966 A Collection of Beatles Oldies. Beatles VI also included the remaining six tracks left off Beatles '65 from the UK Beatles for Sale, "Yes It Is" (the B-side to the single "Ticket to Ride") features on a "duophonic" stereo remix from the original mono track and with additional echo and reverb, plus two other tracks from the forthcoming UK release of Help!: "You Like Me Too Much" and "Tell Me What You See". As on Beatles for Sale, the "Kansas City"/"Hey, Hey, Hey, Hey" medley was originally listed only as "Kansas City". After attorneys for Venice Music notified Capitol of its error, the record label was corrected, although the album cover was not. Beatles VI reached number one in Billboard for six weeks, beginning on 10 July 1965. This LP was also released in New Zealand in stereo in time for Christmas 1966. The pressing plates were obtained from EMI (UK) and are identical to their export only release. The title on the record label reads Beatles IV, and the catalogue number is PCSM 6042. This album is available on CD as part of The Capitol Albums, Volume 2 box set in both stereo and mono mixes.

http://www.mediafire.com/?fxqe18fgaxmw9ts

01- Kansas City/Hey Hey Hey Hey
02- Eight Days A Week
03- You Like Me Too Much
04- Bad Boy
05- I Don't Want To Spoil The Party
06- Words Of Love
07- What You're Doing
08- Yes It Is
09- Dizzy Miss Lizzy
10- Tell Me What You See
11- Every Little Thing

· "The Early Beatles" - The Beatles USA 1965

2012-01-28T03:38:00.000-08:00

The Early Beatles is The Beatles' sixth release on Capitol Records, and their eighth album for the American market. The album resembles more of an early compilation because all of the tracks had previously been featured on the early 1964 Vee-Jay release Introducing... The Beatles. The front cover photo for this album is the same as the back cover photo for the British LP Beatles For Sale. Vee-Jay had gained American rights to the tracks before the group became popular in America (because Capitol, the US division of EMI which owns The Beatles' record label Parlophone, had refused to release the group's records), and their releases had initially failed to chart. But after the group became popular, Vee-Jay, still having the rights to the early material, were able to re-release them in America and this time the records sold in the millions. Capitol tried to stop Vee Jay from releasing the tracks, but were not successful. In October 1964, Vee-Jay's license to distribute the Beatles recordings they possessed expired, so Capitol were finally able to get the American distribution rights for the album. Though Vee-Jay had compiled four Beatles albums in the space of just fifteen months from these sessions (all of which charted), when released on Capitol, the album still sold, but its highest chart position was only number 43, thus making it the only original Capitol or United Artists released Beatles album not to reach numbers 1 or 2 (with the exception of the Capitol documentary album, The Beatles' Story which peaked at number 7). Capitol did little to promote the album since the label merely viewed it as a replacement for the Vee-Jay LP, rather than a "new" Beatles album. The Early Beatles sold one million copies by late 1973 and was certified Gold by the RIAA on 8 January 1974. It was released in both mono and stereo versions. As no stereo masters of "Love Me Do" and "P.S. I Love You" exist, Capitol used EMI's duophonic mixes of both songs. There was also some added echo and reverb to "Twist And Shout". This album is available on compact disc as part of The Capitol Albums, Volume 2 box set, in both mono and stereo, although the mono album mix appears to be strictly a stereo-to-mono fold-down; the song "Please Please Me" features the lyric slip-up and layering in the last verse, as issued on the stereo release and on the original stereo UK album Please Please Me. The album includes eleven of the fourteen tracks from the group's first British LP Please Please Me. Tracks not included are: "I Saw Her Standing There" (issued on Meet the Beatles!), "Misery" and "There's a Place". The latter two tracks, first issued by Capitol in 1965 on "Starline" singles, would finally get a Capitol LP release in 1980 in the American version of the Rarities album. Two other tracks originally released by Vee-Jay in America but also not included in this album were "From Me to You" (which wasn't released on an LP in America until 1973 on the compilation 1962–1966) and "Thank You Girl" (which Capitol had already released on the LP The Beatles' Second Album).

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01- Love Me Do
02- Twist And Shout
03- Anna (Go To Him)
04- Chains
05- Boys
06- Ask Me Why
07- Please Please Me
08- P.S. I Love You
09- Baby, It's You
10- A Taste Of Honey
11- Do You Want To Know A Secret

· "Beatles 65" - The Beatles USA 1964

2012-01-22T05:13:00.000-08:00

Beatles '65 is The Beatles' fifth Capitol release, but seventh American album. It was released in mono and stereo versions. Beatles '65 includes eight of the fourteen songs from Beatles for Sale (omitting "Eight Days a Week", "Words of Love", "Every Little Thing", "I Don't Want to Spoil the Party", "What You're Doing", and the "Kansas City/Hey, Hey, Hey, Hey" medley, all of which showed up later in Beatles VI). It picked up "I'll Be Back" from the UK A Hard Day's Night and also includes the single "I Feel Fine"/"She's a Woman". These latter two songs were remixed into "duophonic" [fake] stereo and drenched in reverb by Capitol Records' executive Dave Dexter, Jr. to cover up the use of the mono mixes sent from England. The mono versions of both "I Feel Fine" and "She's A Woman" were also remixed with added echo and reverb for the single and mono album release. The stereo version of "Mr. Moonlight" has a longer fadeout than the UK versions. In the US the album was a blockbuster hit, and jumped from number 98 straight to number one, making the biggest jump to the top position in the history of the Billboard Album Charts up to that time. It remained at number 1 for nine straight weeks, starting on 9 January 1965. In what may be testament to the overwhelming market appeal of the Beatles, several albums were released and promoted in America during 1965 sporting a similar title. These included Sinatra '65 by Frank Sinatra and Ellington '65 by Duke Ellington on Reprise Records, Trio '65 by jazz pianist Bill Evans on Verve Records, and Brasil '65 by Sérgio Mendes on the Beatles' own Capitol label. This album was also issued in Germany on the Odeon label. On 16 November 2004, this album was released on CD for the first time as part of The Capitol Albums, Volume 1 box set.

http://www.mediafire.com/?xbp433wkauvbaft

01- No Reply
02- I'm a Loser
03- Baby's in Black
04- Rock and Roll Music
05- I'll Follow the Sun
06- Mr. Moonlight
07- Honey Don't
08- I'll Be Back
09- She's a Woman
10- I Feel Fine
11- Everybody's Trying to Be my Baby

· "The Beatles' Story" - The Beatles USA 1964

2012-01-22T05:06:00.000-08:00

The Beatles' Story a documentary double album featuring interviews, press conferences, and songs by The Beatles. It was the Beatles' fourth release by Capitol and sixth American album, released in both mono and stereo. The LP was also released in Canada. Capitol released this album shortly after competitor Vee-Jay Records released Hear The Beatles Tell All. The album contains brief stereo excerpts of their 1964 Hollywood Bowl concert, which was unreleased until May 1977 on The Beatles at the Hollywood Bowl. Several voice overs dominate the rest of the record. The album entered the Billboard Top LP's chart on 12 December at number 97. On 2 January 1965, the album reached its peak position at number seven, where it remained for four weeks before beginning its slide down the charts. Cash Box entered the album at number seven, whereas Record World showed the record peaking at number 13. Although not a million-seller, the album was certified gold, signifying sales in excess of one million dollars, in its first week; a very respectable showing, considering that the album was little more than an elaborately packaged documentary record. In 1996, The Beatles' Story was being prepared for release on Digital Audio Tape (DAT), but when the format failed commercially, the plan was scrapped. As of 2011, it only has been issued in long-playing record and cassette, making this one of the few American Beatles albums that has yet to be officially reissued on CD or any other format.

Mono: http://www.mediafire.com/?brdb8w28nb3ekox

Stereo: http://www.mediafire.com/?dbkzmzeg07ldy3m

01- On Stage With The Beatles
02- How Beatlemania Began
03- Beatlemania in Action
04- Man Behind the Beatles - Brian Epstein
05- John Lennon
06- Who's a Millionaire?
07- Beatles will be Beatles
08- Man Behind the Music - George Martin
09- George Harrison
10- A Hard Day's Night - Their First Movie
11- Paul McCartney
12- Sneaky Haircuts and More About Paul
13- The Beatles Look at Life
14- Victims' of Beatlemania
15- Beatle Medley
16- Ringo Starr
17- Liverpool and All the World!

· "Something New" - The Beatles USA 1964

2012-01-22T05:00:00.000-08:00

Something New is The Beatles' third Capitol LP release, but fifth American album following the United Artists release of A Hard Day's Night. This album includes eight songs from the original British release of A Hard Day's Night, as well as the remaining tracks "Slow Down" and "Matchbox" from the Long Tall Sally EP and the German release of "I Want to Hold Your Hand". It was released in mono and stereo, and all mono mixes of the five songs duplicated from the United Artists soundtrack album are the same. The mono release contains alternative versions of "Any Time At All" (different during the instrumental bridge), "I'll Cry Instead" (with the missing third verse), "When I Get Home" (the line "Till I walk out that door again" during the song's bridge has a different vocal passage from the UK mono mix), and "And I Love Her" (McCartney's non-double-tracked vocal). The album spent nine weeks at #2 on the Billboard 200, behind the United Artists A Hard Day's Night album. This album was also released on the Parlophone label for sale only on American Armed Forces bases in Europe. These copies have great collector value. The album was also issued in Germany on the Odeon label. The German stereo version contains a reprocessed stereo version of "Komm, Gib Mir Deine Hand" and an extended version of "And I Love Her", repeating the closing riff six times instead of four. This mix was later released on the US version of Rarities. In 2004 this album was released for the first time on CD as part of The Capitol Albums, Volume 1 box set.

http://www.mediafire.com/?69bsrbopo95o4cq

01- I'll Cry Instead
02- Things We Said Today
03- Any Time at All
04- When I Get Home
05- Slow Down
06- Matchbox
07- Tell Me Why
08- And I Love Her
09 I'm Happy Just to Dance with You
10- If I Fell
11- Komm, Gib Mir Deine Hand

· "A Hard Day's Night" - The Beatles USA 1964

2012-01-22T04:48:00.000-08:00

A Hard Day's Night is the third studio album by The Beatles, released on 10 July 1964 as the soundtrack to their film "A Hard Day's Night". The American version of A Hard Day's Night was released on 26 June 1964 by United Artists Records in mono (UAL-3366) and (fake) stereo (UAS-6366) and contained only the seven songs from the film: "A Hard Day's Night", "Tell Me Why", "I'm Happy Just to Dance With You", "I Should Have Known Better", "If I Fell", "And I Love Her", and "Can't Buy Me Love". It also featured "I'll Cry Instead", which, although written for the film, was cut from it at the last minute. The American version also included four easy listening-styled instrumental versions of Lennon and McCartney songs by George Martin: "I Should Have Known Better", "And I Love Her", "Ringo's Theme (This Boy)", and "A Hard Day's Night". As with the Vee-Jay and Capitol albums issued during 1964, there are different label variations of the United Artists album, as well. Some of the labels misspell the titles of two of the songs: "Tell Me Why" appears as "Tell Me Who", and "I'll Cry Instead" as "I Cry Instead". The album went to number one on the Billboard album chart, spending 14 weeks there, the longest run of any album that year. After EMI acquired United Artists Records, this album was reissued on 17 August 1980 on the Capitol label (SW-11921). While the stereo version of the album included the instrumental tracks in true stereo, the Beatles' own recordings appeared as electronically rechannelled stereo recordings made from the mono releases. The 1980 Capitol Records release used the same master tape as the original United Artists stereo release, despite the availability of several tracks with official stereo remixes by that time. True stereo versions of most of the songs appeared on the Capitol Records album Something New, released in July 1964. "Can't Buy Me Love" and "I Should Have Known Better" finally appeared in stereo versions on the Apple Records compilation Hey Jude in 1970. And the song "A Hard Day's Night" did not appear in a stereo version in the US until the LP Reel Music in March 1982. In 2004, counterfeit copies of the United Artists album began appearing in foreign countries in a 40th anniversary edition on CD. This version features the same twelve songs in the same running order, but with all of the tracks appearing in true stereo together for the very first time - including the eight Beatles songs. This marks the first time that the full-length, true stereo version of "I'll Cry Instead" was released, since its original issue on the 1980 "Casualties" LP, tho' in fact was an edit of the stereo mix. The American version of "A Hard Day's Night" has yet to be released officially on CD in the United States since it was eventually replaced by the original UK version with its first release on CD and LP re-release in 1987.

http://www.mediafire.com/?7g3joy9lygyf9sz

01- A Hard Day's Night
02- Tell Me Why
03- I'll Cry Instead
04- I Should Have Known Better (instrumental)
05- I'm Happy Just to Dance With You
06- And I Love Her (instrumental)
07- I Should Have Known Better
08- If I Fell
09- And I Love Her
10- Ringo's Theme [This Boy] (instrumental)
11-Can't Buy Me Love
12- A Hard Day's Night (instrumental)

· "The Beatles' Second Album" - The Beatles USA 1964

2012-01-22T04:35:00.000-08:00

The Beatles' Second Album is The Beatles' second Capitol Records album, and their third album released in the United States including Introducing... The Beatles released three months earlier on Vee-Jay Records. The Beatles' Second Album went to number one on the album charts in the US, knocking off Meet the Beatles!, the first time an artist replaced itself at number one on the US album charts. Unlike the contemporaneous British Beatles albums, The Beatles' Second Album is composed exclusively of uptempo numbers, and for this reason is a favourite of some Beatles aficionados and rock critics. "The Beatles' Second Album stands as probably best pure rock & roll album ever issued of the group's music" [sic], wrote Allmusic. Songs for this album were compiled from four different UK releases. Included were the five remaining tracks from the group's second British LP With the Beatles. Those songs were left off the previous Capitol album Meet the Beatles!. Also included were "Thank You Girl" (the B-side to the British single "From Me to You"), the single "She Loves You" / "I'll Get You", "You Can't Do That" from the A Hard Day's Night soundtrack LP in the UK, and two new songs, "Long Tall Sally" and "I Call Your Name," both released a month later in the UK on the Long Tall Sally EP. Also, the Capitol Records engineers, headed by record executive Dave Dexter, Jr, added a lot of echo and reverb to give the music more of a "live" feel. This is much more noticeable on the With the Beatles tracks, as they were recorded in two-track stereo. Exceptional is the inclusion of the stereo version of "Thank You Girl," as The Beatles' Second Album featured the only true stereo version of the song released on any US or UK album for over 40 years, until the same stereo version of the song (but with no echo added this time) was released on the 2009 remastered edition of Past Masters (The Beatles' Second Album stereo version of "Thank You Girl" was also included on The Beatles Beat, a German compilation release). Since all the echo added, this version remains a bit of a rarity. For its American-album debut in mono, Capitol took this stereo version and transferred it into a two-to-one stereo-to-mono mixdown for the mono album release, thus creating an alternative mono mix of the song. The stereo version of "Money" also underwent the same two-to-one stereo-to-mono mixdown for this album, thus creating another alternative mono mix. In the mono version of "I Call Your Name", the cowbell comes in at the very beginning of the song, whereas in the stereo version it comes in after the beginning of the vocal. Harrison's opening 12-string guitar phrase is also different between the mono and stereo versions. In "Long Tall Sally", the stereo version has echo while the mono version is lacking it. The mono version of "You Can't Do That" is different to the one released on the British album A Hard Day's Night for unknown reasons. Mark Lewisohn says that an alternative mono mix was sent instead of the UK master. This album was also released in the US on 8-track cartridge in 1967, and reel to reel tape and cassette in 1969. In 2004 this album was re-released for the first time on CD as part of The Capitol Albums, Volume 1 box set and was issued in a miniature cardboard replica of the original album sleeve.

http://www.mediafire.com/?ttdzgl4zlb6s7rd

01- Roll Over, Beethoven
02- Thank You Girl
03- You Really Got a Hold on Me
04- Devil in Her Heart
05- Money
06- You Can't Do That
07- Long Tall Sally
08- I Call Your Name
09- Please Mr. Postman
10- I'll Get You
11- She Loves You

· "Meet The Beatles!" - The Beatles USA 1964

2012-01-22T04:23:00.000-08:00

Meet The Beatles! was the second Beatles' album released in the United States, despite the "first album" claim on its cover. Released on 20 January 1964, it was the first Capitol Records Beatles' album, issued in both mono and stereo. Capitol is a sister company to Parlophone, the Beatles' British label, and both are subsidiaries of EMI. Ten days prior to the release of Meet the Beatles!, Chicago's Vee-Jay Records released The Beatles' first album, Introducing... The Beatles, which had been delayed for release from the previous summer. Perhaps as a result of the Vee-Jay release, Liberty Music Shops advertised in the New York Times of 12 January 1964 that Meet The Beatles! was available for purchase, an ad not authorized by Capitol. The cover featured Robert Freeman's portrait that was used for the U.K. With The Beatles release with a tinted blue hue added to the original, stark black-and-white photograph. Meet The Beatles! reached the number one spot on Billboard album charts starting on February 15th, 1964. It remained at number one for an impressive 11 weeks before being replaced by The Beatles' Second Album; the first time that an artist replaced itself at the number one album position. In 2003, Meet The Beatles! was ranked number 59 on Rolling Stone magazine's list of the 500 greatest albums of all time. In 2004, the album was released on CD in stereo and mono as part of The Capitol Albums, Volume 1 box set.

http://www.mediafire.com/?kbqq7cohp1b1dti

01- I Want to Hold Your Hand
02- I Saw Her Standing There
03- This Boy
04- It Won't Be Long
05- All I've Got to Do
06- All My Loving
07- Don't Bother Me
08- Little Child
09- Till There Was You
10- Hold Me Tight
11- I Wanna Be Your Man
12- Not a Second Time

