DISC 1:
01. And Here We Are Again
02. Words Of Love
03. How About It, Gorgeous?
04. Do You Want To Know A Secret?
05. Lucille
06. Hey, Paul...
07. Anna -Go To Him-
08. Hello!
09. Please Please Me
10. Misery
11. I’m Talking About You
12. A Real Treat
13. Boys
14. Absolutely Fab
15. Chains
16. Ask Me Why
17. Till There Was You
18. Lend Me Your Comb
19. Lower 5E
20. The Hippy Hippy Shake
21. Roll Over Beethoven
22. There’s A Place
23. Bumper Bundle
24. P.S. I Love You
25. Please Mister Postman
26. Beautiful Dreamer
27. Devil In Her Heart
28. The 49 Weeks
29. Sure To Fall -In Love With You-
30. Never Mind, Eh?
31. Twist And Shout
32. Bye, Bye
33. John - Pop Profile -Bonus interview track-
34. George - Pop Profile -Bonus interview track-
DISC 2:
01. I Saw Her Standing There
02. Glad All Over
03. Lift Lid Again
04. I’ll Get You
05. She Loves You
06. Memphis, Tennessee
07. Happy Birthday Dear Saturday Club
08. Now Hush, Hush
09. From Me To You
10. Money -That’s What I Want-
11. I Want To Hold Your Hand
12. Brian Bathtubes
13. This Boy
14. If I Wasn’t In America
15. I Got A Woman
16. Long Tall Sally
17. If I Fell
18. A Hard Job Writing Them
19. And I Love Her
20. Oh, Can’t We? Yes We Can
21. You Can’t Do That
22. Honey Don’t
23. I’ll Follow The Sun
24. Green With Black Shutters
25. Kansas City/Hey-Hey-Hey-Hey!
26. That’s What We’re Here For
27. I Feel Fine -studio out-take-
28. Paul - Pop Profile -Bonus interview track-
29. Ringo - Pop Profile -Bonus interview track-
01- Twist and Shout
02- She's a Woman
03- Dizzy Miss Lizzy
04- Ticket to Ride
05- Can't Buy Me Love
06- Things We Said Today
07- Roll Over Beethoven
08- Boys
09- A Hard Day's Night
10- Help!
11- All My Loving
12- She Loves You
13- Long Tall Sally
The Beatles at the Hollywood Bowl is a live album released in May 1977 featuring songs compiled from two live performances at the Hollywood Bowl during August 1964 and August 1965. Initially, Capitol Records considered recording The Beatles' February 1964 concert at Carnegie Hall in New York, but could not obtain the necessary approval from the musicians' union to record the performance. Six months later, Bob Eubanks booked The Beatles' August 23, 1964 performance at the Hollywood Bowl in Los Angeles where Capitol recorded their only performance with the intent of releasing a live album in America. The sound quality of the tapes proved to be inadequate for commercial release; and, when The Beatles returned to the Hollywood Bowl a year later during their 1965 American tour, Capitol recorded their two performances at the same venue. The sound quality of the 1965 recordings was equally disappointing. Capitol did, however, utilize a 48-second excerpt of "Twist and Shout" from the 1964 Hollywood Bowl concert on the 1964 documentary album, The Beatles' Story. The Beatles were among the few major recording artists of the 1960s to not have issued a live album. Consequently, among Beatles fans, pent-up demand for a concert album continued to build. Despite the obvious demand for a live album, however, the tapes from the three Hollywood Bowl performances continued to sit untouched in a Capitol vault for more than ten years. Finally, in 1977, due to the release of the Live! at the Star-Club in Hamburg, Germany; 1962 (album consisting of a fifteen-year-old, poor-quality concert recording of the group performing in the Star Club in Hamburg) Capitol Record's parent company, EMI, decided to revisit the Hollywood Bowl recordings, and the Beatles' original producer George Martin was handed the tapes and asked to compile a listenable "official" live album. Martin was impressed with the performances, but disappointed with the sound quality of the recordings. In working on the three-track Hollywood Bowl concert tapes, Martin discovered quite a challenge. Anyway, he found the August 29, 1965 recording virtually useless, and except for a few edits taken from that performance to augment other performances from the folowing day, the album compiled by Martin consisted entirely of songs recorded on August 23, 1964 and August 30, 1965. In editing together the two performances, Martin successfully captured the excitement of a live Beatles concert with 17,000 screaming fans in this album. Despite the fact that the recordings on The Beatles at the Hollywood Bowl were between twelve and thirteen years old, the album reached No. 1 on the New Musical Express chart in the United Kingdom, and No. 2 on the Billboard chart in the United States. As of 2009, however, the album has yet to be released on compact disc in either country. Because The Beatles at the Hollywood Bowl was a compilation of two shows recorded a year apart, a number of songs performed at the two concerts were not included on the album. Songs from the 1964 show not included on the album are: "Twist and Shout", "You Can't Do That", "Can't Buy Me Love", "If I Fell", "I Want to Hold Your Hand", and "A Hard Day's Night". Songs from the 1965 show not included on the album are: "I Feel Fine", "Everybody's Trying to Be My Baby", "Baby's In Black", "I Wanna Be Your Man", and "I'm Down". "Baby's in Black", from the 1965 Hollywood Bowl concert (and included here) however, was issued as the B-Side of the 1996 reunion "Real Love" single.
