Blackmore's Night is a Renaissance-inspired folk rock band led by Ritchie Blackmore (electric and acoustic guitar) and Candice Night (lyricist and lead vocals). Their debut album Shadow of the Moon was a success, particularly in Europe. In subsequent albums, particularly Fires at Midnight, there was an increased incorporation of rock guitar into the music, whilst maintaining a folk rock direction. Over time, Candice Night has increasingly participated instrumentally as well as singing the vocals, and is competent in a wide variety of Renaissance instruments. The group performs at Renaissance fairs and Renaissance Festivals, as well as in stand-alone concert tours in appropriate venues including 'castle tours' of Europe, where they perform in historic surroundings for an audience dressed largely in period costume. The band has been successful enough to inspire a number of international tribute bands including: Renaissance Night and the Italian Morning Star.
01- Shadow of the Moon 02- The Clock Ticks on 03- Be Mine Tonight 04- Play Minstrel Play 05- Ocean Gypsy 06- Minstrel Hall 07- Magical World 08- Writing on the Wall 09- Renaissance Faire 10- Memmingen 11- No second Chance 12- Mond Tanz 13- Spirit of the Sea 14- Greensleeves 15- Wish You Were Here
Joan Manuel Serrat's first LP sung in Spanish (1968). He's been recording since 1965 but only in Catalan. This album was originally a compilation of different singles plus a couple of songs recorded specifically for this release. This is the super-rare stereo master unreleased on CD until this day. Also, here it features some singles from 1969 and alternate takes as bonus, plus the controversial Eurovision single "La La La" which was retired in 1968 due to Serrat's decision to sing in Catalan instead of Spanish in Eurovision (in fact he was vetoed from Spanish radio and TV) also remaining unreleased since 1968.
01- La Paloma 02- El Titiritero 03- Poco Antes de que Den las Diez 04- En Nuestra Casa 05- Manuel 06- Tu Nombre Me Sabe a Hierba 07- Poema de Amor 08- Balada de Otoño 09- En Cualquier Lugar 10- Mis Gaviotas
Contemporary Single:
11- Penélope 12- Tiempo de Lluvia
Bonus Tracks:
13- Manuel (versión 2) 14- Poco Antes de que Den las Diez (versión 2) 15- Manuel (versión 3)
King Creole is the sixth album by Elvis Presley, issued on RCA Victor Records, LPM 1884, in September 1958, recorded in three days at Radio Recorders in Hollywood. It contains songs written and recorded expressly for the film, and peaked at #2 on the Billboard Top Pop Albums chart. It followed the film release by over ten weeks. The bulk of the songs originated from the stable of writers contracted to Hill and Range, the publishing company jointly owned by Presley and Colonel Tom Parker: Fred Wise, Ben Weisman, Claude Demetrius, Aaron Schroeder, Sid Tepper, and Roy C. Bennett. Conspicuous in their relatively limited contribution were Jerry Leiber and Mike Stoller, who had come to an impasse with the Colonel during the making of the previous movie, Jailhouse Rock, in which they had practically dominated the musical proceedings. Furious over mere songwriters having such easy access to Presley without going through Parker's "proper channels," the Colonel closed off their avenue to his prize client, especially since the duo had also tried to influence Presley's film direction, pitching him an idea to do a gritty adaption of Nelson Algren's recent novel "A Walk on the Wild Side" with Elia Kazan directing, and Leiber & Stoller providing the music. The Colonel put the kibosh on such notions, although echoes of the concept remained in the film, and the pair still managed to place three songs on the soundtrack, including the title track and "Trouble", arguably the film's best songs. Presley's performance of "Trouble" in the film alludes to Muddy Waters and Bo Diddley; he would return to the song for his tremendously successful television comeback special. The songs "Hard Headed Woman" and "Don't Ask Me Why" appeared as two sides of a single on July 10, 1958, to coincide with the release of the film. "Hard Headed Woman," the A-side, and "Don't Ask Me Why" both made the pop singles chart, peaking at #1 and #25 respectively. The album was reisued for compact disc in an expanded edition on April 15, 1997, and again in an audiophile version from Japan on August 25, 2005. For the both reissues, an additional seven tracks were added, including the song "Danny" taken from the same sessions, with six more songs.