· "Introducing The Beatles" - The Beatles USA 1964

2012-01-22T04:09:00.000-08:00

Introducing... The Beatles is the first Beatles album in the United States. Originally scheduled for a July 1963 release, the LP finally came out on 10 January 1964, mere days before Capitol's Meet The Beatles!. It was the subject of much legal wrangling, but ultimately, Vee-Jay Records was permitted to sell the album until the fall of 1964, by which time it had sold more than 1.3 million copies. When it issued the "Please Please Me" single in the United States, Vee-Jay Records signed a licensing agreement with Transglobal, an EMI affiliate that worked to place foreign masters with U.S. record labels, giving it the right of first refusal on Beatles records for five years. As part of that agreement, Vee-Jay planned to release the UK Please Please Me album in the U.S., and received copies of the mono and stereo master tapes in late April or early May of 1963. Originally, Vee-Jay considered releasing Please Please Me exactly as it appeared in England. A surviving acetate made by Universal Recording Corporation of Chicago, probably in May 1963, contains all 14 songs in the same order as on the UK album, with the title still listed as Please Please Me. But in keeping with the American norm of a 12-song album, Vee-Jay chose instead to delete the songs "Please Please Me" and "Ask Me Why" and change the album's title to Introducing... The Beatles. Also, the engineer at Universal in Chicago thought that Paul McCartney's count-in at the start of "I Saw Her Standing There" was extraneous rather than intentionally placed there, so he snipped the "one, two, three" from Vee-Jay's mono and stereo masters. Except for those deletions, the order and contents of the album were untouched, resulting in a U.S. album that bore the closest resemblance to a British Beatles LP until Capitol’s Revolver in 1966. Preparations for the LP's release continued in late June and early July 1963, including the manufacturing of masters and metal parts and the printing of 6,000 front covers. But, despite the claims of many older books that Introducing The Beatles was first released on 22 July 1963 no paper trail exists to suggest that the album was released at any time in 1963. After a management shake-up at the label, which included the resignation of company president Ewart Abner after he used company funds to cover gambling debts, Vee-Jay canceled Introducing The Beatles. On 14 December 1963, Billboard magazine mentioned that Capitol Records planned an all-out promotional campaign for the Beatles in the United States. On 7 January 1964, Vee-Jay's board of directors met for the first time since that announcement, and it discussed the Beatles' material it had in the vault. Desperate for cash, the board decided to release IntroducingThe Beatles, even if it meant legal trouble in the future. Metal parts were already at Vee-Jay's three primary pressing plants, and 6,000 front covers were already printed. All of these were available on the market within days of the 10 January release date. On 16 January 1964, Introducing... The Beatles was finally released, but Vee-Jay was served with a restraining order stopping further distribution. Beechwood Music, Inc., Capitol Records' publishing subsidiary, owned the American publishing rights to "Love Me Do" and "P.S. I Love You", and because the two songs had not yet been officially released in the U.S., Beechwood refused to issue a license for Vee-Jay to release them. Approximately 80,000 copies of the album had been already released with the two songs on them, with only 2,000 or so in stereo. So in order to circumvent the restraining order, Vee-Jay quickly reconfigured the song list by removing "Love Me Do" and "P.S. I Love You" and replaced them with the previously deleted "Ask Me Why" and "Please Please Me”. The new versions were prepared in late January and began appearing in stores approximately 10 February 1964. Because of the initial restraining order, Introducing... The Beatles did not enter the Billboard album charts until one week after Meet the Beatles!. Once it did, it quickly rose to the #2 spot, where it stayed for nine straight weeks. It also peaked at #2 in Cash Box, and it got to #1 in Record World magazine. It is interesting to note that the song "I Saw Her Standing There", which was first released in the U.K. on the album Please Please Me, appeared in the U.S. on both the Vee-Jay album as well as Capitol's Meet The Beatles! LP. These two albums were initially issued almost simultaneously, marking the only time that 2 different Beatles albums, each from a different record label, were released at around the same time with one song appearing on both albums. In the other hand, the songs “Misery” and “There’s a Place” were first released by Capitol as part of the Rarities US album in 1980, and remained almost as unreleased songs since October 1964 when Vee Jay stopped distributing Introducing The Beatles. The rest of the songs were included in The Early Beatles, released in mid 1965, which had very poor sales compared to the rest of the other Beatles records released back then, mainly due to the previous Vee Jay release of Introducing... The Beatles. Here’s the second version released on early February 1964 from original Vee Jay stereo and mono LPs.

http://www.mediafire.com/?sbxkkza7o2z6r2o

01- I Saw Her Standing There
02- Misery
03- Anna [Go to Him]
04- Chains
05- Boys
06- Ask Me Why
07- Please Please Me
08- Baby It's You
09- Do You Want to Know a Secret?
10- A Taste of Honey
11- There's a Place
12- Twist & Shout

· "Hodge Podge Vol. 3" - The Beatles

2012-01-01T19:33:00.000-08:00

Back in year 2000, and far from being embarrassingly inessential, buying this CD meant that you didn't have to buy several others just to get some of these tracks. When this CD was released, I was very pleased because it contained several tracks from very hard-to-find discs. For instance, the White Album alternate mixes were only available on expensive Japanese imports. “Tomorrow Never Knows” RM11 was released on this disc long before than on Turn Me On Dead Man and before that, it was only available on the expensive (again) Japanese Revolver Mono Matrix 1, later re-released (re-made) by Dr. Ebbetts.
I also prefer this long version of “You Know My Name” to that on the Anthology album, since on there it annoyingly fades just before the end. Here instead, we get the complete Anthology version with the FULL ending. Also, the "alternate" stereo mixes of “I'm So Tired” and “Happiness Is A Warm Gun” are the regular tracks with the overdubs synced together, but they were presented here in the best sound quality for the first time.
Also rare were the A Hard Day’s Night mono mixes for the film, which are not the same mono mixes which were released on the Parlophone mono UK LP nor those on the United Artists USA album.

http://www.megaupload.com/?d=191Y105W

01. I Saw Her Standing There - Take 1
02. From Me To You - Alternate stereo mix
03. A Hard Day's Night - Takes 2, 3 & 4
04. A Hard Day's Night - AHDN film alternate mono mix
05. And I Love Her - AHDN film alternate mono mix
06. If I Fell - AHDN film alternate mono mix
07. She's A Woman - Take 1
08. Help! - Take 4
09. Dizzy Miss Lizzy - Backing track
10. Studio Chat
11. Run For Your Life - Guide vocal
12. And Your Bird Can Sing - Take 2
13. Tomorrow Never Knows - XEX 601-1 mono mix RM11 withdrawn
14. Lady Madonna - Alternate stereo mix
15. While My Guitar Gently Weeps - Complete in/outro take 1
16. Back In The U.S.S.R. - Mono mix
17. Birthday - Mono mix
18. Yer Blues - Mono mix
19. Everybody's Got Something to Hide Except Me and my Monkey - Alternate mono mix RM5
20. Helter Skelter - Mono mix
21. Dear Prudence - Alternate mono mix
22. I'm So Tired - Alternate stereo mix
23. Happiness Is A Warm Gun - Alternate stereo mix
24. Can You Take Me Back? - Extended version # 1
25. Let It Be - Stereo with both guitar solos
26. You Know My Name (Look Up The Number) - Stereo with complete ending

· "Hamburg Raw Beat" The Beatles

2011-12-10T11:40:00.000-08:00

There have been a lot of variations of the Hamburg tapes released over the years, starting off with the Lingasong LP's in 1977. One thing in common with all the releases is that they altered the original recordings in one way or another. From removal of the between-the- songs dialogue, or song edits to loop portions of the track, to even fake stereo (as usual). This release is not going to try and re-invent the wheel. It simply presents some raw cassette transfers (speed corrected) that have been traded between collectors for many years.

The first twelve tracks here are from the bootleg Mach Shau! (Savage SC 12620) which contained alternate versions of songs such as I’m Talking About You and Roll Over Beethoven plus unadulterated versions of Till There Was You, A Taste Of Honey and Where Have You Been All My Life, all of them transferred from an original tape to vinyl.
Then the next five songs came directly from a raw tape which today belongs to a private collector in Germany. That tape contains a total of 15 songs of which only seven feature the Beatles. Here we have five of them: Hippy Hippy Shake, A Taste of Honey [rec. 30/12/62], Reminiscing, Ask Me Why [rec. 30/12/62] and I Saw Her Standing There [rec. 30/12/62]. The rest of titles included are almost certainly performed by Ted "Kingsize" Taylor and the Dominoes. This tape circulated in the mid 90's and was later brought into the public eye by Fuego Entertainment in 2008 when they announced it to be a future release. Of course Apple put an end to that.
The last five songs are from the famous "sampler" tape, copied by Allan Williams in 1978, which contained seven Star Club songs in their unadulterated original form. These are: Kansas City/Hey Hey Hey Hey, Shimmy Like Kate, Falling in Love Again, Roll Over Beethoven [rec. 25/12/62], and Sweet Little Sixteen.

Enjoy it!

http://www.megaupload.com/?d=CXLL9C32

01- A Taste of Honey I
02- Till There Was You
03- Where Have You Been All my Life?
04- Lend Me Your Comb
05- Your Feet’s Too Big
06- Talkin’ ‘Bout You
07- To Know Her is To Love Her
08- Everybody’s Trying to Be my Baby
09- Matchbox
10- Little Queenie
11- Nothin’ Shakin’
12- Roll Over Beethoven I
13- Hippy Hippy Shake
14- A Taste of Honey II
15- Reminiscing
16- Ask Me Why
17- I Saw Her Standing There
18- Kansas City/Hey, hey, hey, hey!
19- Shimmy Shimmy
20- Falling in Love Again
21- Roll Over Beethoven II
22- Sweet Little Sixteen

· "The Beatles at the Hollywood Bowl" (Argentinian release)

2011-09-17T19:35:00.000-07:00

Recording first published 23 June 1977.

http://www.megaupload.com/?d=ZUEQG0B0

· "Let It Be" (Argentinian release)

2011-09-17T19:33:00.000-07:00

Recording first published 6 August 1970, mono and stereo.

http://www.megaupload.com/?d=T2EUAFLN

· "Abbey Road" (Argentinian release)

2011-09-17T19:30:00.000-07:00

Recording first published 21 November 1969, mono and stereo.

http://www.megaupload.com/?d=51TQH2BL

· "Submarino Amarillo" (Yellow Submarine Argentinian LP)

2011-09-17T19:27:00.000-07:00

Recording first published:
Mono, 23 May 1969
Stereo, October 1972

http://www.megaupload.com/?d=K3EL0NMQ

· "Álbum Blanco" (The Beatles' White Album Argentinian release)

2011-09-17T19:20:00.000-07:00

Recording first published 7 March 1969.

http://www.megaupload.com/?d=QPKEV2GS

· "The Beatles' First" + "Featuring Tony Sheridan"

2011-09-17T15:15:00.000-07:00

Recording first published:
Mono, 1967
Stereo, 1970

http://www.megaupload.com/?d=HB1C8HQO

· "Beatle's Celebration" (Unreleased Argentinian compilation)

2011-09-03T12:10:00.000-07:00

Record originally planned for release in 1968, but never released (this version comes from a bootleg). Three years later this LP ended, with its song-list slightly modified, as "Por Siempre Beatles".

http://www.megaupload.com/?d=97YOUSH5

· "Colección de Viejos Temas" (A Collection of Beatles Oldies Argentinian LP)

2011-09-02T16:48:00.000-07:00

Recording first published in 1976 only in stereo*.
(*The mono version comes from a bootleg.)

http://www.megaupload.com/?d=L47QU8EE

· "Por Siempre Beatles" (Argentinian compilation)

2011-09-02T16:35:00.000-07:00

Recording first published 8 October 1971 only in mono*.
(*The stereo version comes from a bootleg.)

http://www.megaupload.com/?d=DX62UW3C

01- Day Tripper
02- Yes It Is
03- I'm Down
04- The Fool on the Hill
05- Strawberry Fields Forever
06- We Can Work It Out
07- Your Mother Should Know
08- Penny Lane
09- Baby, You're a Rich Man
10- I Call Your Name
11- The Inner Light
12- Blue Jay Way

· "Hey Jude" (Argentinian LP)

2011-09-02T13:26:00.000-07:00

Recording first published 22 May 1970, mono & stereo.

http://www.megaupload.com/?d=C4DWH32K

The Argentinian Singles - The Beatles

2011-08-29T16:44:00.000-07:00

Here we go with all the Argentinian singles, actually ripped from vinyl records...

Link: http://www.megaupload.com/?d=NDNFSWN5

The Argentinian EPs - The Beatles

2011-08-29T16:40:00.000-07:00

The eight EPs released in Argentina...

Link: http://www.megaupload.com/?d=UK32ZSUT

"Twist y Gritos", released 7 February 1964.

Odeon "pops", DTOA/E 3468
Twist And Shout; A Taste Of Honey; Do You Want To Know A Secret;

There's A Place

"Los Beatles No 1", released 7 February 1964.

Odeon "pops", DTOA/E 3469
I Saw Her Standing There; Misery; Anna; Chains

"Sally La Lunga", released 4 September 1964.
Odeon "pops", DTOA/E 3491
Long Tall Sally; I Call Your Name; Slow Down; Matchbox

"Anochecer De Un Día Agitado", released 23 October 1964.
Odeon "pops", DTOA/E 3495
A Hard Day's Night; I Should Have Known Better; I'll Cry Instead; And I Love Her

"Ocho Días A La Semana", released 19 March 1965.
Odeon "pops", DTOA/E 3813
Eight Days A Week; Honey Don't; Rock And Roll Music; Mr Moonlight

"Boleto Para Pasear", released 16 July 1965.
Odeon "pops", DTOA/E 3823
Ticket To Ride; No Reply; Words Of Love; I'm A Loser

"La Banda del Sargento Pepper", released 8 December 1967.
Odeon "pops", DTOA/E 3881
Sgt Pepper's Lonely Hearts Club Band; When I'm Sixty-Four; Fixing A Hole; Good Morning, Good Morning

"Gira Mágica y Misteriosa", released 16 February 1968.
Odeon "pops", DTOA/E 3883/4
EP 1: Magical Mystery Tour; Your Mother Should Know; I Am The Walrus
EP 2: The Fool On The Hill; Flying; Blue Jay Way

· "La Banda del Sargento Pepper" (Sgt. Pepper's Lonely Hearts Club Band Argentinian LP)

2011-08-15T16:37:00.000-07:00

Recording first published 14 July 1967, mono & stereo.

http://www.megaupload.com/?d=UX3OU7O3

· "Revolver" (Argentinian LP)

2011-08-15T16:06:00.000-07:00

Recording first published:
Mono, 14 October 1966
Stereo, 2 December 1966

http://www.megaupload.com/?d=L2GXCPYN

· "Rubber Soul" (Argentinian LP)

2011-08-15T15:46:00.000-07:00

Recording first published 18 March 1966 in mono and stereo.

http://www.megaupload.com/?d=HTTB5EHD

· "Los Beatles" (Argentinian compilation LP)

2011-08-15T15:26:00.000-07:00

Recording first published 19 November 1965 only in mono*.
(*The stereo version comes from a bootleg.)

http://www.megaupload.com/?d=GW4EV002

01- Ticket to Ride
02- From Me to You
03- Thank You Girl
04- She's a Woman
05- I Feel Fine
06- Long Tall Sally
07- She Loves You
08- I'll Get You
09- I Want to Hold Your Hand
10- This Boy
11- Slow Down
12- Matchbox

· "Socorro!" (Help! Argentinian LP)

2011-08-15T14:43:00.001-07:00

Recording first published 8 October 1965, mono and stereo.

http://www.megaupload.com/?d=720PFTIF

· "Beatles For Sale" (Argentinian LP)

2011-08-15T13:57:00.001-07:00

Recording first published:
Mono, 29 January 1965
Stereo, 5 March 1965

http://www.megaupload.com/?d=8H2KLNQW

· "Yeah, Yeah, Yeah, Paul, John, George y Ringo!" (A Hard Day's Night Argentinian LP)

2011-08-15T13:25:00.000-07:00

Recording first published:
Mono, 28 August 1964.
Stereo, August 1972.

http://www.megaupload.com/?d=RHJPNNF1

· "Con Los Beatles" (With The Beatles Argentinian LP)

2011-08-15T12:45:00.000-07:00

Recording first published:
Mono, 7 February 1964.
Stereo, June 1972

http://www.megaupload.com/?d=TGHGBI3G

· "Por Favor, Yo" (Please Please Me Argentinian LP)

2011-08-15T11:47:00.000-07:00

Recording first published:
Mono, 7 February 1964.
Stereo, April 1972

http://www.megaupload.com/?d=31VR8ZCR

· "Sgt.Pepper Mono mixes in Stereo" - The Beatles

2011-06-08T23:23:00.000-07:00

I don't know how they did this, but they did... This is the mono mix of Sgt.Pepper presented in stereo by Mirror Spock.

http://www.megaupload.com/?d=OEA OMONC

01- Sgt. Pepper's Lonely Hearts Club Band
02- With A Little Help From My Friends
03- Lucy In The Sky With Diamonds
04- Getting Better
05- Fixing A Hole
06- She's Leaving Home
07- Being For The Benefit Of Mr. Kite!
08- Within You Without You
09- When I'm Sixty-Four
10- Lovely Rita
11- Good Morning Good Morning
12- Sgt. Pepper's Lonely Hearts Club Band (Reprise)
13- A Day In The Life
14- Coda

· "The McCartney's Christmas Album" - The Beatles

2011-05-08T10:59:00.000-07:00

Back in 1965, Paul McCartney ended a very busy Beatles year by recording an album of his own, and releasing it as a Christmas present to John, George and Ringo. The album was only pressed in four copies, he kept one for himself. The album is made up of experiments in sound which Paul had conducted at home. This is side one, side two seems to be lost forever...

http://www.megaupload.com/?d=TX8U7EIF

01- Paul's intro + Unforgettable (Nat King Cole)
02- Someone Ain't Right (Peter & Gordon)
03- Paul DJ
04- I Get Around (The Beach Boys)
05- Paul DJ
06- (Love is Like a) Heatwave (Martha & The Vandellas)
07- Paul DJ & Peter Asher

08- Don't Be Cruel (Elvis Presley)
09- Paul DJ
10- Down Home Girl (The Rolling Stones)

Bonus Track:

11-Rejected 'Xmas record session - 19 Oct. 1965

· "The Beatles' Broadcasts" - The Beatles

2011-05-04T14:46:00.000-07:00

Another early 80s bootleg with a superb quality for what you could get back then.

http://www.megaupload.com/?d=DE6N93PK

01- Pop Go The Beatles

02- Long Tall Sally
03- Carol
04- Soldier of Love
05- Lend Me Your Comb
06- Clarabella
07- Memphis Tennessee
08- I Got a Woman
09- Sure to Fall (In Love With You)
10- Do You Want to Know a Secret?
11- The Hippy Hippy Shake
12- 'Till There Was You
13- Matchbox
14- I'm a Loser
15- She's a Woman
16- I Feel Fine
17- Everybody's Trying to Be my Baby
18- I'll Follow The Sun

· "Beautiful Dreamer + Youngblood" - The Beatles

2011-04-16T10:15:00.000-07:00

More BBC material, this time from an early '80s bootleg mixed with some songs from another mid '70s bootleg, both featuring more BBC (by then) unreleased stuff.

http://www.megaupload.com/?d=W5TZJ4HJ

01- Some Other Guy
02- I'm Talkin' About You
03- Youngblood
04- Too Much Monkey Business
05- I Got To Find My Baby
06- Johnny B. Goode
07- Keep Your Hands Off My Baby
08- Beautiful Dreamer
09- That's All Right Mama
10- Sweet Little Sixteen
11- Ooh! My Soul
12- I'll Get You
13- Too Much Monkey Business
14- Devil in Her Heart
15- Memphis Tennessee
16- I Forgot to Remember to Forget