01- Twist and Shout
02- She's a Woman
03- Dizzy Miss Lizzy
04- Ticket to Ride
05- Can't Buy Me Love
06- Things We Said Today
07- Roll Over Beethoven
08- Baby's in Black
09- Boys
10- A Hard Day's Night
11- Help!
12- All My Loving
13- She Loves You
14- Long Tall Sally
Bonus Tracks:
17- Twist and Shout (mono - DESS: The Beatles' Story)
15- Twist and Shout (stereo - DESS: The Beatles' Story)
16- All My Loving (Anthology DVD)
The final live performance by The Beatles, was recorded (and filmed) on January 30, 1969 on top of the Apple Building at 3 Savile Row, London. The full performance included "Get Back" (3 versions), "Don't Let Me Down" (2 versions), "I've Got A Feeling" (2 versions), "One After 909", "Dig A Pony" and "God Save The Queen" (which has surfaced on the German bootleg On the Rooftop, fatured here). Portions of this concert can be seen in the last segement of the Let It Be film.
00- (Warming up)
01- Get Back I
02- Get Back II
03- Don't Let Me Down I
04- I've Got a Feeling I
05- One After 9 0 9
06- Dig a Pony
07- I've Got a Feeling II
08- Don't Let Me Down II
09- Get Back III
The release of a live album containing the 1964 concert of the Beatles at the Hollywood Bowl was aborted by the Beatles themselves a few days later due to what they considered was a poor quality recording, so when The Beatles returned to the Hollywood Bowl the following year during their 1965 American tour, Capitol Records did record not only one but the two performances given by the group at that same venue, on 29 and 30 August 1965 respectively. Unfortunately, the sound quality of these 1965 recordings was equally disappointing (in fact the recording made in August 29 was virtually useless due to technical problems in one of the microphones), so this time Capitol sent to the group instead of an acetate record a rough mixed tape of the August 30 performance, tape which was again rejected by the Beatles just like the previous year recording and for more or less the same reasons. Original tapes remained unused at Capitol Records until 1971, when they were finally sent to Abbey Road studios in London. Here you’ll find the rough mix stereo tape of the recording made in August 30 1965 concert, featured altogether with the initially “discarded” 29 August 1965 concert master tape.
Rough Stereo mix tape, 30 August 1965:
01- Twist & Shout
02- She's a Woman
03- I Feel Fine
04- Dizzy Miss Lizzy
05- Ticket to Ride
06- Everybody's Trying To Be My Baby
07- Can't Buy Me Love
08- Baby’s In Black
09- I Wanna Be Your Man
10- A Hard Day's Night
11- Help!
12- I'm Down
Original Unmixed master tape, 29 August 1965:
13- Tuning
14- Twist & Shout
15- She's a Woman
16- I Feel Fine
17- Dizzy Miss Lizzy
18- Ticket to Ride
19- Everybody's Trying To Be My Baby
20- Can't Buy Me Love
21- Baby’s In Black
22- I Wanna Be Your Man
23- A Hard Day's Night
24- Help!