01- King Creole 02- As Long As I Have You 03- Hard Headed Woman 04- Trouble 05- Dixieland Rock 06- Don't Ask Me Why 07- Lover Doll 08- Crawfish 09- Young Dreams 10- Steadfast, Loyal and True 11- New Orleans
Bonus Tracks:
12- Danny 13- Wear My Ring Around Your Neck 14- I Need Your Love Tonite 15- A Big Hunk O'Love 16- Ain't That Loving You Baby 17- (Now and Then) There's a Fool Such as I 18- I Got Stung
01- Y si Amanece Por Fin 02- Y sin Embargo 03- Vámonos Pa'l Sur 04- Siete Crisantemos 05- Por el Boulevard de los Sueños Rotos 06- Peor Para el Sol 07- Mentiras Piadosas 08- La del Pirata Cojo 09- La Canción Más Hermosa del Mundo 10- Jugar Por Jugar 11- Inlcuso en Estos Tiempos 12- Eclipse de Mar 13- El Blues de lo que Pasa en Mi Escalera 14- Contigo 15- Con la Frente Marchita 16- Como un Explarador 17- Camas Vacías 18- A la Orilla de la Chimenea 19- Aves de Paso 20- Amor se Llama el Juego
Progressive rock band from Argentina formed in the late '70s by keyboardist Charly García, guitarist David Lebón, bassist Pedro Aznar, and drummer Oscar Moro. After leading a group called "La Máquina de Hacer Pájaros", García moved to Brazil to start his new project. In 1978 Serú Girán's forst LP was released after recording sessions in São Paulo and Los Angeles, U.S., having Daniel Goldberg in charge of its orchestral arrangements. That album was presented first to music journalists and later at Buenos Aires' Luna Park. The press was pleased, but music fans weren't prepared for the experimental style played by the band. The mixed response drove Serú Girán to release a less complicated album in 1979 called "La Grasa De Las Capitales", presented live at the Buenos Aires' Auditorium. "Bicicleta", their best work, came in 1980 followed by a show at the Monterrey Jazz Festival in Rio de Janeiro. Finally "Peperina" was released in 1981. The band decided to break up after two shows at Obras Sanitarias in March 1982. Drummer Oscar Moro died in Buenos Aires on July 11th, 2006.
01- A los Jóvenes de Ayer 02- Cuánto Tiempo Más Llevará 03- Canción de Alicia en el País 04- La Luna de Marzo 05- Mientras Miro las Nuevas Olas 06- Desarma y Sangra 07- Tema de Nayla 08- Encuentro Con el Diablo
In 2008 B.B. King returns to his blues roots with the help of producer T Bone Burnett on "One Kind Favor,". The legendary artist is backed on the effort by pianist Dr. John, drummer Jim Keltner and bassist Nathan East. The track list includes such blues chestnuts as Big Bill Broonzy's "Backwater Blues," Lonnie Johnson's "Tomorrow Night," Blind Lemon Jefferson's "See That My Grave Is Kept Clean" and T-Bone Walker's "I Get So Weary." Believe me, this is a truly WONDERFUL disc. Recommended.