· "Outakes" - The Beatles

2011-04-16T10:01:00.000-07:00

In 1972 two more whole LP's of BBC material arrived from TMOQ. Of course, they were sold as being EMI recordings (common titles were STUDIO SESSIONS 1 & 2, or OUTAKES), but we all learned otherwise. The 24 songs - almost all of them on unheard renditions - were a fairly strict chronological record of the Summer 63 "Pop Go The Beatles" BBC Radio series. What it lacked in sonic brilliance (obviously somebody's collection of home recordings taped directly off a speaker) it made up in charm and historical importance and made a nice companion to the YELLOW MATTER CUSTARD title. The gem back in the day was John Lennon's version of Carl Perkins' "Honey Don't" later recorded by the band with Ringo as the lead singer.

http://www.megaupload.com/?d=Q3ZQRLN8

01- Do You Want to Know a Secret
02- You Really Got a Hold On Me
03- The Hippy Hippy Shake
04- Misery
05- Money (That's What I Want) I
06- Till There Was You
07- From Me to You
08- Roll Over Beethoven
09- Love Me Do
10- Kansas City-Hey, hey, hey, hey!
11- Long Tall Sally
12- Please Please Me
13- She Loves You
14- Words Of Love
15- Devil In Her Heart
16- Anna (Go to Him)
17- Money (That's What I Want) II
18- There's A Place
19- Honey Don't
20- Chains
21- I Saw Her Standing There
22- I'm Sure To Fall
23- Lucille
24- Boys

· "Yellow Matter Custard" - The Beatles

2011-04-16T09:33:00.000-07:00

An important batch of rare recordings surfaced in the form of bootlegs during 1971 covering a (by then) almost unknown and forgotten aspect of the Beatles' career - the sessions for BBC Radio. Anyway, they were advertised (on purpose, or not) as being studio outtakes. The first and best-known of these early bootlegs was called YELLOW MATTER CUSTARD (aka AS SWEET AS YOU ARE), and it was a compilation of 14 songs, only one of which ("Slow Down") was previously officially released by The Beatles. Once it was established these were not outtakes, they were thought to be from a single -and unexistent- November 1962 BBC broadcast for a while, and even John Lennon himself (who once asked a fan for a copy of it) called them "the Decca audition". If we reverse sides A and B, we'll find the songs to be chronological highlights from the "Pop Go The Beatles" series from July-Sep 63. The original tape probably came from a British fan who only taped those songs not available on record (remember "Slow Down" didn't come out until 64) with a home recorder. A bootleg which was a MUST back in the day due to its quality and stuff.

http://www.megaupload.com/?d=2XENQIP5

01- I Got A Woman
02- Glad All Over
03- I Just Don't Understand
04- Slow Down
05- Don't Ever Change
06- A Shot Of Rhythm And Blues
07- Sure To Fall (In Love With You)
08- Nothin' Shakin' (But The Leaves On The Trees)
09- Lonesone Tears In My Eyes
10- So How Come (No One Loves Me)
11- I'm Gonna Sit Right Down And Cry (Over You)
12- Crying, Waiting, Hoping
13- To Know Her Is To Love Her
14- The Honeymoon Song

· "The Beatles Live at Abbey Road Studios"

2010-12-25T07:11:00.000-08:00

In 1983, for the first and only time, the doors to Abbey Road's famous studio were opened to the public, for a tour and audio-video presentation, Fans were treated to a tour of the famous Number 2 Studio, which had remained virtually unchanged from the days of the sixties where the Beatles recorded from 1962-1969. Starting July 11th, the doors were opened seven days a week through September 11th, with three shows per day at 10:30 am, 3:30 pm and 7:30 pm. Tickets sold for about 4.50 GBP. In all, the presentation and tour was given 168 times. After a short tour of the facility, the fans were seated in the Number 2 Studio for a 90 minute video presentation featuring rare filmclips and promotional videos with previously unreleased Beatles recordings. This was the first time that EMI had ever permitted the public performance of Beatles outtakes. Refreshments were served, and in one corner there was a booth offering T-shirts, posters, stickers, road signs, postcards and other type of Beatles souvenirs. Ticket sales were handled directly by EMI and Abbey Road Studios. EMI said at the time that this was the first time that the public was invited into Abbey Road Studios, AND that it would be the last time, never to happen again. Now we'll see probably why...

Not too long after the July 18th opening, a fan was caught trying to make an audio recording of the show. Immediately, EMI had metal detectors installed in the hallway leading into the studio that everyone had to pass through to get inside for the presentation. In the studio, several signs were posted on the walls that stated: "Absolutely no sound recordings may be made of this presentation". Fans being determined, and with word out from previous visitors about how great the outtakes were, three U.S. collectors managed to sneak in a compact Sony cassette player and record the entire show from start to finish, in stereo. Their story was told in an interview some years back, they had each taken with them a shopping bag filled with "tourist" items as if they had been shopping all day. Hidden inside one of the bags was the Sony tape recorder. In another, the microphone and batteries, and in the third, the blank tapes. The recording items were buried in the bottom of the bags, with souvenirs covering the top. Nervous about doing this, they said the 20 minute wait in line seemed like forever. They had no idea about the metal detectors inside, and almost gave up and turned back when they rounded the corner of the hallway and saw the guards and detectors. Deciding to take a chance anyway, and confident knowing the recording equipment was spread out in different bags, they headed forward. Amazingly, when they got to the search point, the guard looked in the bags quickly, passed them AROUND the metal detector, and directed them through the detectors -sans bags(!)- and then handed the bags BACK to them on the other side of the detector!!! They could not believe that they got into the Abbey Road presentation with a tape recorder! At this time, of course, they were ecstatic, as they KNEW they would soon have a recording of the entire show. Once inside they toured the studio, enjoyed soft drinks and took several photos, including one of the "absolutely no sound recordings..." sign, which was later printed inside the gatefold vinyl LP cover. Upon being seated for the show, they all sat together and carefully pulled the parts from their bags to prepare recording. One of them sat perfectly still holding the microphone for the entire ninety minute presentation. The tape was reviewed in the cab on the way back to the hotel and all three fans were blown away, the recording had turned out incredible. Upon their return to the U.S., a cover was designed and in early 1984 the recording was issued as a double album gatetold set, "The Beatles Live at Abbey Road Studios" (ARS 2 9083). Eagerly received by collectors and considered a landmark album, it quickly sold out. A few months later, it was copied and reissued, identical to the original except the cover artwork was blurry and the labels were blank white. In the late 1980s a Japanese CD version called "Abbey Road Show" was issued in excellent quality stereo (ARS83-2). A different audience tape appeared on an European bootleg, "In Abbey Road (Beatles Fan Records A/B)".
Enjoy now this version of "The Beatles Live at Abbey Road Studios" where the legendary cassette tape made by the American fans has been edited with those same tracks but as compiled by John Barrett straight from master tapes, giving you the first chance to experience the whole show as it was conceived originally.

http://www.megaupload.com/?d=OKXUC7YW

Part 1:
01- Introduction
02- Love Me Do (take 18)
03- How Do You Do It? (take 2)
04- I Saw Her Standing There (working title: Seventeen) (takes 6, 11 & 12)
05- Twist & Shout (take 1)
06- One After 909 (edited takes 4 & 5)
07- Don't Bother Me (takes 11 & 12)
08- A Hard Day's Night (takes 2, 3 & 9)
09- Leave My Kitten Alone (take 5)
10- I'm a Loser (take 8)
11- She's a Woman (take 1)
12- Ticket to Ride (take 2)
13- Help! (take 5)

Part 2:
14- Norwegian Wood (take 1)
15- I'm Looking Through You (take 1)
16- Paperback Writer (take 2)
17- Rain (take 7)
18- Penny Lane (RS1 from take 9)
19- Strawberry Fields Forever (take 1)
20- Strawberry Fields Forever (take 7)
21- Strawberry Fields Forever (take 26)
22- A Day In The Life (edit of takes 6, 7 & 9)
23- Hello Goodbye (RS2 from take 22)
24- Lady Madonna (take 4)
25- Hey Jude (take 9)
26- While My Guitar Gently Weeps (unedited take 1)
27- Because (take 16)
28- Ringo Special Message + #9 Dream

· "1962 Star Club Tapes (Red Hot + Three-Thirty Blues)"

2010-10-28T03:56:00.000-07:00

From the makers of Unsurpassed Broadcasts comes a new release, based on the recordings from The Beatles' performances at the Star Club in Hamburg in late December, 1962. It's the best version yet of these amateur recordings.

http://www.megaupload.com/?d=Y57Z6IYQ

· "The Beatles At the Movies"

2010-10-26T07:38:00.000-07:00

The mono mixes of the songs which were part of the original soundtrack on the films of the Beatles often were different from the mono mixes which were released on the records. As an example, we can say that those on the first film, "A Hard Day's Night", were mixed three times in mono (one for the film in March 1964, one more for the U.S. market in early June, and the last for the UK market in late June) and only once in stereo. The differences on these mixes are very subtle, but anyway here they are for those willing to add them to their collection.

http://www.megaupload.com/?d=QD9W4V4M

01- A Hard Day's Night
02- I Should Have Known Better
03- If I Fell
04- Can't Buy Me Love
05- And I Love Her
06- I'm Happy Just to Dance With You
07- Tell Me Why
08- She Loves You
09- Help!
10- You're Going to Lose That Girl
11- You've Got to Hide Your Love Away
12- Ticket to Ride
13- I Need You
14- The Night Before
15- Another Girl

Bonus Tracks:

16- I Wanna Be Your Man
17- Don't Bother Me
18- All My Loving
19- You Can't Do That
20- The Barber of Seville

· "Unsurpassed Broadcasts Bonus Disc: Top of the Pops + Booklet"

2010-10-25T13:09:00.001-07:00

http://www.megaupload.com/?d=OLR8KHJL

· "Unsurpassed Broadcasts Vol. 12"

2010-10-24T03:00:00.001-07:00

http://www.megaupload.com/?d=QXI0CHW5

· "Unsurpassed Broadcasts Vol. 11"

2010-10-23T07:27:00.001-07:00

http://www.megaupload.com/?d=E844334S

· "Unsurpassed Broadcasts Vol. 10"

2010-10-22T05:24:00.001-07:00

http://www.megaupload.com/?d=FUCJTFG9

· "Unsurpassed Broadcasts Vol. 9"

2010-10-21T00:25:00.001-07:00

http://www.megaupload.com/?d=RFUBD42F

· "Unsurpassed Broadcasts Vol. 8"

2010-10-20T07:04:00.000-07:00

http://www.megaupload.com/?d=68XJWT3W

· "Unsurpassed Broadcasts Vol. 7"

2010-10-19T07:27:00.001-07:00

http://www.megaupload.com/?d=HQF69QH8

· "Unsurpassed Broadcasts Vol. 6"

2010-10-18T02:57:00.001-07:00

http://www.megaupload.com/?d=ET274LNR

· "Unsurpassed Broadcasts Vol. 5"

2010-10-17T01:15:00.000-07:00

http://www.megaupload.com/?d=NZO2QBLV

· "Unsurpassed Broadcasts Vol. 4"

2010-10-16T00:27:00.000-07:00

http://www.megaupload.com/?d=RE5JTVKM

· "Unsurpassed Broadcasts Vol. 3"

2010-10-15T02:42:00.000-07:00

http://www.megaupload.com/?d=IU4Q5FLZ

· "Unsurpassed Broadcasts Vol. 2"

2010-10-14T00:14:00.000-07:00

http://www.megaupload.com/?d=PLG3P89E

· "Unsurpassed Broadcasts Vol. 1"

2010-10-13T09:10:00.000-07:00

Due to the surfacing of some new and some upgrades of the recordings The Beatles did for the BBC in 1962-1965, the old Beatles at the Beeb catalogue has gotten a facelift. It was re-released in full on last July, packaged as bundled flac and cue files on the internet (tho' the files presented here are mp3-320), together with artwork for those who still like to store physical media on their shelves.
The releases is the undertaking of a single collector, who has done improvements to the material in the following fashion:

* New and better versions of quite a number of songs were broadcast by the BBC last year and has been included,
* Some vinyl-only bootlegs have been found to contain material in better quality than previous CD releases,
* Audio equipment for the home computer has improved and has been put to good use in 'cleaning up' the sound quality.

The standard catalogue for the Beatles BBC recordings has for the past few years been Purple Chick's The Complete BBC Sessions (upgraded for 2004), and this new set is called Unsurpassed Broadcasts. Here's Volume 1.

http://www.megaupload.com/?d=KNKDFFIU

· "Anthology DVD Mixes" - The Beatles

2010-10-03T20:55:00.000-07:00

A bootleg featuring some rarities as most of the new mixes made for the Anthology DVDs project, altogether with some gems such like the stereo mix of "Leave My Kitten Alone" (edited at the end of the song), the unused original 1963 stereo mix of "From Me to You", a stereo mix of "If I Fell" with a single tracked Lennon's vocal at the start just as in the mono mix, or the definitive mono mix of "Help!" unedited.

http://www.megaupload.com/?d=51DRB8HC

01- Please Please Me
02- From Me to You
03- I Want to Hold Your Hand
04- This Boy
05- A Hard Day's Night
06- If I Fell
07- Long Tall Sally
08- Things We Said Today
09- All My Loving
10- I Feel Fine
11- I'll Follow The Sun
12- Leave My Kitten Alone
13- Help!
14- You've Got to Hide Your Love Away
15- You're Going to Lose That Girl
16- We Can Work It Out
17- Day Tripper
18- In My Life
19- Paperback Writer
20- Rain
21- For No One
22- Strawberry Fields Forever
23- Penny Lane
24- A Day in the Life
25- All You Need is Love
26- Hello Goodbye
27- I am The Walrus
28- Lady Madonna
29- Revolution
30- Hey Jude
31- The Ballad of John & Yoko
32- Something
33- The Long and Winding Road
34- Let It Be
35- Free as a Bird

· "Recuerdo" - Horacio Salgán

2010-10-03T20:23:00.000-07:00

Horacio Adolfo Salgán (b. June 15, 1916, in Buenos Aires) is an Afro-Argentine pianist, composer, orchestra leader, and arranger who specializes in tango music. Salgán began studying piano at age six. At age 18 he joined the cast of Radio Belgrano as a soloist and back-up musician. At 20 he was discovered by orchestra leader Roberto Firpo, who hired Salgán for his orchestra. In late 1942 he made his first recording, and in 1944 put together his own orchestra, which lasted until 1947. Salgán then devoted himself to composing and teaching and in 1950 returned with a new orchestra. 1960 saw the formation of the Quinteto Real, with Salgán on piano, Enrique Francini on violin and Pedro Láurenz on bandoneón. The goal of the group was to create instrumental tangos designed for listening rather than dancing. In 1998 he appeared as himself in the Oscar-nominated Best Foreign Language Film Tango, no me dejes nunca as part of El Nuevo Quinteto Real, an incarnation of the original group. Some of Salgán's most well-known compositions include "Del 1 al 5 (Días de pago)" (1944), "A Don Agustín Bardi" (1947), "Entre Tango y Tango" (1953), "Grillito", "Lo Llamo Silbando", "Cortada de San Ignacio", and "A Fuego Lento".

http://www.mediafire.com/?g4idkjy2jyy

01- Recuerdo
02- Siga el Corso
03- Clavada
04- Yo Te Bendigo
05- Mala Junta
06- Vieja Recova
07- Gallo Ciego
08- Momento
09- Tierra Querida
10- Pobre Colombina
11- Don Goyo
12- Carta
13- Marne
14- Yo Soy el Mismo
15- Lo Llamo Silbando
16- Como Abrazado a un Rencor
17- Ojos Negros
18- Sueño Querido
19- Boedo
20- Motivo de Vals

· "Up In My Head" - The Draytones

2010-10-03T20:08:00.000-07:00

The Draytones are a Anglo-Argentine music group formed in London, England in 2006. The same year they signed a record deal with 1965 Records, an independent record label based in London. The Draytones were formed by Argentine guitarist Gabriel Boccazzi (from Buenos Aires) and drummer Luke Richardson (from Grimsby) in Camden, London in 2006. The pair were introduced by the owner of the famous Bethnal Green live music venue The Pleasure Unit, Nigerian Nick 'The Kick'. They wrote a handful of songs in Boccazzi's flat in Camden before meeting bassist Chris Le Good (from Twickenham). They rehearsed as a three piece and played their first show at the 'Skrimshankers' night at 93 Feet East, Brick Lane, London supporting Luke's friend's band The Hoosiers (then called The Hoosier Complex). Having played only 2 shows, the band were contacted through their myspace page by 1965 Records with regards to the band playing a show at the 'The Windmill Of Your Mind' night at The Windmill, Brixton with 1965 Records 1st signing, The View. It was at this, their 3rd ever show, that The Draytones were offered a record deal with 1965 Records. It was on this same night that they met Stan Kybert (Oasis, Paul Weller, Massive Attack) who would later become the band's producer. In September 2006 the band went in to The Dairy Studios, Brixton to record and mix their debut EP "Forever On" in 7 days with producer Stan Kybert. They recorded 7 songs, 6 of which comprised the EP "Forever On" and 1 B-side. Their debut single, "Keep Loving Me", was released in 2007 - followed by the EP. The song "Keep Loving Me" was used on a Mojo Magazine covermount entitled "Best Of British 2007", and as the backing music for the Official Formula One websites video highlight of the 2008 Monaco Grand Prix The Song "Time" was used on NME magazine "Independent Thinking -1965 Records". The Draytones toured the UK extenively in 2007, including a Thursday night headline slot at Glastonbury Festival, RockNess, Dot To Dot festival, Lounge On The Farm festival and Summer Sonic festival, Tokyo/Osaka (Japan). In August they returned to the recording studio with Stan Kybert to record their debut LP "Up In My Head". This time they chose Chapel Studios, Lincolnshire (only a few miles from drummer Luke Richardson's birth place) and recorded 15 songs in 16 days. The album was mixed at the newly opened Dean Street Studios, Soho, London (formerly the studio of Tony Visconti) in 5 days.

http://www.mediafire.com/?yymthjvtjr0

01- Turn It Down
02- After All
03- Heart Shaped Line
04- As High As I Can
05- On The Way
06- Don't Talk Me
07- Summer's Arrived
08- I Have To Go
09- Throwing Stones
10- Flowers On The Bridge