25- I'm Down
On February 12, 1964 Capitol Records considered recording The Beatles' concert at Carnegie Hall in New York, but at last minute they could not obtain the necessary approval from the Musicians Union to record the performance. Six months later, Bob Eubanks booked The Beatles' August 23, 1964 performance at the Hollywood Bowl in Los Angeles where Capitol did record their performance with the intent of releasing a live album at least in America. Only four days after the concert (on 27 August 1964) the recording was mixed by Capitol Records’ producer Voyle Gilmore and balance engineer Hugh Davies. On September 3 an acetate was cut, and on September 16 that acetate containing the intended commercial release was sent to the Beatles. Brian Epstein, George Martin and the Beatles themselves were not fully satisfied with the results considering it was inadequate for a commercial release due to the sound quality of the recording, and the project was stopped. Capitol, however, utilized a 48-second excerpt of "Twist & Shout" from that 1964 Hollywood Bowl concert on the 1964 documentary double album, The Beatles' Story. In 1969 the original master tape was sent to Abbey Road, in London, and thirteen years later of being recorded (and after being properly filtered, equalized, and edited this time by George Martin) half of this concert was finally released as part of the LP The Beatles at the Hollywood Bowl, album which for some unknown reason remains unreleased on CD until this day. Here you’ll be able to add to your collection that original mono mix for the 1964 acetate, plus the original stereo unedited master tape of the same concert. Enjoy it!
Original acetate mono mix:
01 - Twist & Shout
02 - You Can’t Do That
03 - All My Loving
04 - She Loves You
05 - Things We Said Today
06 - Roll Over Beethoven
07 - Can't Buy Love
08 - If I Fell
09 - I Want To Hold Your Hand
10 - Boys
11 - A Hard Day’s Night
12 - Long Tall Sally
Original stereo master tape:
13 - Introduction
14 - Twist & Shout
15 - You Can’t Do That
16 - All My Loving
17 - She Loves You
18 - Things We Said Today
19 - Roll Over Beethoven
20 - Can't Buy Love
21 - If I Fell
22 - I Want To Hold Your Hand
23 - Boys
24 - A Hard Day’s Night
25 - Long Tall Sally
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.
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
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
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.
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
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.
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
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?".
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
01- Nothin’ Shakin’ [But the Leaves on the Tree] 02- I Saw Her Standing There II 03- To Know Her Is To Love Her 04- Everybody’s Trying to Be My Baby 05- Till There Was You 06- Where Have You Been All My Life? 07- Lend Me Your Comb 08- Your Feet’s Too Big 09- I’m Talkin’ Bout You 10- A Taste of Honey II 11- Matchbox 12- Little Queenie 13- Roll Over Beethoven II
Set 4 – Recorded December 31st 1962:
14- Road Runner 15- The Hippy Hippy Shake 16- A Taste of Honey III 17- Money [That’s What I Want]
Bonus Tracks*:
18- Sparkling Brown Eyes 19- Lovesick Blues 20- First Taste of Love 21- Dizzy Miss Lizzy 22- Hully Gully +
*By King Size Taylor & The Dominoes, except + by Cliff Bennett & The Rebel Rousers.