01- See That My Grave Is Kept Clean 02- I Get So Weary 03- Get These Blues Off Me 04- How Many More Years 05- Waiting For Your Call 06- My Love Is Down 07- The World Gone Wrong 08- Blues Before Sunrise 09- Midnight Blues 10- Backwater Blues 11- Sitting On Top Of The World 12- Tomorrow Night
Alberto Castillo (December 7, 1914 – July 23, 2002) was a prominent Argentine tango singer and actor. He was born Alberto Salvador De Lucca in the Buenos Aires barrio of Mataderos as the son of Italian immigrants Salvador De Lucca and Lucia Di Paola, made his professional debut in the 1930s and began a successful recording career in 1941. Soon afterwards he had a hit with his interpretation of the tune “Recuerdo”. With his keen sense of rhythm and his tendency to go hoarse, Castillo made a name for himself as the main interpreter of the black-oriented genres of candombe and milonga. One of his most successful recordings was "Cien Barrios Porteńos" (The hundred barrios of Buenos Aires), to the point that presenters would announce him as "the singer of the 100 barrios". Beginning in 1946, Castillo appeared in a number of Argentine films. Castillo was also a physician by training. This fact famously convinced his fiancee's parents to let her marry Alberto (being "just a tango singer" would not have been enough), and was dramaticised in the Argentine movie "Luna de Avellaneda", when Castillo volunteers to deliver a baby at a carnival fair right after finishing his set. Among his later releases was a cover of his candombe hit “Siga el Baile”, recorded with Argentine band Los Auténticos Decadentes in the late 90's.
01- Recuerdo Malevo 02- Madame Ivonne 03- La Copa del Olvido 04- Esta Noche Me Emborracho 05- Cómo Se Pianta la Vida 06- Muñeca Brava 07- Cuatro Compases 08- Así se Baila el Tango 09- Moneda de Cobre 10- Con los Amigos 11- Nubes de Humo 12- La Cumparsita 13- El Choclo 14- Mentira 15- La Pulpera de Santa Lucía 16- Silbando 17- Los Cien Barrios Porteños 18- Adiós Pampa Mía 19- Un Tropezón 20- La Última Copa 21- Mi Noche Triste 22- Las Violetas 23- Petitero 24- ¿Dónde Estás Corazón? 25- Garufa 26- Ninguna 27- Barrio Pobre 28- Por Cuatro Días Locos 29- Siga el Baile
Mr. Tambourine Man is the debut album by the American folk-rock band, The Byrds. It peaked at #6 on the Billboard Top Pop Albums chart, staying on the charts for 38 weeks; it also went to #7 in Great Britain. The single of the same name, Bob Dylan's "Mr. Tambourine Man," had been released on April 12, 1965, and went to #1 on both the Billboard Hot 100 and in the UK; another single and Dylan cover from the album, "All I Really Want to Do," just made the Top 40, peaking at #40. The "Mr. Tambourine Man" single instantly established the band on both sides of the Atlantic, introducing the new genre of folk rock. Its most distinctive features were the vocal harmonies of Gene Clark, Jim McGuinn and David Crosby, and McGuinn's twelve-string Rickenbacker guitar playing (which complemented the lyric's "jingle jangle morning"). Another notable element was the busy, melodic bass playing, with session bassist Larry Knechtel doing a good imitation of Byrds bassist Chris Hillman's style, influenced by the latter's background as a mandolin player. This combination became the band's signature sound in this early period. Rolling Stone selected this album as number 232 for their List of Rolling Stone's 500 Greatest Albums of All Time. Here you have the 1996 re-issue remixed and remastered at 20-bit resolution including 6 bonus tracks, plus 2 more tracks from their following LP (Turn! Turn! Turn!) and its seven bonus tracks, including three alternates and the Clark b-side "She Don't Care About Time".