·"Simply... The Best" - George Harrison

2010-07-06T04:11:00.000-07:00

George Harrison, MBE (25 February 1943 – 29 November 2001) was an English rock guitarist, singer-songwriter and film producer who achieved international fame as lead guitarist of The Beatles. Often referred to as "the quiet Beatle", Harrison embraced Indian mysticism, and helped broaden the horizons of the other Beatles, as well as those of their Western audience. Following the band's breakup, he had a successful career as a solo artist and later as part of the Traveling Wilburys, and also as a film and record producer. Harrison is listed at number 21 in Rolling Stone magazine's list of "100 Greatest Guitarists of All Time". Although most of The Beatles' songs were written by Lennon and McCartney, Harrison generally wrote one song per side from the Help! album onwards. His later compositions with The Beatles include "Here Comes the Sun", "Something" and "While My Guitar Gently Weeps". By the time of the band's breakup, Harrison had accumulated a backlog of material, which he then released as the acclaimed and successful triple album All Things Must Pass in 1970, from which came two singles: a double A-side single, "My Sweet Lord" backed with "Isn't It a Pity", and "What Is Life". In addition to his solo work, Harrison co-wrote two hits for Ringo Starr, another former Beatle, as well as songs for the Traveling Wilburys—the supergroup he formed in 1988 with Bob Dylan, Tom Petty, Jeff Lynne, and Roy Orbison. Harrison embraced Indian culture and Hinduism in the mid 1960s, and helped expand Western awareness of sitar music and of the Hare Krishna movement. With Ravi Shankar he organised a major charity concert with the 1971 Concert for Bangladesh, and is the only Beatle to have published an autobiography, with I Me Mine in 1980. Besides being a musician, he was also a record producer and co-founder of the production company HandMade Films. In his work as a film producer, he collaborated with people as diverse as the members of Monty Python and Madonna. He was married twice, to the model Pattie Boyd in 1966, and to the record company secretary Olivia Trinidad Arias in 1978, with whom he had one son, Dhani Harrison. He was a close friend of Eric Clapton. Harrison died of lung cancer in 2001. American film director Martin Scorsese has announced that he is making a George Harrison documentary titled Living in the Material World: George Harrison.

http://www.mediafire.com/?zmye5mcmzxn

01- You
02- Bangla Desh
03- Dark Horse
04- Poor Little Girl
05- That's the Way It Goes
06- Cockamamie Blues
07- Wake Up My Love
08- Life Itself
09- Crackerbox Palace
10- Cloud 9
11- Here Comes The Moon
12- Gone Troppo
13- Love Comes to Everyone

·"The Essential Collection" - Helen Shapiro

2010-07-06T03:56:00.000-07:00

Helen Kate Shapiro (born 28 September 1946) is an English singer and actress. She is best known for her 1960s UK chart toppers, "You Don't Know" and "Walkin' Back to Happiness". In 1961, at the age of fourteen, she had two number one hits in the UK: "You Don't Know" and "Walkin' Back to Happiness"; and, indeed, her first four single releases all went into the top three of the UK Singles Chart. Most of her recording sessions were at EMI's studios at Abbey Road in north west London. Her mature voice made her an overnight sensation, as well as the youngest female chart topper in the UK. At a mere 14 years and 316 days old when "You Don't Know" hit the top, she was nevertheless a year older than Frankie Lymon had been when "Why Do Fools Fall in Love" hit the UK number one slot in 1956. Before she was sixteen years old, Shapiro had been voted Britain's 'Top Female Singer'. The Beatles' first national tour of Britain in the late winter/early spring of 1963 was as her supporting act. During the course of the tour, the Beatles had their first hit single and John Lennon and Paul McCartney wrote the song "Misery" intended for her, but Shapiro did not record the composition. In 1995, during a This is Your Life installment highlighting her life and career, Shapiro revealed, "It was actually turned down on my behalf before I ever heard it, actually. I never got to hear it or give an opinion. It's a shame, really." By the time she was in her late teens, her career as a pop singer was on the wane. With the new wave of beat music and newer female singers such as Cilla Black, Sandie Shaw and Lulu - Shapiro appeared old-fashioned and emblematic of the bee-hived pre-Beatles era. She branched out as a performer in stage musicals, a jazz singer, (jazz being her first love musically), and more recently a gospel singer. She played the role of Nancy in Lionel Bart's musical, Oliver! in London's West End and has appeared in British television soap operas; in particular Albion Market where she played one of the main characters up to the time it was taken off-air in August 1986. Shapiro retired from show business at the end of 2002 to concentrate on her gospel outreach evenings. She is married to John Judd, an actor with numerous roles in British television and cinema, she resides in the town of Highworth, Wiltshire. Her autobiography, published in 1993, was entitled Walking Back to Happiness.

http://www.mediafire.com/?zdz5mujntjc

01- Don't Treat Me Like A Child
02- You Don't Know
03- Walkin' Back To Happiness
04- Tell Me What He Said
05- Let's Talk About Love
06- Little Miss Lonely
07- Keep Away From Other Girls
08- Queen For Tonight
09- Woe Is Me
10- Look Who It Is
11- Fever
12- Look Over Your Shoulder
13- Tomorrow Is Another Day
14- Shop Around
15- I Wish I'd Never Loved You
16- When I'm With You
17- Marvellous Lie
18- Kiss N' Run
19- I Apologise
20- Sometime Yesterday
21- I Don't Care
22- Cry My Heart Out
23- Daddy Couldn't Get Me One Of Those
24- Walking In My Dreams
25- Ole Father Time
26- He Knows How To Love Me
27- I Walked Right In (With My Eyes Wide Open)
28- You Won't Come Home
29- I Was Only Kidding
30- It's So Funny I Could Cry

·"Road to Ruin" - The Ramones

2010-07-06T03:44:00.000-07:00

This album shows a more "classic" pop sound as well as a shift to a more serious personality to the music, a theme that would remain in later albums, most notably 1980's End of the Century. The influence of 1960s girl groups is evident, as well as the influence of The Byrds on tracks including "Don't Come Close" and the cover of "Needles and Pins," originally by Jackie DeShannon and later a hit for The Searchers. The album also contains the track "I Wanna Be Sedated", one of the band's most popular tunes. This is their first album with Marky Ramone on drums, after original drummer Tommy Ramone left due to fatigue from touring. However, Tommy (credited as his birth name, Tommy Erdelyi) stayed to produce Road to Ruin, as well as a brief comeback for 1984's Too Tough to Die. The album was remastered and released by Rhino Records in June 19, 2001. It also featured bonus tracks, which included alternate versions and demos. Two of the bonus tracks, "Rock 'n' Roll High School (Ed Stasium version)" and "Blitzkrieg Bop/Teenage Lobotomy/California Sun/Pinhead/She’s the One (Live)," are from the soundtrack for Rock 'n' Roll High School. "I'm Against It" was covered by Overkill on their album Coverkill. The original LP release was pressed on transparent yellow vinyl.

http://www.mediafire.com/?mwdymjztwj3

01- I Just Want to Have Something to Do
02- I Wanted Everything
03- Don't Come Close
04- I Don't Want You
05- Needles & Pins
06- I'm Against It
07- I Wanna Be Sedated
08- Go Mental
09- Questioningly
10- She's the One
11- Bad Brain
12- It's a Long Way Back

·"Plastic Ono Band" - John Lennon

2010-06-26T04:01:00.001-07:00

John Lennon/Plastic Ono Band is the debut solo album by English rock musician John Lennon. It was released in 1970 after Lennon issued three experimental albums with Yoko Ono and Live Peace In Toronto 1969, a live performance in Toronto credited to The Plastic Ono Band. The album was recorded simultaneously with Yoko Ono's debut avant garde solo album Yoko Ono/Plastic Ono Band at Ascot Sound Studios and Abbey Road Studios using the same musicians and production team, and featured nearly identical cover artwork. John Lennon/Plastic Ono Band is generally considered one of Lennon's finest solo albums and a landmark recording. Rolling Stone named it the twenty-second greatest album of all time. The "Plastic Ono Band" in the album's title refers to the conceptual band Lennon and Ono had formed in 1969 of various supporting musicians they would use on their various solo albums. After the Beatles' break-up in April 1970, both Lennon and Ono undertook primal therapy with the guidance of Arthur Janov for four months in Los Angeles. Forced to confront the traumas of his childhood (abandonment, isolation and death), Lennon finally let his submerged anger and hurt rise to the surface and dealt with it through his art. Similarly, Ono's concurrently-recorded album, Yoko Ono/Plastic Ono Band was a form of catharsis for her. Returning to England that September, Lennon and Ono called upon Phil Spector, who had produced Lennon's hit "Instant Karma!" earlier that year, to co-produce both their albums with them at Abbey Road Studios. Ringo Starr played drums, while Klaus Voormann played bass. Billy Preston, who had already worked with the Beatles, supplied piano for "God". Lennon performed all guitar duties, playing most of the piano as well. Throughout the album, Lennon touches upon many issues: the abandonment of his parents in "Mother"; the castigation of class issues in "Working Class Hero"; a reminder that despite his rage and pain, Lennon still embraces "Love"; and "God", a renouncement of external saviours. Here Lennon states that he believes only in himself, and his wife Yoko. The album's cover is almost identical to Ono's companion piece Yoko Ono/Plastic Ono Band—the difference being that on Ono's cover, she is lying on Lennon's body. The photo was snapped with a consumer-grade Instamatic camera by actor Daniel Richter who worked as an assistant for the Lennons at the time. The initial compact disc issue of the album listed the title and artist, while the 2000 remastered version restores the original artwork. In addition, the original LP did not feature a track listing on the back. Instead, the back cover showed what appears to be a school photo of Lennon in his youth (circa 1946). John Lennon/Plastic Ono Band was received with high critical praise upon release. Critic Greil Marcus remarked, "John's singing in the last verse of 'God' may be the finest in all of rock." In early 1971, the album reached number eight on the U.K. and went to number six in the U.S., spending eighteen weeks in the Top 100. Phil Spector, a co-producer on this album, played piano on "Love". Contrary to popular belief, John & Yoko produced the album whilst Spector was unavailable during most of the recording sessions. John went as far as to post an ad in Billboard magazine inviting Phil to come visit him for the weekend. "Look At Me" dates from The Beatles period, and is built on a finger-picking guitar pattern very similar to the one Lennon used in "Dear Prudence", "Happiness Is a Warm Gun" and "Julia". Lennon learned this guitar technique from Donovan while the two were in Rishikesh. Curiosuly, the album was released in Japan under the title ジョンの魂, which translates as "John's Soul."

http://www.megaupload.com/?d=HPC6V2VQ

01- Mother
02- Hold On
03- I Found Out
04- Working Class Hero
05- Isolation
06- Remember
07- Love
08- Well, Well, Well
09- Look at Me
10- God
11- My Mummy's Dead

Bonus Tracks:

12- Power to the People
13- Do the Oz
14- Cold Turkey
15- I Found Out
16- Working Class Hero
17- Love
18- Well, Well, Well
19- Look at Me
20- God

·"Raizes" - Amàlia Rodrigues

2010-06-26T04:00:00.001-07:00

Amália da Piedade Rodrigues,(July 23, 1920 – October 6, 1999), also known as Amália Rodrigues was a Portuguese singer and actress. Despite official documents which give her date of birth as July 23, Rodrigues always said her birthday was July 1, 1920. She was born in Lisbon, in the rua Martim Vaz (Martim Vaz Street), neighborhood of Pena. Her father was a trumpet player and cobbler from Fundão who returned there when Amália was just over a year old, leaving her to live in Lisbon with her maternal grandmother in a deeply Catholic environment until she was 14, when her parents returned to the capital and she moved back in with them. She was known as the "Rainha do Fado" ("Queen of Fado") and was most influential in popularizing the fado worldwide. In fact, she was one of the most important figures in the genre’s development, and enjoyed a 40-year recording and stage career. Rodrigues' performances and choice of repertoire pushed fado’s boundaries and helped redefine it and reconfigure it for her and subsequent generations. In effect, Rodrigues wrote the rulebook on what fado could be and on how a female fadista — or fado singer — should perform it, to the extent that she remains an unsurpassable model and an unending source of repertoire for all those who came afterwards. Rodrigues enjoyed an extensive international career between the 1950s and the 1970s, although in an era where such efforts were not as easily quantified as today. Other well-known international fado artists such as Mafalda Arnauth, Madredeus, Dulce Pontes and Mariza have come close, however. Here is more evidence that fado is one of the great urban sounds, and Amalia herself, at her best, one of the finest singers this century has produced. No frills here, just enchantment backed by the equally classic duo of guitars, Portuguese (Jaime Santos) and six-stringed (Domingos Camarinha or Santos Moreira). Three cuts are in Spanish. The rest are pure Lisbon saudade.

http://www.mediafire.com/?tkofkw53o2z

01- O Namorico da Rita
02- As Rosas de Meu Caminho
03- Raizes
04- Cansaço
05- Antigamente
06- Grão de Arroz
07- Anjo Inutil
08- Marcha Do Centenario
09- Sem Razão
10- Trepa No Coquiero
11- Toiro! Eh! Toiro
12- Job
13- Faia
14- Fadista Louco
15- Lar Português
16- No Me Tires Indire
17- Por un Amor
18- Lerele

·"News of the World" - Queen

2010-06-26T03:41:00.000-07:00

News of the World is the sixth studio album by British rock group Queen, released in 1977. Containing hit songs "We Will Rock You", "We Are the Champions" and "Spread Your Wings", the album went platinum in the United Kingdom, four times platinum in the United States and achieved high certifications elsewhere throughout the world as well. News of the World was the second album to be produced solely by the band (the first being A Day at the Races) and was recorded at Sarm West and Wessex Studios, England and co-produced and engineered by Mike Stone. After releasing A Day at the Races, Queen's self-producing debut and followup to A Night at the Opera which featured their magnum opus "Bohemian Rhapsody", having received some criticism that Races was a "boring" album, Queen decided to shift their musical focus towards the mainstream, but remaining as the producers of the next album. After completing the A Day at the Races Tour, the quartet re-entered the studio to begin work on their sixth studio offering in July 1977, enlisting Mike Stone as assistant producer at the Basing Street Studios in Wessex, London. The group completed recording and production of the album two months later in September and released the album on 28 October. News of the World initially received mixed reviews, mostly reflecting on the differences to the previously predominantly progressive rock sound produced by Queen, and this album's vast shift towards a more pop-rock oriented sound. Following the immense success of singles "We Will Rock You" and "We Are the Champions", the critical reception shifted towards a more positive stance, as it became evident that the band was displaying another field of their musical ability.

http://www.mediafire.com/?ixmdeelzouz

01- We Will Rock You
02- We Are The Champions
03- Sheer Heart Attack
04- All Dead, All Dead
05- Spread Your Wings
06- Fight From The Inside
07- Get Down, Make Love
08- Sleeping On The Sidewalk
09- Who Needs You
10- It's Late
11- My Melancholy Blues

· "The Fifth Beatle" - George Martin

2010-06-15T08:53:00.000-07:00

The Record Producers profiles a man often labelled ‘The Fifth Beatle’, Sir George Martin. Richard Allinson and Steve Levine examine his work as a producer, arranger and, through his experiments with sound, technical innovator. Highlights include the chance to hear newly restored versions of the original master tapes for “Please Please Me”, along with analysis of the original multi-track of “Come Together”. This programme also gives the opportunity to hear some of the Beatles most famous songs in a new way. Because of the limitations of tape machines during the 1960s, it was necessary to either record or mix various instruments and voices onto the same track. Once they'd been committed to tape there was no way of separating them. But now, through the use of revolutionary software, listeners can hear some of these parts in isolation for the very first time. In this exclusive interview, Sir George talks about various aspects of the studio and recording process, the albums Sgt Pepper and Abbey Road, along with a number of songs, including “Strawberry Fields Forever”, “Tomorrow Never Knows” and “Rain”.

http://www.megaupload.com/?d=G7ACZP2X

01- Introduction
02- The first audition
03- Love Me Do
04- Remastering Please Please Me
05- The recording technology back in early the 60’s
06- Recording the drums
07- Remastering Taxman
08- Four tracks and orchestrations
09- Rain
10- Tomorrow Never Knows
11- Strawberry Fields Forever
12- She’s Leaving Home
13- A Day in the Life
14- The White Album and Let It Be
15- Come Together
16- The LOVE project + Epilogue

·"Romance de Barrio" - Aníbal Troilo y su Orquesta

2010-06-15T08:37:00.000-07:00

Aníbal Carmelo Troilo (July 11, 1914 - May 18, 1975 in Buenos Aires) was an Argentine tango musician. Troilo was a bandoneon player, composer, and bandleader in Argentina. His orquesta típica was among the most popular with social dancers during the golden age of tango (1940-1955), but he changed to a concert-type sound by the late 1950s. Troilo's orchestra is best known for its instrumentals and also recorded with many vocalists, such as Francisco Fiorentino, Alberto Marino, Floreal Ruiz, Roberto Goyeneche, Raul Beron, and Edmundo Rivero. The rhythmic instrumentals and the recordings with vocalist Francisco Fiorentino from 1940-41 are the favorite recordings for social dancing in contemporary tango salons (milongas). As a composer, he wrote tangos like "Te aconsejo", "En esta tarde gris" and "La última curda".

http://www.mediafire.com/?dgzggd3yolo

01- Naranjo en Flor
02- Palomita Blanca
03- Yuyo Verde
04- Equipaje
05- Juan Tango
06- Cimarrón de Ausencia
07- Lorarás, Llorarás
08- Amor y Tango
09- Mis Amigos de Ayer
10- Tarde Gris
11- Camino del Tucumán
12- Qué Me Van a Hablar de Amor
13- Sólo se Quiere Una Vez
14- Mientras Gime el Bandoneón
15- Confesión
16- Flor de Lino
17- Y Dicen que No Te Quiero
18- Romance de Barrio
19- Y la Perdí
20- Corazón de Papel

·"I'll Try Something New" - Smokey Robinson and the Miracles

2010-06-15T08:17:00.000-07:00

The Miracles (known from 1965 to 1972 as Smokey Robinson & the Miracles) are an American rhythm and blues group from Detroit, Michigan, notable as the first successful group act for Berry Gordy's Motown Records company. Their single "Shop Around" was Motown's first million-selling hit record, and the group went on to become one of Motown's signature acts of the 1960s. During the same period, the Miracles' original lead singer and founding member Smokey Robinson became one of the most successful songwriters and record producers of all time. During their nineteen-year run on the American music charts, The Miracles charted over fifty hits and recorded in the genres of doo wop, soul, disco, and R&B. Twenty-six Miracles songs reached the Top Ten of the Billboard R&B singles chart, including four R&B number ones. Sixteen of the Miracles' songs charted within the Top 20 of the Billboard Hot 100, with seven songs charting within the Top Ten and two – 1970's "The Tears of a Clown" and 1975's "Love Machine" (Part 1) – reaching number-one. Referred to by critics as Motown's "soul supergroup", The Miracles are multiple Grammy Hall of Fame inductees, Vocal Group Hall of Fame and Doo-Wop Hall of Fame inductees, and have a star on the Hollywood Walk Of Fame. In 2004, Rolling Stone Magazine ranked Smokey Robinson & the Miracles #32 on their list of "The Immortals: 100 Greatest Artists of All Time."