Live! At the Star-Club in Hamburg, Germany; 1962! was a double album featuring live performances by The Beatles, recorded in late December 1962 at the Star-Club during their final Hamburg residency. The album was released in 1977 in two different versions, comprising a total of 30 songs by The Beatles. Assessments of the album often weigh the poor sound quality against the historic importance and insight provided into The Beatles' early stage act. Rolling Stone reviewer John Swenson called the album "poorly recorded but fascinating" and commented that it showed The Beatles as "raw but extremely powerful." Q Magazine described the recordings as having "certain historical interest" and remarked: "The show seems like a riot but the sound itself is terrible – like one hell of a great party going on next door." George Harrison gave the assessment: "The Star-Club recording was the crummiest recording ever made in our name!" The recording equipment and method resulted in the tapes being unmistakably low fidelity. These performances were recorded on a home tape machine using a single microphone placed over the stage. The vocals, even in the best cases, sound "somewhat muffled and distant", and on a few songs are so indistinct that labeling and liner notes on early releases gave incorrect information about who was singing and the exact song being performed. Much of The Beatles' dialogue between songs is audible, which includes addressing the audience in both English and German, as well as repartee among themselves. The banter is irreverent and coarse at times, an aspect of their stage act that would soon cease under the influence of manager Brian Epstein and playing in theatres instead of night-clubs. Ted "Kingsize" Taylor, the owner of the tapes, began to investigate possible marketing of the tapes in 1973. The tapes were eventually bought by Paul Murphy and subjected to extensive audio processing to improve the sound, leading to the 1977 album. Although the poor sound quality limited its commercial appeal, the album provided historic insight into the group's club act in the period just after Ringo Starr joined but before the emergence of Beatlemania. The Beatles were unsuccessful in legally blocking the initial release of the album; the recordings were reissued in many forms until 1998, when The Beatles were awarded full rights to the performances. The tapes were originally described as having been recorded in May 1962, but that was only an attempt to pre-date The Beatles' June 1962 contract signing with Parlophone. However, song arrangements and dialogue from the tapes pointed to late December 1962, and a recording date of 31 December 1962 (the group's last day in Hamburg) was commonly cited. Later researchers have proposed that the tapes are from multiple days during the last week of December, which is consistent with original Beatles manager Allan Williams' description that a total of about three hours was recorded over three or four sessions between Christmas and New Year's Day. The tapes captured The Beatles performing at least 33 different titles, plus some repeated songs. Of the 30 songs that were commercially released from the tapes, only two were Lennon/McCartney compositions. The others were an assortment of cover versions, seventeen of which would be re-made by The Beatles and appear on their various studio albums or later on Live at the BBC. The arrangements played at the Star-Club are similar to the versions recorded later, albeit less refined, although there are a few cases with distinct differences. Here you have those recordings and also featured as found on the original tapes.
01- Be-Bop-A-Lula 02- I Saw Her Standing There 03- Hallelujah I Love Her So 04- Red Hot (incomplete) 05- Sheila 06- Kansas City / Hey! Hey! Hey! Hey! 07- I Wish I Could Shimmy Like My Sister Kate 08- Reminiscing 09- Red Sails in the Sunset 10- Sweet Little Sixteen 11- Roll Over Beethoven 12- A Taste of Honey (incomplete) 13- Ask Me Why 14- Long Tall Sally 15- Bésame Mucho 16- I’m Gonna Sit Right Down and Cry Over You 17- Twist and Shout 18- Mr. Moonlight 19- Falling In Love Again [Can’t Help It] 20- I’m Talkin’ Bout You 21- I Remember You
In 2007, Joan Manuel Serrat and Joaquín Sabina went on tour together. The show was called Dos Pájaros de un Tiro (Two Birds with One Stone) and they recorded a CD of it, which also includes a DVD of the concert and a documentary.
01- Ocupen Su Localidad + Hoy Puede Ser Un Gran Día 02- Aves de Paso 03- Y Sin Embargo 04- No Hago Otra Cosa Que Pensar en Ti 05- Contigo 06- A la Orilla de la Chimenea 07- Aquellas Pequeñas Cosas + Ruido + El Muerto Vivo 08- Es Caprichoso el Azar 09- Pacto de Caballeros 10- Noche de Bodas 11- Mediterráneo 12- 19 Días y 500 Noches 13- Pastillas Para No Soñar 14- Despedida 15- Paraules d'Amor 16- Lucía + La del Pirata Cojo 17- Calle Melancolía 18- Que se Llama Soledad + Para la Libertad
Here is the third the Stones’ UK LP, released on 24 September, 1965. It was initially issued in July 1965 in America, and it was a mish-mash of studio recordings over a six month period. With the benefit of new songs being recorded that September plus a different album cover, the British version of Out of Our Heads dropped the live track (I’m Alright) and recent hit singles (singles were rarely featured on albums in the UK in those times), and added exclusive songs that would surface later in 1965 in the US on December's Children (And Everybody's) in addition to songs that hadn't been released in the UK thus far. Issued later that September, Out of Our Heads reached #2 in the UK charts behind The Beatles' Help!. It would also be The Rolling Stones' last UK album to predominantly feature R&B covers, with Mick Jagger and Keith Richards becoming far more prolific writers before 1965 was out. Again singles and the recorded-live EP Got Live if You Want It are included.