01- Mr Tambourine Man 02- I'll Feel a Whole Lot Better 03- Spanish Harlem Incident 04- You Won't Have to Cry 05- Here Without You 06- The Bells of Rhymney 07- All I Really Want to Do 08- I Knew I'd Want You 09- It's No Use 10- Don't Doubt Yourself, Babe 11- Chimes of Freedom 12- We'll Meet Again
Bonus tracks:
13- She Has a Way 14- I'll Feel a Whole Lot Better (alternate version) 15- It's No Use (alternate lead guitar overdub) 16- You Won't Have to Cry (alternate vocal track/take 2) 17- All I Really Want to Do (original single mix) 18- You And Me (instrumental backing track - take 13) 19- Turn! Turn! Turn! [To Everything There is a Season] 20- The Times They Are A-Changin' 21- The Day Walk [Never Before] 22- She Don't Care About Time (original single mix) 23- The Times They Are A-Changin' (original single mix) 24- It's All Over Now, Baby Blue (version one) 25- She Don't Care About Time (version 1 - take 2) 26- The World Turns All Around Her (alternate mix) 27- Stranger In A Strange Land (instrumental)
Eydie Gorme (alternative spelling Eydie Gormé); born Edith Gormezano, August 16, 1931) is an American singer credited heavily, along with husband Steve Lawrence, with helping to keep the classic Traditional pop music repertoire alive and well. Throughout her long career she has been the recipient of numerous awards, including the Grammy Award and the Emmy Award. Gormé also gained crossover success in the Latin music market through two albums she made in Spanish with the famed Trio Los Panchos. In 1964, the two acts joined forces for a collection of Spanish-language standards called "Amor". Their recording of the song "Sabor a Mi" became closely identified with Gormé and has emerged as one of her signature tunes. The disc was later reissued as "Canta en Español". In 1965, a sequel appeared called "More Amor" (later reissued as "Cuatro Vidas"). Her last album with Los Panchos was a 1966 Christmas collection, Navidad Means Christmas, later reissued as Blanca Navidad. Gormé also recorded other Spanish albums in her career, including the Grammy-nominated "La Gormé" (1976), a contemporary outing. The 1977 release Muy Amigos/Close Friends, a duet collection with Puerto Rican singer Danny Rivera, also received a Grammy nomination. Los Panchos were first formed in 1944 in New York City by Alfredo Gil (Mexican), Chucho Navarro (Mexican) and Hernando Aviles (from Puerto Rico). Each member of Los Panchos played a guitar and sang with unequalled harmony. Los Panchos reached fame internationally with their romantic songs (boleros), especially in Latin America, where sold millions of album copies within a few years of being founded. Between 1946 to 1948, Los Panchos performed in the United States, including a performance at Radio City Music Hall in New York City. Los Panchos first began touring internationally in 1946. Later that year, Los Panchos moved to Mexico, considered the capital of Spanish-language music where many Latin and Iberian artists have jumped to international fame. In 1951, Los Panchos launched another international tour across Latin America. Singers were Johnny Albino & Chucho Navarro, and alos famously worked with singer Eydie Gorme on a series of bestselling albums in the 60's. Alfredo Gil played with Los Panchos until his retirement in 1981 and Chucho Navarro played with the group until his death in 1993.
01- Nosotros 02- Piel Canela 03- Y... 04- Sabor a Mí 05- Noche de Ronda 06- Caminito 07- Cuando Vuelva a tu Lado 08- Di Que No Es Verdad 09- La Última Noche 10- Historia de un Amor 11- Media Vuelta 12- Amor 13- Vereda Tropical 14- No Te Vayas Sin Mí 15- Desesperadamente 16- Oración Caribe 17- Flores Negras 18- Mala Noche 19- Cuatro Vidas 20- Nochecita 21- Guitarra Romana 22- Fuego Bajo Tu Piel 23- Más Amor 24- Luna Lunera
Towards the end of 1967 Los Shakers were continuing to absorbe more influences from the outside and further expanding upon the Latin rhythm and melody styles in their music in latter-day singles as "Lovely Lola". Osvaldo says: ""Lovely Lola" was shooting for the "Never, Never" follow up, with some kind of Brazilian influence there. We liked to play samba a lot. Also, we listened to a lot of classical music and a lot of Piazzolla at that time. On "Higher Than a Tower" we had Pelín playing bandoneon, which was what Piazzolla used to play." The "Nuevo Tango" of Astor Piazzolla, which flaunted tradition by encompassing jazz and modern classical influences, was to have a great effect on the group's final album, "La Conferencia Secreta del Toto's Bar" (The Top Secret Toto's Bar Conference). Much have been made of the obvious debt "La Conferencia..." owes to "Sgt. Pepper", but just a cursory listen reveals a synthesis of ideas that are very much the band's own. "La Conferencia..." was artistically a major achievement, but at the same time it was recorded with the knowledge that the record would be the band's last. The musicians were tired of playing the "South-American Beatles" rol which was constantly imposed by their record company. Long live Los Shakers!!!!