http://www.mediafire.com/?njiyfhnntm5

01- I'll Try Something New
02- What's So Good About Goodbye
03- He Don't Care About Me
04- A Love That Can Never Be
05- I've Been Good To You
06- Speak Low
07- On the Street Where You Live
08- If Your Mother Only Knew
09- I've Got You Under My Skin
10- This I Swear, I Promise

·"Another Tracks of A Hard Day's Night" - The Beatles

2010-06-04T17:31:00.000-07:00

What about if Capitol had released the same album as Parlophone but with their own masters? Here's the result...

http://www.megaupload.com/?d=PB8U1EBU

STEREO:

01- A Hard Day's Night (1962-1966)
02- I Should Have Known Better (Reel Music)
03- If I Fell (Something New)
04- I’m Happy Just To Dance With You (Something New)
05- And I Love Her (Something New)
06- Tell Me Why (Something New)
07- Can’t Buy Me Love (Hey Jude)
08- Anytime At All (Something New)
09- I’ll Cry Instead (Something New)
10- Things We Said Today (Something New)
11- When I Get Home (Something New)
12- You Can’t Do That (Rock & Roll Music)
13- I’ll Be Back (Beatles '65)

MONO:

14- A Hard Day's Night (A Hard Day's Night - UA)
15- I Should Have Known Better (A Hard Day's Night - UA)
16- If I Fell (Something New)
17- I’m Happy Just To Dance With You (Something New)
18- And I Love Her (Something New)
19- Tell Me Why (Something New)
20- Can’t Buy Me Love (A Hard Day's Night - UA)
21- Anytime At All (Something New)
22- I’ll Cry Instead (Something New)
23- Things We Said Today (Something New)
24- When I Get Home (Something New)
25- You Can’t Do That (The Beatles' Second Album)
26- I’ll Be Back (Beatles '65)

Bonus Tracks STEREO:

27- Long Tall Sally (The Beatles' Second Album)
28- I Call Your Name (The Beatles' Second Album)
29- Slow Down (Something New)
30- Matchbox (Something New)

Bonus Tracks MONO:

31- Long Tall Sally (The Beatles' Second Album)
32- I Call Your Name (The Beatles' Second Album)
33- Slow Down (Something New)
34- Matchbox (Something New)

·"I Grandi Successi Originali" - Edoardo Vianello

2010-06-04T17:11:00.000-07:00

Ok, for starters, let me tell you every single song this guy released in the sixties is just a creative masterpiece. He can make you cry with "Oh Mío Signore" and then he makes you dance like crazy with his greatest tune: "Guarda Come Dondolo". His beach tunes are outstanding: "Abbronzattisima" is a time machine that put you on a mediterranean beach in the summer of 1962, with cute babes, sun and a smooth breeze. A total must. Completely.

http://www.mediafire.com/?yd2gogdinnd

01- Il Peperone
02- La Tremarella
03- Sei Diventata Nera
04- Stessa Spiagga, Stesso Mare
05- Guarda Come Dondolo
06- Hully Gully in Dieci
07- I Watussi
08- Sul Cucuzzolo della Montagna
09- Oh Mío Signore
10- Abbronzatissima

·"Half The Perfect World" - Madeleine Peyroux

2010-06-04T17:03:00.000-07:00

Smokey-voiced chanteuse Madeleine Peyroux's third CD is a lovely collection of after-hours ruminations and should confirm her rise to fame. Credit producer Larry Klein for doing a bang-up job with the album's sound: the elegant, pared-down arrangements are all brushed drums, acoustic guitars, and cool organ licks. But of course it's Peyroux's voice that brings it all home--preferably one where the shades are drawn, embers are smoldering in the fireplace, and the white wine is kept dry. Two-thirds of the songs are well-chosen covers, including a duet with k.d. lang on Joni Mitchell's "River"; a relaxed version of Fred Neil's "Everybody's Talkin'," from Midnight Cowboy; a delicately lilting samba take on Leonard Cohen and Anjani Thomas's title track; Serge Gainsbourg's "La Javanaise," performed in the original French; and Charlie Chaplin's "Smile," from Modern Times. The four originals, all coauthored by Peyroux, easily keep up with such august company, especially "I'm All Right"--written with Klein and Walter Becker, it captures the easy sophistication of Becker's regular band, Steely Dan. Fans of Norah Jones (whose collaborator Jesse Harris cowrote three of the songs) should gobble up this album, but Peyroux is no mere imitator: She's her own, very real thing. Madeleine Peyroux doesn’t simply interpret songs, she possesses them and vice versa. Half the Perfect World is the much-anticipated follow-up to Peyroux’s breakthrough album, Careless Love, which drew critical raves from around the world and sold more than a million copies. This time around, Peyroux focuses primarily on songs written by artists from her lifetime, including Leonard Cohen, Tom Waits and Fred Neil. The album also features an unforgettable duet with k.d. lang on the Joni Mitchell classic "River" and four original songs co-written by Peyroux, including the single "I’m All Right" which she penned with producer Larry Klein and Steely Dan’s Walter Becker. Half the Perfect World is a sublime showcase for Peyroux’s eloquent, understated delivery and timeless one-of-a-kind voice.

http://www.megaupload.com/?d=GCYEQRG6

01- I'm All Right
02- The Summer Wind
03- Blue Alert
04- Everybody's Talkin'
05- River
06- A Little Bit
07- Once in a While
08- (Looking For) The Heart Of Saturday Night
09- Half The Perfect World
10- La Javanaise
11- California Rain
12- Smile

·"Turn Left at Greenland!" - The Beatles

2010-05-23T13:04:00.000-07:00

The 1964 Ed Sullivan shows in STEREO...

http://www.megaupload.com/?d=J3TE2OQN

New York, 9 February 1964 (evening)

01 - Ed Sullivan Intro
02 - Intro
03 - All My Loving
04 - Till There Was You
05 - She Loves You
06 - Ed Sullivan Outro
07 - Intro
08 - I Saw Her Standing There
09 - I Want To Hold Your Hand
10 - Outro
11 - Ed Sullivan Outro

Miami, 16 February 1964 (evening)

12 - Ed Sullivan Intro
13 - Intro
14 - She Loves You
15 - This Boy
16 - Intro
17 - All My Loving
18 - Ed Sullivan Intro
19 - I Saw Her Standing There
20 - Outro
21 - From Me To You
22 - Intro
23 - I Want To Hold Your Hand
24 - Outro
25 - Ed Sullivan Outro

New York, 23 February 1964 (taped 9 February afternoon)

26 - Ed Sullivan Intro
27 - Intro
28 - Twist And Shout
29 - Please Please Me
30 - Ed Sullivan Outro
31 - Ed Sullivan Intro
32 - I Want To Hold Your Hand
33 - Outro
34 - Ed Sullivan Outro

Capitol mono single

35 - I Want To Hold Your Hand
36 - I Saw Her Standing There

·"Infiniment" - Jacques Brel

2010-05-23T12:50:00.000-07:00

"...in a man's life, there are two important dates : his birth and his death. Everything we do in between is not very important."
- Jacques Brel

Jacques Romain Georges Brel (8 April 1929 – 9 October 1978) was a Belgian singer-songwriter. Brel composed and recorded his songs almost exclusively in French, although he recorded a number of songs in Flemish. Brel's songs are not especially well known in the English-speaking world except in translation and through the interpretations of other singers, most famously Scott Walker and Judy Collins. Others who have sung his work in English include Marc Almond, Momus/Nick Currie, Beirut, David Bowie, Ray Charles, The Dresden Dolls, Gavin Friday, Alex Harvey, Terry Jacks, Alan Clayson, Barb Jungr, The Kingston Trio, Jack Lukeman, Amanda McBroom, Rod McKuen, Spencer Moody, Camille O'Sullivan, Dax Riggs, Nina Simone, Frank Sinatra, Dusty Springfield and Dave Van Ronk. In French-speaking countries, Brel is also remembered as an actor and director. Jacques Brel has sold over 25 million records worldwide, including over 12 million albums and singles in France and Belgium. Brel was born in Schaarbeek, Belgium, a district of Brussels, but lived half of his life in Paris. He died in Bobigny in the suburbs of Paris, of lung cancer, and is buried in the Marquesas Islands. Although his family did speak French, they were of Flemish descent, with some of the family originating from Zandvoorde, near Ypres. Brel's father was co-owner of a cardboard factory and Brel started his working life there, apparently destined to follow his father's footsteps. However, he had no interest in it and showed an interest in culture instead, joining the Catholic-humanist youth organisation Franche Cordée, where he sang and acted. At Franche Cordée he met Thérèse Michielsen ('Miche'). They married in 1950. In the early 1950s Brel achieved minor success in Belgium singing his own songs. A 78rpm record (La foire/Il y a) was released as a result. From 1954 Brel pursued an international singing career. He quit his job and moved to Paris, where he stayed at the Hotel Stevens and gave guitar lessons to artist-dancer Francesco Frediani to pay his rent. Jean Villard Gilles recognized his talent and hired him immediately for his cabaret "Chez Gilles". (Later, Gilles' successful song / poem La Venoge inspired Brel to write Le Plat Pays.) Frediani witnessed his first show at the Olympia as an "ouverture de rideau" act (i.e., while the public was entering and being seated). Brel had to change behind the bar. Bruno Coquatrix, the owner, invited him to come back. He carried on writing music and singing in the city's cabarets and music-halls, where on stage he delivered his songs with great energy. In January 1955 he supported in the Ancienne Belgique in Brussels the performances of the Belgian pop and variety pioneer Bobbejaan Schoepen. After some success his wife and daughters joined him from Belgium. By 1956 he was touring Europe and he recorded the song Quand on n'a que l'amour that brought him his first major recognition. He appeared in a show with Maurice Chevalier and Michel Legrand. By the end of the 1950s Miche and Brel's three daughters had returned to Brussels. From then on, he and his family led separate lives. Under the influence of his friend Georges Pasquier ('Jojo') and pianists Gérard Jouannest and Francois Rauber, Brel's style changed. He was no longer a Catholic-humanist troubadour, but sang grimmer songs about love, death, and the struggle that is life. The music became more complex and his themes more diverse, exploring love (Je t'aime, Litanies pour un Retour), society (Les Singes, Les Bourgeois, Jaurès), and spiritual concerns (Le Bon Dieu, Dites, Si c'était Vrai, Fernand). His work was not limited to one style. He was as proficient in funny compositions (Le Lion, Comment Tuer l'Amant de sa Femme...) as in more emotional ones (Voir un Ami Pleurer, Fils de..., Jojo). But he occasionally included parts in Dutch as in "'Marieke", and also recorded Dutch versions of a few songs such as Le Plat Pays (Mijn vlakke land), Ne me quitte pas (Laat Me Niet Alleen), Rosa, Les Bourgeois (De Burgerij) and Les paumés du petit matin (De Nuttelozen van de Nacht). A rather obscure single was uncovered only a few years ago having Brel singing in Dutch De apen (Les singes) and Men vergeet niets (On n'oublie rien). These two were included in the 16 CD box Boîte à Bonbons. Since his own command of Dutch was poor, most of his later Dutch interpretations were translated by Ernst van Altena, but De Apen by Eric Franssen, Men vergeet niets by well known Flemish artist Will Ferdy and Marieke was translated by Brel himself. He starred in the musical L'Homme de la Mancha (Man of La Mancha) which he also translated into French and directed. As an actor he gained fame playing opposite Lino Ventura in L'Emmerdeur and L'aventure, c'est l'aventure. In 1969 he took the lead role opposite Claude Jade in Mon oncle Benjamin. Le Far West, a comedy which he directed, co-wrote and appeared in, competed for the Palme d'Or at the Cannes Film Festival in 1973. In 1973 he embarked in a yacht, planning to sail around the world. When he reached the Canary Islands, Brel, a heavy smoker, was diagnosed with lung cancer. He returned to Paris for treatment and later continued his ocean voyage. He was also a keen pilot and owned several small planes, including the eponymous 'Jojo'. In 1975 he reached the Marquesas Islands, and decided to stay, remaining there until 1977 when he returned to Paris and recorded his well-received final album. He died in 1978 at age 49 and was buried in Calvary Cemetery in Atuona, Hiva Oa, Marquesas Islands, French Polynesia, only a few yards away from painter Paul Gauguin.

http://www.mediafire.com/?hty5zmmh1mz

01- Jaurès
02- Ne Me Quitte Pas
03- Les Vieux
04- La Quête
05- On N'Oblie Rien
06- Le Plat Pays
07- Mathilde
08- Les Remparts de Varsovie
09- Amsterdam
10- J'Arrive
11- Ces Gens-Lá
12- Jef
13- Vesoul
14- Au Suivant
15- Madeleine
16- Les Bourgeois

·"Five Live" - The Yardbirds

2010-05-23T12:34:00.000-07:00

The Yardbirds are an English rock band that had a string of hits in the mid 1960s, including "For Your Love", "Over, Under, Sideways, Down" and "Heart Full of Soul". The group is notable for having started the careers of three of rock's most famous guitarists: Eric Clapton, Jeff Beck, and Jimmy Page, all of whom were in the top fifteen of Rolling Stone's 100 Top Guitarists list (Clapton as #4, Page as #9, and Beck as #14). A blues-based band that broadened its range into pop and rock, The Yardbirds were pioneers in the guitar innovation of the '60s: fuzz tone, feedback, distortion, backwards echo, improved amplification, etc. The band's disintegration led to the formation of the rock band Led Zeppelin, by Jimmy Page in 1968. Originally named the Metropolitan Blues Quartet in 1962–63, the band formed in the London suburbs, out of the Kingston Art School, first performing as a backup band for Cyril Davies, and achieved notice on the burgeoning British rhythm and blues scene in September 1963 when they took over as the house band at the Crawdaddy Club in Richmond, succeeding the Rolling Stones. They drew their repertoire from the Chicago blues of Howlin' Wolf, Muddy Waters, Bo Diddley, Sonny Boy Williamson II and Elmore James. Original lead guitarist (Anthony) Top Topham left and was replaced by Eric Clapton in October 1963. Crawdaddy Club impresario Giorgio Gomelsky became the Yardbirds' manager and first record producer. Under Gomelsky's guidance the Yardbirds signed to EMI's Columbia label in February 1964. Their first album was "live", Five Live Yardbirds, recorded at the legendary Marquee Club in London. Blues legend Sonny Boy Williamson II invited the group to tour England and Germany with him, a union that later engendered another live album. The quintet cut two singles, "I Wish You Would" and "Good Morning Little Schoolgirl", before their third, "For Your Love", a Graham Gouldman composition, gave them their first major hit. It sold over one million copies, and was awarded a gold disc. Clapton, at the time a blues purist, left the group in protest to join John Mayall & the Bluesbreakers. Anyway Clapton recommended Jimmy Page, a prominent young studio session guitarist, as his replacement. Page, uncertain about giving up his lucrative studio work and worried about his health, recommended in turn his friend Jeff Beck. Beck played his first gig with the Yardbirds only two days after Clapton's departure in May 1965. Five Live Yardbirds was remastered and expanded, though this featured here is the original version.

http://www.mediafire.com/?xkbizmoxyhn

01- Too Much Monkey Business
02- Got Love If You Want It
03- Smokestack Lightning
04- Good Morning Little Schoolgirl
05- Respectable
06- Five Long Years
07- Pretty Girl
08- Louise
09- I'm a Man
10- Here 'Tis

"BBC Beatles Special" - The Beatles

2010-05-18T00:11:00.000-07:00

Bill Kenwright presents "The Beatles at the Beeb"The programme's highlights are archive recordings, some not heard for more than four decades, but its pleasures were in the more ordinary moments of banter. And Kenwright linked it all smoothly, with an excitement that felt genuine ("We've only had a 30-second intro and already I'm in heaven..."). He extended a hand to the listener: "You and I are going to hear gems from the BBC archive," he promises. We listen to 60s presenters trying to sound groovy with their quirky questions. Brian Matthew came in for constant ribbing from the band; their aim, he said, was "to put me down in as good-natured a way as possible". Producers spoke of barely controlled mayhem, and sounded terrified. "They'd come to the studio and horse about," we learned. "They'd be lying on the floor – people getting locked in the toilets, fooling about." It all sounded like sweet, innocent japery. On-air at least, the wildest it got was the band going "baaa" when they heard the surname "Lamb". Really interesting.

http://www.megaupload.com/?d=4CV7RGG5

Part 1 (54:49):

FROM US TO YOU #2 - MARCH 30,1964
01.From Us To You + Intro
02. I Wanna Be Your Man
03. Roll Over Beethoven
SATURDAY CLUB #1 - JANUARY 26,1963
04. Love Me Do
SATURDAY CLUB #6 - OCTOBER 5, 1963
05. I Saw Her Standing There
06. Happy Birthday Saturday Club
07. George Martin Special Promo spot
POP GO THE BEATLES #4 - JUNE 25, 1963
08. P.S. I Love You
09. Twist And Shout
10. Pop Go The Beatles Theme
POP GO THE BEATLES #8 - AUGUST 6, 1963
11. Crying, Waiting, Hoping
POP GO THE BEATLES #13 - SEPTEMBER 10, 1963
12. The Hippy Hippy Shake
POP GO THE BEATLES #5 - JULY 16, 1963
13. (Lay Down Your Arms) Soldier of Love
POP GO THE BEATLES #8 - AUGUST 6, 1963
14. To Know Her Is To Love Her
15. The Honeymoon Song
POP GO THE BEATLES #11 - AUGUST 27, 1963
16. Don’t Ever Change
POP GO THE BEATLES #15 - SEPTEMBER 24, 1963
17. Sure To Fall
SATURDAY CLUB #5 - AUGUST 24, 1963
18. I’ll Get You
SATURDAY CLUB #7 - DECEMBER 21, 1963
19. This Boy

Part 2 (54:16):