01- She Said Yeah 02- Mercy, Mercy 03- Hitch Hike 04- That’s How Strong My Love Is 05- Good Times 06- Gotta Get Away 07- Talkin’ Bout You 08- Cry To Me 09- Oh Baby (We Got A Good Thing Going) 10- Heart of Stone 11- The Under Assistant West Coast Promotion Man 12- I’m Free
Singles:
13- The Last Time 14- Play With Fire 15- (I Can’t Get No) Satisfaction 16- The Spider and The Fly 17- One More Try 18- Get Off My Cloud 19- The Singer, Not the Song 20- Look What You’ve Done 21- Blue Turns to Grey
EP:
22- We Want The Stones 23- Everybody Needs Somebody to Love 24- Pain in My Heart 25- Route 66 25- I’m Moving On 27- I’m Alright
Before he jumped, jived, and wailed to the top of the pop charts, and long before radio, video, or press had noticed what was going on, a Brian Setzer Orchestra performance was captured live for the first time at the Montreal Jazz Festival on June 30, 1995. This show represented a turning point in the band's evolution from '40s style big band swing to the powerful balls-to-the-wall rock 'n' roll outfit that sold millions, earned 3 Grammys, and is still going strong. Experience that One Rockin' Night the Orchestra charted its new musical course and never looked back.
01- Intro 02- James Bond Theme [Spies In the Night] 03- Hoodoo Voodoo Doll 04- Good Rockin’ Daddy 05- Your True Love 06- My Baby Only Cares For Me 07- Brand New Cadillac 08- Sittin’ On It 09- Ghost Radio 10- [Everytime I Hear] That Mellow Saxophone 11- Rumble in Brighton 12- Route 66 13- Rock This Town 14- As Long as I’m Singin’ 15- Honky Tonk
01- Intro 02- Rock & Roll Music 03- She's a Woman (fragment) 04- Baby's in Black 05- I Feel Fine 06- Yesterday 07- I Wanna Be Your Man 08- Intro by John Lennon 09- Nowhere Man 10- I'm Down
Budokan Hall, Tokyo, 30/6/66
11- Intro 12- Rock & Roll Music 13- She's a Woman 14- If I Needed Someone 15- Day Tripper 16- Baby's in Black 17- I Feel Fine 18- Yesterday 19- I Wanna Be Your Man 20- Nowhere Man 21- Paperback Writer 22- I'm Down 23- Outro
Candlestick Park, San Francisco, 29/8/66
24- Rock & roll Music 25- She's a Woman 26- If I Needed Someone 27- Day Tripper 28- Baby's in Black 29- I Feel Fine 30- Yesterday 31- I Wanna Be Your Man 32- Nowhere Man 33- Paperback Writer 34- Long Tall Sally (incomplete)
01- My Happiness 02- That's when Your Heartaches Begin
Compiled Live Tracks (1954/55):
03- That's Allright Mama 04- Hearts of Stone 05- That's All right Mama 06- Money Honey 07- Blue Moon of Kentucky 08- I Don't Care If the Sun Don't Shine 09- That's Allright Mama
Lubbock Acetate:
10- Shake Rattle & Roll 11- Fool Fool Fool
More Compiled Live Tracks (1955/56):
12- Good Rockin' Tonight 13- Tweedle Dee 14- Baby, Let's Play House 15- Maybelline 16- Heartbreak Hotel 17- Long Tall Sally 18- I Was The One 19- Money Honey 20- Blues Suede Shoes 21- Hound Dog 22- Heartbreak Hotel 23- Long Tall Sally 24- Blues Suede Shoes 25- Money Honey 26- I Was The One 27- Love Me Tender 28- Elvis has left the building...