01- The Top Secret Toto’s Bar Conference - 26/6/67 + My Aunt Clementine - 03/4/68 02- Candombe - ?/ ?/6? 03- On A Tuesday I Watch Channel 36 - 05/12/67 04- The Shape of a Rainbow - 20/12/67 05- B.B.B. Band - 23/4/68 06- I Remember My World - 11/12/67 07- The Pine and the Rose - 13/1/68 08- Mr. Highway, the Enchanted - 29/6/68 09- Higher Than a Tower - 04/4/68
Bonus Tracks:
10- Marilú (single mono version) - 12/4/67 11- Si Lo Supiera Mamá - 15/4/67 12- When I’m Sixty Four (mono mix) - 24/8/67 13- Lovely Lola (mono mix) - 24/8/67
Rarities:
14- Sólo Bailo Samba - ?/3/67 15- Un Hombre y Una Mujer - ?/3/67 16- Nunca, Nunca - ?/3/67 17- Marilú II (stereo version) - ?/3/67 18- Submarino Amarillo - ?/3/67 19- Marabú - 14/4/67 20- Lovely Lola (from master tape + studio chat) - 24/8/67
"Flowers" is a U.S. only compilation album by The Rolling Stones, released in 1967. The album is a mishmash of previously recorded tracks. The songs either appeared as singles, had been omitted from the American versions of Aftermath and Between the Buttons, were collected from studio sessions dating back to 1965, or are reissues of songs recently released on other albums. Three tracks had never been released. "My Girl" from the Out of Our Heads sessions (1965), and "Ride On, Baby" and "Sittin' On A Fence" from the Aftermath sessions (1966). The title refers to the album's cover, with flower stems underneath the portrait of each band member. Bassist Bill Wyman claims that Mick Jagger and Keith Richards deliberately arranged the stem of Brian Jones's flower so that it had no leaves, as a prank. He later stated that "I didn't get the joke". The portraits are from the UK version of Aftermath. "Flowers" reached #3 in the US during the late summer of 1967 and went gold. In August 2002 it was remastered and reissued on CD and SACD digipak by ABKCO Records. Here's featured with two bonus tracks.
01- Ruby Tuesday 02- Have You Seen Your Mother, Baby, Standing In The Shadow? 03- Let's Spend The Night Together 04- Lady Jane 05- Out Of Time 06- My Girl 07- Back Street Girl 08- Please Go Home 09- Mother's Little Helper 10- Take It Or Leave It 11- Ride On Baby 12- Sittin' On A Fence
"Jailhouse Rock" is a song written by Jerry Leiber and Mike Stoller that first became a hit recorded by Elvis Presley. The song was first released as a 45 RPM single on September 24, 1957, to coincide with the release of Presley's motion picture of the same name. Composer Mike Stoller can be seen playing piano in the film presentation of the song. The single, with its B-side "Treat Me Nice," was a US #1 hit for 7 weeks in the fall of 1957, and a UK #1 hit for three weeks early in 1958. Also in 1957, "Jailhouse Rock" was the lead song in an EP (extended play single), together with other songs from the film, namely "Young and Beautiful," "I Want to be Free," "Don't Leave Me Now," and "(You're So Square) Baby I Don't Care." It topped the Billboard EP charts, eventually selling an additional two million copies and earning another double-platinum RIAA certification. In 2005, the song was re-released in the UK and reached #1 for a single week. The song, which is an example of simple verse form, eventually sold four million copies in the US, thus earning a Double Platinum certification by the RIAA. Also is #67 on Rolling Stone's list of The 500 Greatest Songs of All TimE and was named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
01- Jailhouse Rock 02- Young and Beautiful 03- I Want to Be Free 04- Don't Leave Me Now 05- (You're So Square) Baby I Don't Care 06- Treat Me Nice
Bonus Tracks:
07- Poor Boy 08- Let Me 09- We're Gonna Move 10- All Shook Up 11- (There'll Be) Peace in the Valley 12- That's When Your Heartaches Begin 13- One Night 14- Blue Christmas 15- Santa Claus is Back in Town 16- Don't 17- Doncha' Think it's Time 18- You're Cheatin' Heart