FROM US TO YOU #1 - DECEMBER 26,1963
20. Introduction
21. From Us To You
22. Money (That’s What I Want)
23. Tie Me Kangaroo Down, Sport
24. I Want To Hold Your Hand
SATURDAY CLUB #8 FEBRUARY 25, 1964
25. Johnny B. Goode
TOP GEAR #1 - JULY 16, 1964
26. And I Love Her
TOP GEAR #2 RECORDING SESSION - NOVEMBER 17, 1964
27. I Feel Fine (false start)
28. I Feel Fine
TOP GEAR #2 - NOVEMBER 26, 1964
29. I’m A Loser
POP INN - APRIL 13, 1965
30. Interview
THE BEATLES INVITE YOU TO TAKE A TICKET TO RIDE - JUNE 7, 1965
31. Ticket To Ride
32. The Beatles Interviewed by Denny Piercy
BEATLES ABROAD - AUGUST 30, 1965
33. John Lennon Interviewed by Brian Matthew + I'm Down
LENNON AND McCARTNEY SONGBOOK - AUGUST 6, 1966
34. Opening Theme + Intro
35. A Hard Day’s Night (by Peggy Lee)
36. All My Loving (by Matt Monro)
37. And I Love Him (by Lena Horne)
38. Wait (Frankie Vaughan)
WHERE IT’S AT - NOVEMBER 25, 1967
39. Introduction
40. All Together On The Wireless Machine

·"The Very Best of..." - Bob Marley

2010-05-17T23:58:00.000-07:00

Robert Nesta Marley was born on February 6, 1945 in the parish of St. Anns in Nine Miles, Jamaica to Norval Sinclair Marley and Cedella ‘Ciddy’ Malcom. Norval was a British Marine officer and Ciddy was a native Jamaican. Soon after his birth, Bob’s father left and had little contact with him although he did financially support his son. When Bob was five, his father took him to Kingston, Jamaica. It wasn’t until a year later that Bob saw his mother again. Soon after, he moved with his mother to Trenchtown, a section of Kingston notorious for it’s rough ghettoes. In 1961, at the age of sixteen, Bob released his first song, 'Judge Not', which did not do well. This did not discourage Bob. He continued to pursue a career in music and in 1965, he formed a group called ‘The Wailers’ with Bunny Livingstone (later known as Bunny Wailer) and Peter McIntosh (later known as simply Peter Tosh.) Bob acted as front man for the group and wrote most of the group’s material. The trio released ‘Simmer Down,’ ‘Rule Them Rudie’ and ‘It Hurts To Be Alone,’ all of which were hits in Jamaica. In 1966, Bob Marley married Rita Anderson, his long-term girlfriend. The next day he went to the United States and stayed long enough to gain financing for his next record. The next year Bob and Rita’s first child, Cedella, was born. Soon after, the Marleys set up their own recording label, Wail ‘N Soul ‘M Records, and produced a single, ‘Bend Down Low/Mellow Mood.’ That same year, the record label was ended. Their next child, David (Ziggy) was born in 1968. The Wailers continued to release singles without producing an album. The band formed another label, Tuff Gong, and finally reached a degree of success. By that time, the Wailers were famous in the Caribbean, but were unknown in the rest of the world. Finally in 1971, the Wailers got a break. Island Records forwarded them 8,000 pounds for the production of a full album. The Wailers were the first reggae band to receive so much money and to have access to the best recording studios. They produced two albums, ‘Catch a Fire’ and ‘Burnin’’, the latter which included ‘Get Up Stand Up’ and ‘I Shot the Sheriff.’ The Wailers began to extensively toured the United States and the United Kingdom and when Eric Clapton covered ‘I Shot the Sheriff’ the Wailers soared to instant fame. Soon after their success in the US, the band changed their name to Bob Marley and the Wailers and then released their next album, ‘Natty Dread.’ The album included the hit single ‘No Woman No Cry,’ perhaps their most popular song. Soon after, Bunny and Peter left to pursue solo careers and were replaced by new members. By 1976, reggae fever had swept the United States. Rolling Stone magazine named Bob Marley and the Wailers the ‘Band of the Year’ and ‘Rastaman Vibration’ rose to the top of the charts. On December 3 of 1976, an assassination attempt was made on Bob Marley, his wife and the managers of the Wailers to keep him from playing at the Smile Jamaica concert in Kingston. His concert was scheduled for December 5 after a presidential candidate’s election rally, a presidential candidate who happened to be at odds with the US. Some people believe that the assassination attempt was executed by the US government, for fear that Marley’s performance would sway the vote. Despite receiving two gun shot wounds, Bob Marley performed anyway and then left for the UK. Bob Marley and the Wailers went on to produce their next album, ‘Exodus,’ in 1977. The release of this album propelled Bob to a international superstar. Later, in May of the same year, Bob found out that he had cancer in his toe. Doctors recommended that he have the toe removed, but Bob refused since this was against his Rastafarian beliefs. In July, the rest of the Exodus tour was canceled. In 1978, the band released another album, ‘Kaya.’ The group's songs went from protest anthems to love songs about ganja (marijuana), which is highly held by Rastafarians as a way to connect with Jah (God.) In April, Marley returned to Jamaica to perform in the One Love Peace Concert, and later that year he received a Peace Medal of the Third World from the United Nations. Bob Marley also traveled to Africa for the first time, making stops in Kenya, Ethiopia and Zimbabwe. The band went on touring throughout the US and Europe and produced a few more albums, ncluding ‘Uprising.’ However, in 1980, Marley fell gravely ill. The cancer in his toe had spread upwards through his body and had infected his liver, stomach and brain. In September, Bob nearly fainted during a concert in New York City. The next day he collapsed while jogging through a park and was rushed to the hospital. The doctors revealed that the tumor in his brain had greatly enlarged and that Bob had less than a month to live. Bob wanted to continue the tour though, and he performed a spectacular show in Pittsburgh on September 22. Rita was not happy with his decision to spend his final days touring though, and the concert was canceled the next day. Bob then went to Miami where he was baptized at the Ethiopian Orthodox Church on November 4. Five days later, in a last attempt to save his life, Bob flew to a controversial treatment center in Germany with Rita. Three months later on May 11, 1981, Bob Marley died at the young age of 36. Bob Marley’s funeral was held in Jamaica on May 21, and hundreds of thousands of people attended, including the Prime Minister of Jamaica. Bob’s body was taken back to his birth place in Nine Miles where it now rests in a mausoleum.

http://www.megaupload.com/?d=3AL9KTKI

01- Buffalo Soldier
02- One Love (People Get Ready)
03- Could You Be Loved
04- No Woman, No Cry
05- Three Little Birds
06- Coming In From The Cold
07- Sun Is Shining vs. Funkstar D
08- Jamming
09- Easy Skanking
10- Punky Reggae Party
11- Redemption Song
12- Is This Love
13- Exodus
14- Stir It Up
15- Waiting In Vain
16- I Shot The Sheriff
17- Get Up, Stand Up

·"La Gardela" - Nelly Omar

2010-05-17T23:30:00.000-07:00

Her diction, her phrasing, her technical perfection, her good taste, in other words, her interpretative quality makes of Nelly Omar (born Nilda Elvira Vattuone - September 10, 1911) an example and the paradigm of a singer, who today when she is nearly ninety years old, keeps on pleasing us with her still fresh voice. She was born in the city of Guaminí, west of the province of Buenos Aires, an agricultural and cattle area with large estancias. In one of them, "La atrevida", his father (Marcos Vattuone) worked as foreman. She inherited the craft of singing from her father that was guitar strummer. She had several brothers and sisters, but only two women followed her steps: Elena, called Gory, who later became the wife of the poet Julián Centeya, and Nélida. Nelly herself has said that her father was an acquaintance of Carlos Gardel and, that on several occasions, when he visited the city of Buenos Aires, they went together to the horse races. "When in 1918 Gardel with José Razzano came to town, my father and other neighbors were who sold the admission tickets and organized the presentation of the duo. The theater was crowded. Later they came home. We, my brothers, my sisters and I, watched everything through a window. My father, like a good Italian of then, did not allow us to mingle with adults. But his image remained in my memory. Gardel, fat and his straightened hair with a central parting." In 1924 Nelly was already in Buenos Aires. She went for an audition to complete the cast for the folk outfit "Cenizas del fogón", and she was accepted at once. The outfit played on Radio Rivadavia, and besides singing, our girl had brief performances as actress. During the years 1932 and 1933, on the same broadcasting and also on other radios located at the same building (Radio Mayo and Splendid), she appeared together with her sister Nélida to sing as a duo. "We sang country tunes, mainly from the province of Buenos Aires: milongas, estilos, songs. But I also sang tangos as soloist." As a curiosity we can highlight that the girls exchanged their names, our Nilda became Nélida, more precisely Nelly, and Nélida adopted her sister Nilda´s name. Soon thereafter she joined another group of similar features: "Cuadros Argentinos". A radio theater play on Radio Stentor that, after its end, was performed on different stages in neighborhoods and country towns. "This group was led by the brothers Julio and Alfredo Navarrine, and by Antonio Molina as well. I married the latter in 1935, but it was an unfortunate mistake. I was married eight years and I ought to have broken up after the first two months, but the affection for my mother-in-law, a second mother for me, prevented me from doing so." Her presentations went on and her popularity was evidenced in 1937, when a great radio-phonic poll organized by the Caras y Caretas magazine recognized her as the best national female singer. In 1938, when she appeared at a cinema in the locality of Valentín Alsina, the announcer had the bad taste of calling her "La Gardel con polleras" (A Gardel with skirt), and through a long time and up to the present, the lack of imagination and the triviality of the announcers, keep repeating this somewhat unhappy nickname. Then the time of splendor of our artist came when she appeared on the most important radios accompanied by the leading artists of the period, like Libertad Lamarque and Agustín Magaldi, among others. The ideas and the scripts of her programs were created by Enrique Cadícamo and Homero Manzi, with the latter she began a sentimental relationship which lasted several years. Some people say that the lyrics of the tango "Ninguna" are inspired in her. She finally recorded for the Odeon label in 1946, on Francisco Canaro´s recommendation. She committed to disc ten numbers: on January 28, "Adiós pampa mía" and "Canción desesperada"; on October 8: "El Morocho y el Oriental (Gardel-Razzano)" and "Rosas de otoño"; on March 26, the following year: "Sentimiento gaucho" and "Sus ojos se cerraron"; on May 28: "Déjame no quiero verte nunca más" and "La canción de Buenos Aires"; and finally, on October 22, her two remarkable hits: "Desde el alma" and "Nobleza de arrabal", the latter with lyrics by Homero Manzi. That same year, the Society of Authors and Composers paid homage to her at a night local called "Novelty"; they bestowed a medal on her and she was renamed "La voz dramática del tango". Talking of her career, Nelly confessed that she does not like to beg, "to go around knocking doors. I would feel quite badly if I knew that I am singing because of a favor. Only once in my lifetime someone helped me, so as I would be allowed to appear on Radio Splendid. It was Evita, and it was not because I asked her. She did not understand why I was not given a space. She liked my singing and even more that I sang our music. I thanked her by recording the milonga "La descamisada" and the march "Es el pueblo"." During the remaining time of the Peronist government, Nelly Omar sang at the big popular celebrations that the government organized. «I never had anything to do with politics, I took part because I was Peronist, fond of Perón and Evita.» When the coup d´état that overthrew General Perón in 1955 called "Revolución Libertadora" took place, all the artists that had supported the overthrown government saw their possibilities of work cancelled, among them was Nelly Omar who was banned nearly for 30 years. At those difficult times she went to Uruguay and later to Venezuela. In 1966 she briefly appeared on television and only in the late 70s and in the early 80s she recorded with the guitarists Roberto Grela, José Canet and later with the orchestra of Alberto Di Paulo. In December 1997, being she 86 years old and with a clear incredibly young voice, with the dignity of the great ones, she recorded a compact disc including some pieces recorded for the first time: "Comme il faut" by Arolas with lyrics by Gabriel Clausi, and other two, with lyrics of who had been his last partner in life, Héctor Oviedo: "La piel de vivir" and "Por la luz que me alumbra". The guitars of Bartolomé Palermo and Paco Peñalba accompanied her.

http://www.megaupload.com/?d=HXX0PNNO

01- La Guitarrita
02- Sigo Queriéndote Igual
03- Corazón De Oro
04- Santa Milonguita
05- El Estrellero
06- Misterio y Canción
07- Tapera
08- Campo Afuera
09- Derecho Viejo
10- Para Un Adiós
11- Casualidad y Amor
12- Las Cuatro Respuestas
13- Milonga De Los Fortines
14- Tango Argentino
15- Guitarra De Echeverria
16- Duelo Criollo
17- Serenata Gaucha
18- Monte Criollo
19- Por El Camino
20- Antes
21- Margaritas
22- Las Cosas Que No Te Dije
23- Intriga y Pasión
24- Me Besó y Se Fue

Bonus Tracks:

25- Tu Vuelta
26- Pacencia
27- Pa' Dumensil
28- Sur
29- Parece Mentira
30- Amar y Callar
31- El Adiós de Gabino Ezeiza
32- Rosas de Abril
33- La Pulpera de Santa Lucía
34- Betinotti
35- Vamos, Vamos Zaino Viejo

·"The Complete BBC Sessions Vol. 10" - The Beatles

2010-05-09T20:35:00.000-07:00

http://www.megaupload.com/?d=U2RC4OC5

·"Non Ho L'Età" - Gigliola Cinquetti

2010-05-09T20:23:00.000-07:00

Gigliola Cinquetti (born 20 December 1947, Verona, Veneto) is an Italian singer, TV presenter and journalist. At the age of 16 she won the Sanremo Music Festival in 1964 singing "Non Ho L'Età" ("I'm Not Old Enough"), with music composed by Nicola Salerno and lyrics by Mario Panzeri. Her victory enabled her to represent Italy in the Eurovision Song Contest 1964 with the same song, and she went on to claim her country's first ever victory in the event. This became an international success, even entering UK Singles Chart, traditionally unusual for Italian material. It sold over three million copies, and was awarded a platinum disc in August 1964. In 1966, she recorded "Dio, come ti amo" ("God, How I Love You"), which became another worldwide hit.She returned to fame in Eurovision Song Contest 1974, again representing Italy. Performing the song "Sì" ("Yes"), the music and lyrics of which were written by Mario Panzeri, Daniele Pace, Lorenzo Pilat and Carrado Conti, she finished second behind "Waterloo", sung by Sweden's ABBA. According to author and historian, John Kennedy O'Connor's, The Eurovision Song Contest - The Official History, the live telecast of her song was banned in her home country by the Italian national broadcaster RAI, as the event partially coincided with the campaigning for the 1974 Italian referendum on divorce which was held a month later in May. RAI censored the song because of concerns that the name and lyrics of the song (which constantly repeated the word 'Sì') could be accused of being a subliminal message and a form of propaganda to influence the Italian voting public to vote 'Yes' in the referendum. The song remained censored on most Italian state TV and radio stations for over a month. An English language version of the song, "Go (Before You Break My Heart)", reached number 8 in the UK Singles Chart in June 1974. One of her other songs, "Alle Porte del Sole" (released in 1973), was re-recorded in English (as "Door of the Sun") and Italian by Al Martino, two years after its initial release, and reached #17 on Billboard's Hot 100 in the United States. Cinquetti's own English version of the song was released as a single by CBS Records in August 1974, with her original 1973 Italian version on the B-side. Cinquetti went on to co-host the Eurovision Song Contest 1991 with Toto Cutugno, who had brought the event to Italy with his victory in Zagreb the previous year - the country's first win in the contest since her own twenty-six years earlier. In the 1990s she became a professional journalist and TV presenter, and she currently hosts the current affairs programme Italia Rai on RAI International.

http://www.mediafire.com/?5jdjyrcn5kn

01- Dio Come Ti Amo
02- Rosa Nera
03- Mille Anni
04- Piccola Città
05- Grazie Amore
06- Ho Il Cuore Tenero
07- Non Ho L'Età
08- Guando M'Innamoro
09- Sera
10- Domagne, Domagne
11- Una Storia d'Amore
12- Tutte Meno Una

·"Bluejean Bop" - Gene Vincent & His Blue Caps

2010-05-09T20:04:00.000-07:00

Vincent Eugene Craddock (February 11, 1935–October 12, 1971), better known as Gene Vincent, was born in Norfolk, Virginia, on February 11, 1935. His early musical influences included country, rhythm and blues and gospel music. He showed his first real interest in music while his family lived in Munden Point, Virginia, near the North Carolina line, where they ran a country store. He received his first guitar as a gift from a friend at the age of 12. His father, Ezekiah Jackson Craddock, volunteered to serve in the U.S. Coast Guard and patrolled American coastal waters to protect Allied shipping against German U-boats during World War II. His mother, Mary Louise Craddock, maintained a general store at Munden Point. Craddock's parents moved the family and opened a new general store and sailor's tailoring shop in Norfolk. Having spent his youth in the Norfolk area, Craddock decided to pursue the life of a sailor. He dropped out of school at age 17 and enlisted in the U.S. Navy in 1952. Craddock's parents signed the required forms allowing him to join the Navy. He completed basic training and joined the fleet as a destroyerman on USS Chukawan, although he did spend a two week training period on USS Amphion before returning to the Chukawan. He proved to be a good sailor while deployed at sea, but gained a reputation as a trouble-maker while on liberty ashore. Craddock never saw combat, but completed a Korean War deployment. He sailed home from Korean waters aboard battleship USS Wisconsin, but was not part of the ship's company. Craddock planned a long career in the U.S. Navy and, in 1955, used his $612 dollar reenlistment bonus to buy a new Triumph motorbike. In July 1955, while in Norfolk, he was involved in a severe motorcycle accident that shattered his left leg. He refused to have it amputated. The leg was saved, but left him with a permanent limp and chronic pain for the rest of his life. He spent was in the Portsmouth Naval Hospital and was medically discharged from the Navy shortly thereafter. Craddock became involved in the local music scene in Norfolk. He changed his name to Gene Vincent and formed a rockabilly band called the Blue Caps (a term used in reference to enlisted sailors in the U.S. Navy). The band included Willie Williams on rhythm guitar, Jack Neal on upright bass, Dickie Harrell on drums, and the innovative and influential lead guitarist, Cliff Gallup. Departing from traditional naming conventions, he and his band are named "Gene Vincent and His Blue Caps", not "...the Blue Caps" as often stated. Gene Vincent and His Blue Caps soon gained a reputation playing in various country bands in his native Norfolk, Virginia. There, they won a talent contest organized by local radio DJ "Sheriff Tex" Davis, who became his manager. In 1956 he wrote "Be-Bop-A-Lula", No. 102 on Rolling Stone magazine's "500 Greatest Rock and Roll Songs of All Time" list. Local radio DJ "Sheriff Tex" Davis arranged for this to be demoed and this secured him a contract with Capitol Records. He signed a publishing contract with Bill Lowery of The Lowery Group of music publishers in Atlanta, Georgia. "Be-Bop-A-Lula" was not on Vincent's first album and was picked by Capitol producer Ken Nelson as the B side of his first single. Prior to the release of the single, Lowery pressed promotional copies of "Be-Bop-A-Lula" and sent them to radio stations throughout the country. By the time Capitol released the single, "Be-Bop-A-Lula" had already gained attention from the public and radio DJs. The song was picked up and played by other U.S. radio stations (obscuring the original "A-side" song), and became a hit and launched Vincent as a rock 'n' roll star. After "Be-Bop-A-Lula" became a hit (peaking at No. 7 and spending 20 weeks on the Billboard Pop Chart), Gene Vincent and His Blue Caps were unable to follow it up with the same level of commercial success, but released critically-acclaimed songs like "Race With The Devil" (No. 96 in Billboard) and "Bluejean Bop" (No. 49). That year, Vincent was reportedly convicted of public obscenity and fined $10,000 by the state of Virginia for his live performance of the erotic song, "Woman Love", although this is now believed to have been a rumor, possibly started by his manager. The group had another hit with 1957's "Lotta Lovin'" (highest position No. 13 and spending 19 weeks in the charts). Gene Vincent was awarded Gold Records for 2 million sales of Be-Bop-A-Lula and 1.5 million sales of Lotta Lovin'. The same year he toured the east coast of Australia with Little Richard and Eddie Cochran, drawing audiences totaling 72,000 to their Sydney Stadium concerts. Vincent also became one of the first rock stars to star in a film, The Girl Can't Help It with Jayne Mansfield. His 1956 top ten hit with his Blue Caps, "Be-Bop-A-Lula", is considered a significant early example of rockabilly. He is a member of the Rock and Roll and Rockabilly Halls of Fame.