Les Luthiers is a comedy-musical group from Argentina, very popular also in several other Spanish-speaking countries such as Spain, Uruguay, Chile, Venezuela. Colombia, Paraguay, Peru and Ecuador. They were formed in 1967 by Gerardo Masana, during the height of a period of very intense Choral Music activity in Argentina's state universities. Their outstanding characteristic are the home-made musical instruments (hence the name luthiers, French for "musical instrument maker"), some of them extremely sophisticated, which they skillfully employ in their recitals to produce music and texts full of high class and refined humor. Les Luthiers began writing humorous pieces primarily in a Baroque style, especially imitating vocal genres such as cantatas, madrigals and serenatas. Later, they diversified into humorous renditions of music in other genres, from romantic lieder and opera to pop, mariachi and even rap. Their stage show is often intermingled with humorous skits, often involving absurd situations, the music and biography of fictional composer Johann Sebastian Mastropiero and a heavy reliance on fairly sophisticated word play. Much of the humor derives from the basic contradictions between the formality and highly developed vocal and instrumental technique of classical musicians and the sheer silliness of their show. Three members of the group also provided their voices for the pigeons in the Latin American and Spanish dubbings of the 2008 Disney film, Bolt. Les Luthiers are known in particular for employing a diverse ensemble of invented instruments created from common, everyday materials. The group's first home-made musical instrument, the bass-pipe a vara (a sort of trombone), was created by Gerardo Masana, the founder of the group, by joining cardboard tubes found in the garbage and miscellaneous items. Forty years later, this instrument is still being used on stage. The first informal instruments were relatively simple, like the Gum-Horn, made with a hose, a funnel and a trumpet's mouthpiece, and some of them were born as a parody of musical instruments, which is the case of the latín (referred to in English as fiddlecan) and the violata, bowed instruments whose resonating chambers are made out of a large tin for processed ham and a paint can respectively, the marimba de cocos, a marimba made out of coconuts, and others. Inventor and instrument-maker Carlos Iraldi (1920 - 1995), as "Les Luthiers' luthier", was responsible for inventing several more sophisticated instruments, including the mandocleta, a bicycle whose rear wheel moves the strings of a mandolin, the bajo barríltono, a Double bass whose body is a giant barrel, and others. After Iraldi's death in 1995 Hugo Domínguez took his place, and made instruments such as the desafinaduccia, the nomeolbídet etc. Current members are Carlos López Puccio (Bowed Strings -violin, viola, cello-, synthesizers, vocals, percussion, dactilophone, etc.), Jorge Maronna (vocals, fretted strings -guitar, bass, banjo, charango, lute-, cello, synthesizers, etc.), Marcos Mundstock (vocals, percussion, trumpet, synthesizer, etc.), Carlos Núñez Cortés (piano, vocals, recorder, piccolo, Bunsen flute, synthesizer, etc.), Daniel Rabinovich (vocals, guitar, violin, bass-pipe, sousaphone, recorder, drums, etc.); and former members were Gerardo Masana ( -founder, died in 1973- (guitar, bass-pipe, vocals, percussion, etc.), and Ernesto Acher -left the group in 1986- (piano, horn, trumpet, clarinet, drums, synthesizers, cello, vocals, etc.) 'Mastropiero que nunca' was a theatrical humour/music show by Les Luthiers, first performed on Friday 9 September 1977 and last done on Sunday 27February 1983 (although it was headlining only during 1977 and 1978). It consisted of nine new (never performed previously) live numbers, which ranged from a madrigal to a salsa skit.
1- Jingle Bass-Pipe: A taped intro for the show, employing Marcos Mundstock's voice (as broadcaster) using puns. 2- La Bella Y Graciosa Moza (The Beautiful Gracious Lass): A madrigal with humour relying again on puns. Sung (and probably written) by Marcos Mundstock. 3- El Asesino Misterioso (The Mysterious Killer): A long film advert, featuring Carlos Lopez Puccio playing the shoephone (a new instrument invented for the show). 4- Visita A La Universidad De Wildstone (Visit To Wildstone College): A short fake documentary, featuring Ernesto Acher playing another new instrument, the Calephone. 5- El Beso De Ariadna (Ariadna's kiss): Three different versions of a love song, all of them sung by Daniel Rabinovich. 6- Poemas de Gemini (Gemini’s Poem) 7- Lazy Daisy: A music-hall number written and sung in English. 8- Payada De La Vaca (Cow's Payada): A musical duel between two Argentinian folkloric payadores (played by Jorge Maronna and Daniel Rabinovich). 9- Cantata Del Adelantado Don Rodrigo Díaz De Carreras, De Sus Hazañas En Tierras De Indias, de Los Singulares Acontecimientos En Que Se Vio Envuelto y De Cómo Se Desenvolvió: A long cantata including several folkloric passages, about a fictional Spaniard adelantado who'd pre-discovered South America.