"The Who Sell Out" is the third album by The Who, released in 1967. It is a concept album, formatted as a collection of unrelated songs interspersed with faux commercials and public service announcements. The album purports to be a broadcast by pirate radio station Radio London. Part of the intended irony of the title was that The Who were actually making commercials during that period of their career, some of which are included as bonus tracks on the remastered CD. The album's release was reportedly followed by a bevy of lawsuits due to the mention of real-world commercial interests in the faux commercials and on the album covers, and by the makers of the real jingles (Radio London jingles), who claimed The Who used them without permission. (The jingles were produced by PAMS Productions of Dallas, Texas, which created thousands of station ID jingles in the 1960s and 1970s.) In 2003, the album was ranked number 113 on Rolling Stone magazine's list of the 500 greatest albums of all time.
01- Radio London - Armenia City In The Sky - Radio London 02- Heinz Baked Beans - More Music 03- Mary Anne With The Shaky Hand - Premier Drums - Radio London 04- Odorono - Radio London 05- Tattoo - Radio London (Church of Your Choice) 06- Our Love Was - Radio London (Pussycat) - Speakeasy - Rotosound Strings 07- I Can See For Miles 08- I Can't Reach You - Charles Atlas 09- Medac 10- Relax - Rotosound Strings 11- Silas Stingy 12- Sunrise 13- Rael 1
Bonus tracks:
14- Rael 2 - Top Gear 15- Glittering Girl - Coke 2 16- Melancholia - Bag O'Nails 17- Pictures of Lily 18- Doctor, Doctor 19- The Last Time 20- Under My Thumb 21- Someone's Coming - John Mason's Cars 22- Jaguar - John Mason's Cars (reprise) 23- Early Morning Cold Taxi - Coke 1 24- Mary Anne With The Shaky Hand 25- Hall of the Mountain King - Radio 1 (Boris Mix) 26- Girl's Eyes" - Odorono (Final Chorus) 27- Glow Girl - Track Records 28- Mary Anne With The Shaky Hand (alternative version)
Jorge Drexler (born Jorge Abner Drexler Prada on September 21, 1964) is an Uruguayan singer and songwriter. In 2004 Drexler won wide acclaim after becoming the first Uruguayan ever to win an Academy Award. He won for composing the song "Al Otro Lado del Río" from The Motorcycle Diaries film about Che Guevera's early days. Drexler was born in Montevideo to a Jewish family. His German parents migrated to Uruguay to escape German persecution. After they faced criticism in Uruguay they moved to Israel for a year. From this Drexler is fluent in Hebrew. Like much of his family, he studied medicine and became an otolaryngologist ear, nose and throat specialist. He also studied music and recorded two albums, which were only released in Uruguay. In 1995 he was invited to Madrid by well-known Spanish songwriter Joaquín Sabina, who introduced him to other important Spanish singers. Drexler went to Spain to record the album Vaivén in 1996 with Spanish musicians. "Vaivén" included some old songs from his previous releases mixed with new compositions. He moved to Spain and recorded another four albums: "Llueve (1998)", "Frontera" (1999), "Sea" (2001) and "Eco" (2004). Although he lives most of the year in Spain, his latest three albums were partially recorded in Uruguay with Uruguayan musicians. Juan Campodónico and Carlos Casacuberta have produced Drexler's albums since "Frontera". His music is a combination of Uruguayan traditional music (candombe, murga, milonga), bossa nova, pop, jazz and electronic music, which results in very personal compositions with original arrangements. The words also play an important role in his songs. Apart from love, reflections about identity, race and religions are a constant in his work. In my honest opinion this album (first released in 2004 as "Eco", and re-released in 2005 as "Eco2" which was exactly the same album but with 3 added bonus tracks) is his best work until today.