http://www.mediafire.com/?ozymhta3zwu

01- Bluejean Bop
02- Jezebel
03- Who Slapped John?
04- Ain't She Sweet
05- I Flipped
06- Waltz of the Wind
07- Jump Back, Honey, Jump Back
08- Wedding Bells (Are Breaking up That Old Gang of Mine)
09- Jumps, Giggles and Shouts
10- Lazy River
11- Bop Street
12- Peg O' My Heart
13- Race With the Devil
14- Be-Bop-A-Lula
15- Woman Love
16- Crazy Legs
17- Gonna Back up Baby
18- Well, I Knocked Him, Bim Bam

·"The Complete BBC Sessions Vol. 9" - The Beatles

2010-05-01T16:58:00.000-07:00

http://www.megaupload.com/?d=XLILXWE6

·"Swing Guitar Masterpieces" - Oscar Alemán

2010-05-01T16:37:00.000-07:00

Oscar Marcelo Alemán (February 20, 1909 – October 14, 1980) was an Argentine jazz guitarist. He was of Afro Argentine descent. Oscar Marcelo Alemán, talented singer, dancer, entertainer, and guitarist, was born in Chaco province, in Northern Argentina, on February 20, 1909. At the age of six, he was dancing and singing with his family's folk ensemble, the Moreira Sextet, playing the cavaquinho, a Brazilian ukelele before taking up the guitar. By the age of ten, after his mother had died and father had committed suicide, he found himself an orphan working sporadically as a dancer and musician on the streets of Santos, in Brazil. Alemán played two guitars - mostly the d-hole Selmer Maccaferri (also played by Django Reinhardt), and a National Style 1 tri-cone resonator guitar. In 1924 Alemán met and began working with Brazilian guitarist Gaston Bueno Lobo. The duo was signed to the prestigious Argentine RCA Victor label and performed under the name Los Lobos. On occasion, they would add violinist Eleven Verdure and recorded under the name Trio Victor. In the 1930s, having discovered American Jazz via Eddie Lang and Joe Venuti, Alemán moved to Paris where he was immediately hired by Josephine Baker to lead her band, the Baker Boys, at the Cafe de Paris. This provided him an incredible opportunity to play regularly with American Jazz musicians who would come to see Josephine and sit in with her band. Alemán later formed his own nine-piece band which would play nightly at the Le Chantilly, not far from venues where Django Reinhardt and his partner violinist Stephane Grappelli would perform with their famous ensemble Quintette du Hot Club de France. Although these two geniuses of the guitar never recorded together, they became close friends. In 1939, jazz critic Leonard Feather visited Paris. He returned to America raving about his new "discovery" and stated, "Alemán has more swing than any other guitarist on the continent." Due to the WW II, Alemán relocated to Buenos Aires in the early '40s and continued to record and perform with both a swing quintet, as well as with a nine-piece orchestra. In 1972 at age 63, Alemán recorded a new album which met rave reviews and helped re-launch his career with the reissue of many of his previous recordings, along with concert dates and television appearances. He continued to teach and perform in Buenos Aires until his death in 1980,at 71 years old.

http://www.mediafire.com/?uowrcommgwi

01- Nobody's Sweetheart
02- Russian Lullaby
03- Just a Little Swing
04- Jeeper Creepers
05- Sweet Georgia Brown
06- In the Mood
07- Man of Mine
08- I've Got Rhythm
09- Begin the Beguine
10- Tico Tico No Fuba
11- Caminos Cruzados (Malagueña)
12- Scartunas
13- Stardust
14- Honeysuckle Rose
15- Lady Be Good
16- Boogie Woogie Jam
17- Who's Sorry Now
18- Swingin' on a Star
19- Melancolia
20- Sentimental Journey
21- Cómo te Llamas
22- Buggle Call Rag
23- Darktown Strutter's Ball
24- Blue Skies
25- Twelfth Street Rag
26- Swanee River
27- Vieni Sul Mar
28- Delicado
29- Mia Casita Pequeñita

·"The Essential SRV " - Stevie Ray Vaughan

2010-05-01T16:19:00.000-07:00

Stevie Ray Vaughan (born Stephen Ray Vaughan; October 3, 1954 – August 27, 1990) was an American guitarist, singer and songwriter. Stephen Ray Vaughan was born on October 3, 1954 at Methodist Hospital in Dallas, Texas to Jim and Martha Vaughan. His brother, Jimmie Vaughan, is three years older. At age 7, Vaughan acquired his first guitar, a Sears toy guitar with only three strings. Among the first songs that he learned to play were hits by The Nightcaps, a Texas garage rock band that had a national hit in 1962 with "Wine, Wine, Wine." In 1963, Vaughan got his first electric guitar, a hand-me-down from his brother.Jimmie Vaughan's friend, Doyle Bramhall, heard Stevie Ray Vaughan playing a song called "Jeff's Boogie" by The Yardbirds, and was impressed. Bramhall would help Vaughan’s singing and songwriting development. In 1967, Vaughan’s first band, The Chantones, played an outdoor show at Robert E. Lee Park in Dallas and began to advance beyond school dances and private parties. During the summer of 1970, after falling into a barrel of grease while working for a fast food restaurant, Vaughan quit his job, formed his first relatively long-lasting band, Blackbird, and devoted his working life to music. In 1971, Vaughan made his first studio recording, sitting in with a high school band called A Cast of Thousands for a compilation album named A New Hi. The two songs that were on the album showcased Vaughan's early burgeoning talent. During Christmas vacation, he dropped out of high school and moved to Austin, Texas with Blackbird. Their home base was a nightclub on the outskirts of town called the Soap Creek Saloon. In late 1972, he joined a rock band called Krackerjack, but quit a few months later when the lead singer decided that the band should wear theatrical makeup on stage. In March 1973, Marc Benno added Vaughan to his band the Nightcrawlers, which was recording an album in Hollywood for A&M Records. The recording featured Doyle Bramhall on the drums, along with the beginning of a songwriting partnership with Vaughan. The album was not released, however, and the band traveled back to Texas. A year later, he found a battered 1963 Fender Stratocaster at a music store in Austin. It would remain as his favorite guitar for the rest of his life. In late December 1974, Vaughan joined a popular Austin band, Paul Ray & the Cobras, averaging approximately five shows a week. The Cobras released a record and won "Band of the Year" in an Austin music poll. Three years later, Vaughan left the Cobras and formed Triple Threat Revue with vocalist Lou Ann Barton, W. C. Clark on bass guitar, Mike Kindred on keyboards, and Freddie "Pharaoh" Walden on drums. Later, Jackie Newhouse replaced W. C. Clark on bass and Chris Layton replaced Walden on drums. Vaughan and Lou Ann renamed the band Double Trouble, though Barton left in 1980 to sing for Roomful of Blues. On December 23, 1979, Vaughan and Lenora "Lenny" Bailey were married between sets at the Rome Inn nightclub in Austin. Tommy Shannon, the former bassist in Krackerjack, replaced Jackie Newhouse in 1981. In July, the band played a music festival in Manor, Texas and a videotape of the performance was given to Rolling Stones drummer, Charlie Watts. Double Trouble then played a private party for The Rolling Stones at New York's Danceteria nightclub. On July 17, 1982, Vaughan and Double Trouble played the Montreux Jazz Festival in Switzerland, the first unsigned act to perform at the event. A few in the audience started booing the loud band throughout their performance since the event was predominately acoustical music. Vaughan later met David Bowie and jammed with Jackson Browne after the show, during an after party which lasted for hours into the morning. Bowie asked Vaughan to play lead guitar on his new album Let's Dance. The album became Bowie's best-selling album of his career. Bowie also invited Vaughan to go on his Serious Moonlight Tour, but Vaughan declined. Browne offered Vaughan time in his recording studio in Los Angeles free of charge, and the band accepted the offer in November 1982. In the spring of the following year, music producer John Hammond heard a tape of the band's Montreux performance, and got the band a recording contract with Epic Records. Hammond is credited with discovering Bruce Springsteen and Bob Dylan, among others. On June 13, 1983, the recordings in Browne's studio morphed into Texas Flood, Vaughan and Double Trouble's debut album, and was released to glowing reviews, selling over half a million units. Along with making an appearance on Austin City Limits, readers of Guitar Player magazine voted Vaughan as "Best New Talent" and "Best Electric Blues Guitar Player", with Texas Flood as "Best Guitar Album". On May 15, 1984, Couldn't Stand the Weather was released and hit number 31 on the Billboard charts. In October 1984, Vaughan and Double Trouble performed at Carnegie Hall. To celebrate his thirtieth birthday, Vaughan brought along an all-star supporting band, including Dr. John on keyboards and his brother, Jimmie, on guitar, who wore custom tailored velvet mariachi suits. His wife and parents flew in from Texas to share in his triumph. In November 1984, Vaughan won "Entertainer of the Year" and "Instrumentalist of the Year" at the National Blues Awards in Memphis, Tennessee. On September 30, 1985, the band's third album, Soul to Soul, was released, featuring new band member, Reese Wynans, on keyboards. It became their third gold album and went to number 34 on the Billboard charts. In July 1986, the band recorded shows in Austin and Dallas for their fourth album, Live Alive. On August 27, 1986, Vaughan's father, Big Jim Vaughan, died of Parkinson's disease. In late September 1986, Vaughan collapsed in Ludwigshafen, Germany from years of substance abuse, and he would later join Alcoholics Anonymous. Vaughan struggled through two more concerts, though the last thirteen dates on the tour were canceled while Vaughan was admitted to a hospital in London. He emerged clean and sober in Atlanta, Georgia. Tommy Shannon also came out clean and sober while in Austin. Live Alive was released on November 15, 1986. In the spring of 1987, MTV broadcast the band’s show in Daytona Beach, Florida as part of its spring break coverage. Vaughan also appeared in the movie Back to the Beach, performing "Pipeline" with Dick Dale. He also appeared on B.B. King’s Cinemax television special with Eric Clapton, Albert King, Phil Collins, Gladys Knight, Paul Butterfield, Chaka Khan, and Billy Ocean. Later that year, Vaughan filed for divorce from Lenny. In 1988, Vaughan appeared with Stevie Wonder on an MTV special called Characters. Double Trouble also headlined a concert at the New Orleans Jazz & Heritage Festival. The show, featuring jams with Katie Webster, Albert Collins, and B.B. King, was filmed for a Showtime special called Coast to Coast. Vaughan's divorce from Lenny was finalized toward the end of the year. On January 23, 1989, the band performed at an inauguration party in Washington, D.C. for George H. W. Bush. The band's fifth album, In Step, was released in June, and went on to win a Grammy Award for "Best Contemporary Blues Recording". In the spring of 1990, Vaughan and his brother recorded an album together, one that would feature the music they had grown up with. They recorded at Ardent Studios in Memphis and were produced by Nile Rodgers. The brothers agreed to name it Family Style. That summer, Vaughan and Double Trouble went on tour with British soul singer Joe Cocker, touring places like Alaska and the Benson & Hedges Blues Festival. To complete the summer portion of the "In Step" tour, Stevie Ray Vaughan and Double Trouble played two shows on August 25 and 26 at Alpine Valley Music Theatre in East Troy, WI, while on tour with Eric Clapton. For travel to the next venue, the tour manager reserved four helicopters to circumvent congested highway traffic. In very dense fog, the helicopters, not certified for flight under instrument flight rules (IFR), lifted off at 12:40 A.M. Just past the lift-off zone was a 300-foot hill. Vaughan's helicopter pilot was unfamiliar with the area and did not climb to sufficient altitude immediately after take-off. Vaughan's helicopter crashed into the hill. According to the findings reported by the National Transportation Safety Board, the causes of the accident were determined to be inadequate planning by the pilot and failure to attain sufficient altitude to clear an obstacle.[12] Fog and haze, as well as the rising terrain, were listed as contributing factors. All occupants, including Vaughan, the pilot, and three members of Eric Clapton's travel group, were killed on impact. On August 31, 1990, funeral services were held for Vaughan at Laurel Land Memorial Park in the Oak Cliff area of Dallas, Texas. Brother Jimmie, mother Martha, and girlfriend Janna were in attendance. Among the mourners were Stevie Wonder, Buddy Guy, Dr. John, Bonnie Raitt, Jackson Browne, and Nile Rodgers. In 2003, Rolling Stone magazine ranked Stevie Ray Vaughan #7 in its list of the 100 Greatest Guitarists of All Time,[2] and Classic Rock Magazine ranked him #3 in their list of the 100 Wildest Guitar Heroes in 2007.

http://www.mediafire.com/?0z04ydqh5cy

01- Hard to Be
02- Ain't Gone 'N' Give You Up On Your Lo'
03- Scuttle Buttin'
04- Lenny
05- Lovestruck Baby
06- Superstition (live)
07- Change It
08- Little Wing
09- Cold Shot
10- Brothers
11- Taxman
12- Texas Flood
13- The House is Rockin'
14- Pride and Joy
15- Tightrope
16- Long Way From Home

·"The Complete BBC Sessions Vol. 8" - The Beatles

2010-04-25T02:55:00.000-07:00

http://www.megaupload.com/?d=DPW7GL1U

·"Gardel Inédito Vol. 2" - Carlos Gardel

2010-04-25T02:37:00.000-07:00

This is the second volume of Gardel Inédito, with versions never before released of the King of Tango. This album of the unforgettable Carlitos includes 22 tracks of a wonderful and deep work of search, those takes were discarded back in the day for different motives, like a change of lyrics, or because the song was sounded better alone with guitars, or simply because it was considered that a take was superior to other one. All this was restored and digitally remastered at the prestigious studios Abbey Road of London, thanks to the most advanced skills developed by his engineers.

http://www.mediafire.com/?kumn2mq0mdj

01- Rencor
02- Seguí Mi Consejo
03- Hopa, Hopa, Hopa
04- Recuerdo Malevo (from the Paramount Movie "La Casa Es Seria" - 1933)
05- Milonga Sentimental
06- El Carretero
07- Por Qué Me Das Dique
08- Haragán
09- Angustias
10- Apure Delantero Buey
11- Quiéreme (from the Paramount Movie "La Casa Es Seria" - 1933)
12- Folie
13- Secreto
14- Criollita de Mis Ensueños
15- Desdén
16- Duelo Criollo
17- A Contramano
18- La Muchacha del Circo
19- Yo Tambien Como Tú
20- No Te Engañes, Corazón
21- Pobre Mi Gaucha
22- Lo Han Visto Con Otra

."Bring On The Night" - Sting

2010-04-25T02:24:00.000-07:00

When Sting embarked on his solo career, he didn't throw his tenure with the Police out the window; on this live double album from his Dream of the Blue Turtles tour, he reworks some odd selections from his old band's catalog in the expansive, jazz-inflected style of his new crew (which included saxophonist Branford Marsalis). These performances emphasize showmanship (solos, backup singers, and all) and they've got lots of crowd-pleasing moments, like the overwhelming swell of "I Burn for You" and a Caribbean clap-along on a medley of "One World" and "Love Is the Seventh Wave." But Sting's raw-steak voice has been affected by his band, too, and his phrasing on the quieter torch songs draws cleverly on jazz traditions.

http://www.mediafire.com/?ojfmtkoal2w

01- Bring On The Night/When The World Is Running Down You Make The Best Of What's (Still Around)
02- Consider Me Gone
03- Low Life
04- We Work The Black Seam
05- Driven To Tears
06- The Dream Of The Blue Turtles/Demolition Man
07- One World (Not Three)/Love Is The Seventh Wave
08- Moon Over Bourbon Street
09- I Burn For You
10- Another Day
11- Children's Crusade
12- Down So Long
13- Tea In The Sahara

·"The Complete BBC Sessions Vol. 7" - The Beatles

2010-04-09T07:49:00.000-07:00

http://www.megaupload.com/?d=2IU2R39X

·"Chante Cuba (Hasta Siempre) y otros..." - Carlos Puebla

2010-04-09T07:30:00.000-07:00

Carlos Manuel Puebla (11 September 1917, Manzanillo – 12 July 1989, Havana) was a Cuban singer, guitarist, and composer. He was a member of the old trova movement who specialized in boleros and nationalistic songs. Born into a modest family, he did several types of manual jobs during his youth (carpenter, mechanic, sugarcane worker, shoemaker), but quickly became interested in music, and especially in the guitar. He learned how to play the instrument by himself, but he did study harmony and theory of music. He began composing during the 1930s, and met with a certain amount of popularity in his native city. He recorded with his group Los Tradicionales, formed in 1953. From 1962 he was a regular performer in La Bodeguita del medio, a bar-restaurant in Old Havana which was a favourite haunt of Cuban and foreign intellectuals. Politically he stood beside Fidel Castro before the 1959 Revolution. In 1961, he went on tour in several countries with his musicians. His music, as well as his political activity, turned his concerts into a success. He was thenceforth called El Cantor de la Revolución (the singer of the revolution) and other world tours followed. More than an ambassador for Cuban music, he was an ambassador for Cuba. In 1965, the night after Fidel Castro's speech announcing Che Guevara's departure from the government, Puebla, seized by passion, composed what would become his most celebrated work, "Hasta Siempre, Comandante", a true declaration of love for and hope in Che. On 12 July 1989, he died in Havana after a long illness. His ashes were transferred to the cemetery of his native city five years later. A plaque there reads: "Yo soy ésto que soy, un simple trovador que canta" ("I am what I am, a simple troubadour who sings").