01- Eco 02- Deseo 03- Todo Se Transforma 04.- Guitarra y Vos 05- Transporte 06- Milonga Del Moro Judío 07- Polvo De Estrellas 08- Se Va, Se Va, Se Fue 09- Don De Fluir 10- Fusión 11- Salvapantallas
Bonus Tracks:
12- Al Otro Lado Del Río 13- Oda Al Tomate 14- El Monte Y el Río
Procol Harum are a British rock band, formed in the 1960s, which built an important foundation for what would become progressive rock, or perhaps more closely, symphonic rock. They are best known for their 1967 hit single "A Whiter Shade of Pale", which is not only a regular item on classic singles polls, but is also regarded as a seminal track in the development of pop music and particularly progressive rock music. Procol Harum have had a devoted following throughout their career; their music, although being principally noted for its classical influence, also embraces the blues and pure pop music. Based in Southend, Essex, The Paramounts, led by Gary Brooker and Robin Trower and including Chris Copping, scored a moderate British success with Jerry Leiber and Mike Stoller's "Poison Ivy" in 1964, reaching number 35 in the UK singles chart. They were unable to recreate this, however, and the band fell apart in 1966. In April 1967, Brooker began working as a singer/songwriter and formed Procol Harum with non-Paramounts Keith Reid (poet), Hammond organist Matthew Fisher, guitarist Ray Royer and bassist David Knights. The band name was chosen by its original manager Guy Stevens after a friend's Burmese cat, and has been alleged to be Latin for "beyond these things", however the correct Latin translation of "beyond these things" is Procul His. At Olympic Studios, with session drummer (and non-Paramount) Bill Eyden, producer Denny Cordell, and sound engineer Keith Grant, the group recorded "A Whiter Shade of Pale." The song was officially released on May 12, 1967. With the sudden success of this single and The Moody Blues' "Nights in White Satin", their label Deram Records became known as a premier progressive rock label. With a structure reminiscent of Baroque music, a countermelody based on J,S. Bach's cantata no.140 assigned to Fisher's Hammond organ, Brooker's soulful vocals and Reid's mysterious lyrics, "A Whiter Shade of Pale" reached #1 on the British charts and did almost as well in the United States, reaching #5. In the years since, it has become an enduring classic, placing on several polls of the best songs ever. After "A Whiter Shade of Pale" became a hit, the band set out to consolidate their studio success by touring; their live debut was opening for Jimi Hendrix in 1967. Procol Harum produced a unique sound that emphasized Brooker's melancholy vocal style and an evocative mix of his eclectic piano, Fisher's elegant, church-like organ, Wilson's dramatic drumming and Trower's searing guitar, with frequent black humour and a penchant for experimentation. Musically, Procol Harum was split during all these years between Trower's guitar-driven blues rock style and Brooker's and Fisher's structured classical rock sound. the band broke up in 1977. They reunited for a single performance five months later, when "A Whiter Shade of Pale" was named joint winner (along with Queen's "Bohemian Rhapsody") of the Best British Pop Single 1952–1977 at the BRIT Awards, part of Queen Elizabeth II's Silver Jubilee.
01- A Whiter Shade of Pale 02- Conquistador 03- She Wandered Through the Garden Fence 04- Something Following Me 05- Mabel 06- Cerdes [Outside the Gates of] 07- A Christmas Camel 08- Kaleidoscope 09- Salad Days [Are Here Again] 10- Good Captain Clack 11- Repent Walpurgis
Though it was originally released to capitalize on the cinematic vehicle of the same name, fewer than half of the songs on Loving You were actually included in the film. Not that anyone cared, of course; this collection of hits ("Teddy Bear"), covers ("Blueberry Hill," "Mean Woman Blues"), and lesser-known treasures ("Party," "I Need You So") topped the charts for 10 weeks running in 1957. This is hardly the best example of the King's pre-Army work--and it often seems downright flimsy compared with his Sun releases and 1956 RCA sessions--but Loving You is still a thoroughly enjoyable document of Presley in his exuberant prime.