http://www.mediafire.com/?zngnewjbyzj

01- Hasta Siempre
02- Amorosa Guajira
03- Y En Eso Llegó Fidel
04- De Cuba Traigo un Cantar
05- Soy del Pueblo
06- Aurora
07- Canto a Camilo
08- Retorna
09- La Caimanera
10- Y Tú Qué Has Hecho
11- La Mujer
12- La Tarde
13- Que Alegrón
14- Ojos Malignos
15- Cambio, Cambio
16- Secretos Pasionales
17- Comité de Defensa
18- Mujer Perjura
19- Todos Los Caminos
20- Aquella Boca
21- Canto por Todos los Muertos
22- La Cuarentena
23- David y Goliath
24- Paz con Dignidad

·"Please, Please, Please" - James Brown and His Famous Flames

2010-04-09T06:32:00.000-07:00

James Brown was born to Susie (née Behlings) and Joseph ("Joe") James Gardner (who changed his name to Brown after Mattie Brown who raised him)in the small town of Barnwell, South Carolina in the Jim Crow South during the Depression era. Brown and his family lived in extreme poverty.When Brown was two years old, his parents separated after his mother left his father for another man. His father sent him to live with an aunt, who ran a house of prostitution, and even though Brown lived with relatives, he spent long stretches of time on his own, hanging out on the streets and hustling to get by. During his childhood, Brown earned money shining shoes, sweeping out stores, selling and trading in old stamps, washing cars and dishes and singing in talent contests. Between earning money from these adventures, Brown was inspired to become an entertainer after watching Louis Jordan, a popular jazz and R&B performer during the 1940s, and His Tympany Five in a short film performing "Caldonia". In his spare time, Brown spent time practicing his various skills in Augusta-area stalls and committing petty crimes. At the age of sixteen, he was convicted of armed robbery and sent to a juvenile detention center upstate in Toccoa in 1949. While Brown was in reformatory, he became acquainted with Bobby Byrd, who first saw Brown perform in prison. Byrd watched and admired Brown's ability to sing and perform. Byrd's family helped Brown secure an early release after serving three years of his sentence. The authorities agreed to release Brown on the condition that he would get a job and not return to Augusta or Richmond County. After stints as a boxer and baseball pitcher in semi-professional baseball (a career move ended by a leg injury), Brown turned his energy toward music. In 1955, Brown and Bobby Byrd's sister Sarah performed in a group called "The Gospel Starlighters". Eventually, Brown joined Bobby Byrd's vocal group, the Avons, and Byrd turned the group's sound towards secular rhythm and blues. After the group's name was changed to The Flames, Brown and Byrd's group signed a deal with the Cincinnati, Ohio-based label Federal Records, a sister label of King Records. The group's first recording was the single "Please, Please, Please" (1956). The single was a #5 R&B hit, selling over a million copies. Nine subsequent singles released by The Flames failed to live up to the success of their debut, and the group was in danger of being dropped by King Records. Brown's early recordings were fairly straightforward gospel-inspired R&B compositions, heavily influenced by the work of contemporary musicians such as Ray Charles and Little Richard. Little Richard's relations with Brown were particularly significant in Brown's development as a musician and showman. Brown once called Richard his idol, and credited Richard's saxophone-studded mid-1950s road band, The Upsetters, with being the first to put the funk in the rock and roll beat. When Richard left pop music in 1957 to become a preacher, Brown filled out Richard's remaining tour dates in his place. Several former members of Little Richard's backup band joined Brown's group after Richard's exit from the pop music scene. Brown's group returned to the charts to stay in 1958 with the #1 R&B hit "Try Me". This hit record was the best-selling R&B single of the year, becoming the first of 17 chart-topping R&B singles by Brown over the next two decades. By the time "Try Me" was released on record, the group's billing was changed to James Brown and The Famous Flames. "The Famous Flames" was a vocal group, not a backing band. This is their first LP.

http://www.mediafire.com/?yxj32mntyi2

01- Please, Please, Please
02- Chonnie-On-Chon
03- Hold My Baby's Hand
04- I Feel That Old Feeling Coming On
05- Just Won't Do Right
06- Baby Cries Over The Ocean
07- I Don't Know
08- Tell Me What I Did Wrong
09- Try Me
10- That Dood It
11- Begging, Begging
12- I Walked Alone
13- No, No, No, No
14- That's When I Lost My Heart
15- Let's Make It
16- Love Or A Game

·"The Complete BBC Sessions Vol. 6" - The Beatles

2010-04-03T08:21:00.000-07:00

http://www.megaupload.com/?d=0UPFZ3A9

·"Lo Mejor de Pescado Rabioso" - Pescado Rabioso

2010-04-03T08:11:00.000-07:00

As its title suggests, this album compiles the best of Pescado Rabioso. That means the best eleven songs taken from their three LPs.

http://www.mediafire.com/?5tzmlxnmyne

01- Post-Crucifixión
02- Nena Boba
03- Blues de Cris
04- Como el Viento Voy a Ver
05- Despiértate Nena
06- Me Gusta ese Tajo
07- Corto
08- Cementerio Club
09- Credulidad
10- Hola Dulce Viento (Mañana o Pasado)
11- Rock de la Selva Madre

·"Queen Rock Montreal" - Queen

2010-04-03T07:51:00.000-07:00

Queen Rock Montreal is a live album by English band Queen. It was released in 2007 as a double CD / triple vinyl on 28 October in Australia, 29 October in Europe, and 30 October in the US. It was recorded in Montreal, Quebec, Canada at the Montreal Forum on 24 November and 25 November 1981, ten years to the date before lead singer Freddie Mercury died of complications related to AIDS. This marks the first official release of the film soundtrack to the concert film We Will Rock You on an audio-only format. Unlike the original video release of We Will Rock You, which has been re-released as Queen Rock Montreal, the album and CD features the full show (including "Flash" and "The Hero" not on the film) fully remixed. Before "Killer Queen", Freddie remarked to the unusually docile crowd, "If you guys want to move around and shift your asses a little it's OK by us... You can take all your clothes off if you like too, doesn't matter,". Freddie gets notably frustrated with the crowd's lack of enthusiasm and orders them to "Move it, you fuckers, come on!" during "Jailhouse Rock", unbeknownst to him being reserved is part of the culture of the province and Canada. Freddie states on the album, "We must tell you that we are filming this as you know and it's the last show in this series, it sounds like a television game, but forget the cameras, it's just you and us, alright?".

http://www.megaupload.com/?d=CN0CRWHI

Disc One:

01- Intro
02- We Will Rock You (Fast)
03- Let Me Entertain You
04- Play the Game
05- Somebody to Love
06- Killer Queen
07- I'm in Love With My Car
08- Get Down, Make Love
09- Save Me
10- Now I'm Here
11- Dragon Attack
12- Now I'm Here
13- Love of My Life

Disc Two:

01- Under Pressure
02- Keep Yourself Alive
03- Drum and Tympani Solo
04- Guitar Solo
05- Flash
06- The Hero
07- Crazy Little Thing Called Love
08- Jailhouse Rock
09- Bohemian Rhapsody
10- Tie Your Mother Down
11- Another One Bites the Dust
12- Sheer Heart Attack
13- We Will Rock You
14- We Are the Champions
15- God Save the Queen

·"The Complete BBC Sessions Vol. 5" - The Beatles

2010-03-25T19:22:00.000-07:00

http://www.megaupload.com/?d=522RTTFA

·"The Very Best of Beniamino Gigli" - Beniamino Gigli

2010-03-25T19:04:00.000-07:00

Beniamino Gigli, (March 20, 1890 - November 30, 1957) was an Italian opera singer. The most famous tenor of his generation, he was renowned internationally for the great beauty of his voice and the soundness of his vocal technique. Critics sometimes took him to task, however, for what was perceived to be the over-emotionalism of his interpretations. Nevertheless, such was Gigli's talent that he is considered to be one of the very finest tenors in the recorded history of music. Gigli was born in Recanati, in the Marche, the son of a shoe-maker who loved opera. His brother Lorenzo became a famous Italian painter. In 1914, he won first prize in an international singing competition in Parma. His operatic debut came on October 15, 1914 when he played Enzo in Amilcare Ponchielli's La Gioconda in Rovigo, following which he was in great demand. Gigli made many important debuts in quick succession, and always in Mefistofele: Teatro Massimo di Palermo (March 31, 1915), Teatro San Carlo di Napoli (December 26, 1915), Teatro Costanzi di Roma (December 26, 1916), La Scala (November 19, 1918), and finally the Metropolitan (November 26, 1920). Two other great Italian tenors on the roster of the Met during the 1920s were also Gigli's chief rivals, Giovanni Martinelli and Giacomo Lauri-Volpi. Some of the roles with which Gigli became particularly associated during this period included Edgardo in Donizetti's Lucia di Lammermoor, Rodolfo in Giacomo Puccini's La Bohème and the title role in Umberto Giordano's Andrea Chénier, both of which he would later record in full. Gigli rose to true international prominence after the death of the great Italian tenor Enrico Caruso in 1921. Such was his popularity with audiences he was often called "Caruso Secondo", though he much preferred to be known as "Gigli Primo." In fact, the comparison was not valid as Caruso had a bigger, darker, more heroic voice than Gigli's honey-toned lyric instrument. Gigli left the Met in 1932, ostensibly after refusing to take a pay cut. Giulio Gatti-Casazza, the Met's then general manager, was furious at his company's most popular male singer; he told the press that Gigli was the only singer not to accept the pay cut. There were in fact several others, Lily Pons and Rosa Ponselle among them; and it is well-documented that Gatti-Casazza gave himself a large pay increase in 1931, so that after the pay cut in 1932 his salary remained the same as it had been originally. Furthermore, Gatti was careful to hide Gigli's counter offer to the press, in which the singer offered to sing five or six concerts gratis, which in dollars saved was worth more than Gatti's imposed pay cut. After leaving the Met, Gigli returned again to Italy, and sang in houses there, elsewhere in Europe, and in South America. He was criticized for being a favorite singer of the Italian dictator Benito Mussolini, and toward the end of World War II was able to give few performances. However he immediately returned to the stage when the war ended in 1945, and the audience acclaim was greater and more clamorous than ever. In the last few years of his life, Gigli gave concert performances more often than he appeared on stage. Before his retirement in 1955, Gigli undertook an exhausting world tour of Farewell Concerts. This impaired his health in the two years that remained to him, during which time he helped prepare his Memoirs (based primarily on an earlier Memoir, fleshed out by a series of interviews). Gigli died in Rome in 1957.

http://www.mediafire.com/?zgjdynkymwr

01- Marechiare
02- 'O Sole Mio
03- La Donna e Mobile
04- Qual Turbamento
05- La Danza
06- Santa Lucia
07- Una Furtiva Lagrima
08- Torna a Surriento
09- Dicitencello Vuje
10- L'Ultima Canzone
11- Santa Lucia Luntana
12- 'O Surdatto 'Nnammurato
13- Amore Ti Vieta
14- Solo Per Te, Lucia
15- A Canzone 'e Napule
16- Core 'Ngrato
17- Povera Pulcinella
18- Quanto e Bella
19- Funiculi, Funicula
20- Nessun Dorma
21- Casarella
22- Maria
23- Mamma
24- Ave Maria

·"Play Boy" - The Marvelettes

2010-03-25T18:43:00.000-07:00

The Marvelettes were an American singing girl group on the Tamla (later Motown) label. Motown's first successful female vocal group, the Marvelettes are most notable for recording the company's first #1 Pop hit, "Please Mr. Postman", and for setting the precedent for later Motown girl groups such as Martha & the Vandellas and The Supremes. During their eight-year run on the Billboard music charts, the group scored nineteen top forty American R&B Singles and ten Top 40 American Pop singles. Of these hits, three were Top 10 Pop singles, nine were top Top 10 R&B singles, and their debut was #1 one on both charts. (Between 1961 and 1969 they charted a total of 25 Pop singles.) "Playboy" is a song composed by Brian Holland, Robert Bateman, Mickey Stevenson and singer Gladys Horton, lead vocalist of The Marvelettes, who recorded the song and released it as a single on Motown's Tamla imprint in 1962. The single, led by Horton, is about a man who fools around with a lot of women and the woman who narrates the story warns him to stay away from her due to the stories she heard of him "running around with every woman in town". Horton is helped out in the song by her Marvelettes cohorts Wanda Young, Georgeanna Tillman, Katherine Anderson & Juanita Cowart. This was released as the third single by the Marvelettes and was their second top ten pop hit reaching number seven on the charts while reaching number four on the R&B chart. Playboy was the third album by The Marvelettes, released to capitalize on their hit singles "Playboy" and "Beechwood 4-5789", in 1962. It also includes the single, "Someday, Someway", and heartfelt standard, "Forever", which would be released as a single the following year. Other compositions include "Goddess of Love", "Cry Over You", and "Mix It Up". George Gordy, William "Mickey" Stevenson, and Marvin Gaye, who had produced "Beechwood 4-5789", all did some work on the Playboy LP as well.

http://www.mediafire.com/?kzydjjiofwq

01- Playboy
02- Mix It Up
03- Beechwood 4-5789
04- I'm Hooked
05- I Think I Can Change You
06- Forever
07- Someday, Someway
08- Goddess Of Love
09- You Should Know
10- Cry Over You

Bonus Tracks:

11- Playboy (mono single mix)
12- Forever (mono single mix)
13- Someday, Someway (mono single mix)

·"The Complete BBC Sessions Vol. 4" - The Beatles

2010-03-17T11:00:00.000-07:00

http://www.megaupload.com/?d=3Z8SGDOO

·"Lo Mejor 1966-1970" - Sandro

2010-03-17T10:43:00.000-07:00

Sandro was born in Buenos Aires to Irma Nydia Ocampo and Vicente Sánchez in 1945. He was raised in the southern suburb of Valentín Alsina, and learned to play the guitar as a child, identifying his music as Romani. His paternal grandfather was Russian Rom from Hungary – Roma are known in Argentina as Gitanos (Gypsies). Considered a precursor to Rock music in Spanish. Initially, in his schooldays, he imitated King of Rock and Roll Elvis Presley, but afterwards created a personal style that marked his career. He started the musical group Sandro & los de Fuego in 1961, which gained popularity on the TV show Sábados Circulares, and became wideley-known in the 1960s. With songs such as 'Ave de Paso', 'Atmosfera Pesada', 'Quiero Llenarme de Ti', 'Tengo', '¿A esto le llamas amor?', 'Eres el Demonio Disfrazado' ( cover of '(You're The) Devil in Disguise)', 'Porque Yo Te Amo', 'Penumbras' , 'Una Muchacha y Una Guitarra', 'Trigal' or 'Rosa Rosa', the success of his career kept growing steadily. Sandro also had the leading role in various films, including ("I Want to Fill Myself with You" – 1969) and Subí que te llevo ("Hop On, I'll Give You a Ride" – 1980), and directed one feature, Tú me enloqueces ("I'm Crazy About You"), in 1976. His co-star in the latter film, argentine actrees Susana Giménez, was offered a TV variety show after he refused to host it; Later on, Giménez's show, named Hola Susana, would become a ratings leader shortly after its 1987 launch. He was the first Latino singer to sell out Madison Square Garden five times during the 1970s. Sandro was also the first singer to perform a television concert via satellite in the World's History. The concert was broadcast live from Madison Square Garden on April 1970, and marked the debut of a Latin american artist for a world audience. Sandro's songs were re recorded by international artists such us Shirley Bassey, Liza Minnelli, Burt Bacharach, Dalida, Shirley MacLaine,Toto Cutugno, Nancy Wilson, Mary Hopkins, Loredana Berté, Umberto Tozzi, Gilbert Bécaud, Milva, Julio Iglesias or Engelbert Humperdinck, among others. In the 1990s Argentine and other Latin American artists released an album called Padre del rock en castellano ("Father of Spanish Rock") in his honor. Sandro continued releasing studio albums in the beggining of the 1990s and reappeared on stage in 1993 with a new show, that was presented at Teatro Gran Rex, the most prestigious venue of Buenos Aires, performing 18 attendance-record–breaking consecutive concerts. The news that he suffered from emphysema were made public in 1998, causing a great generalized concern among his followers from all over the world. Sandro had been a self declared longtime cigarette smoking addict, which undoubtedly was the main cause of the disease. On November 20, 2009, Sandro received a double transplant (heart and lungs) in Mendoza, Argentina, the operation was a success. Five days later, in a daily press conference held by his doctors, it was reported that Sandro, although still kept in intensive care, was breathing without a respirator and that he had started a slow recovery. Nevertheless, in the evening of January the 4th of 2010, after 45 days of receiving a double cardio-pulmonary transplant, and after many complications, he died of septic shock, mesenteric ischemia and disseminated intravascular coagulation in the Italian Hospital of Mendoza, Argentina.

http://www.megaupload.com/?d=ZULY1DFA

01- Como Caja de Música
02- Ayer Aún
03- Ave de Paso
04- Con Los Ojos del Recuerdo
05- Después de la Guerra
06- Las Manos
07- Quiero Llenarme de Ti
08- Como Lo Hice Yo
09- Una Muchacha y Una Guitarra
10- Porque Yo Te Amo
11- Tengo
12- Así
13- París Ante Ti
14- Penumbras
15- Palabras Viejas
16- Rosa, Rosa
17- Dame
18- Guitarras al Viento
19- El Maniquí
20- Trigal
21- Te Propongo
22- La Vida Sigue Igual

·"The Heavy Heavy Hits" - Madness

2010-03-17T10:24:00.000-07:00

Madness are a British pop/ska band from Camden Town, London, that formed in 1976. In 2009, the band have continued to perform with their most recognised lineup of seven members, although their lineup has varied slightly over the years. They were one of the most prominent bands of the late-1970s 2 Tone ska revival. Madness achieved most of their success in the early to mid 1980s. Both Madness and UB40 spent 214 weeks on the UK singles charts over the course of the decade, holding the record for most weeks spent by a group in the 1980s UK singles charts. However, Madness achieved this in a shorter time period (1980–1986).

http://www.mediafire.com/?gaqu4zfjity

01- Prince
02- One Step Beyond
03- My Girl
04- Night Boat To Cairo
05- Baggy Trousers
06- Embarrassment
07- Los Palmas 7
08- Grey Day
09- Shut Up
10- It Must Be Love
11- Cardiac Arrest
12- House Of Fun
13- Driving In My Car
14- Our House
15- Tomorrow's Just Another Day
16- Wings Of A Dove
17- Sun And The Rain
18- Michael Caine
19- One Better Day
20- Yesterday's Men
21- Uncle Sam
22- Sweetest Girl
23- Waiting For The Ghost Train