01- Mean Woman Blues 02- (Let Me Be Your) Teddy Bear 03- Loving You 04- Got a Lot o' Livin' to Do! 05- Lonesome Cowboy 06- Hot Dog 07- Party 08- Blueberry Hill 09- True Love 10- Don't Leave Me Now 11- Have I Told You Lately That I Love You? 12- I Need You So
Bonus Tracks:
13. Tell Me Why 14. Is It So Strange 15. One Night of Sin 16. When It Rains, It Really Pours 17. I Beg of You (alternate version) 18. Party (alternate version) 19. Loving You (uptempo version) 20. Got a Lot o' Livin' to Do! (finale)
Pappo is the pseudonym of Argentine blues and rock & roll musician Norberto Napolitano (Buenos Aires, 10 March 1950 - Luján, Buenos Aires province, 24 February 2005). A native of the middle-class La Paternal neighborhood in Buenos Aires, Pappo started playing the guitar at the age of ten, and became active in Argentine rock since its beginnings; Pappo was a force in its transition from English to Spanish as guitarist of Los Gatos, the first rock band to enter the mainstream charts in Argentina. He also played in the first incarnation of cult band Los Abuelos de la Nada and in the quasi-psychedelic La Pesada del Rock and Roll. With his own band, Pappo's Blues, he recorded and toured extensively. He became an underground working-class hero, but received no radio airplay. In the mid-1970s, Pappo spent some time in England, playing alongside Peter Green (formerly of Fleetwood Mac), Lemmy (who later achieved fame with Motörhead), and other rock and blues greats. By the time in which they recorded the third album (“Pappo's Blues Vol 3”), there had been two changes in his group: David Lebón (bass) left, and his place was taken by C.A Machi Rufino and Black Amaya (drums) also left, beibng his place taken by Pomo. The recording of “Pappo's Blues Vol 4” was marked by the return of David Lebón and Black Amaya and the incorporation of Alejandro Medina. On the same year they released the album "Triángulo", and in 1975 “Pappo's Blues Vol 6”, in which Pappo played with Eduardo Barbagnatti and Eduardo Beaudoux. In 1978 Pappo, this time with Alejandro Medina playing bass again and Darío Fernandez with the drums, recorded the last album called “Pappo's Blues Vol 7”. On November 14th 1980 the band officially dissolved, but Pappo kept playing as a soloist. In 1981, he formed Riff, a heavy metal band. During the 1982 Riff became very popular with rockers in South America. In the late 1980s, when Riff disbanded, Pappo spent some time in the United States and formed a new group, Pappo and the Widowmakers in 1989. The band was based in the Los Angeles / Hollywood California area, and the members were as follows: Pappo (lead gutar), Dave Hatlee (bass), Rick Ness (rythm guitar) and Saint Bongosto (drums). Pappo and the Widowmakers recorded a two-song EP in October 1989 and then embarked on tour back to South America in December 1989. They performed several successful shows in venues such as Club Satisfaction in Buenos Aires and The Superdomo in Mar del Plata in 1990, but by the following year the project aborted and Pappo went back to live in Argentina. By that time (early '90s) with the advent of popular blues bands such as Memphis, La Blusera, Pappo was recognized as the godfather of Argentine blues. As such, he enjoyed the appreciation of B. B. King who admitted cherishing many of Pappo's records, and with whom he played at the Madison Square Garden in 1993 and 1994. BB King said in one occasíon "I've travelled 67 countries around the world and Pappo is the only true bluesman I've found. He'sone of the best guitar players I've ever known, not only in Argentina but in the whole world". With Pappo’s Blues he will record three more albums: “Hombre Suburbano” in 1994; “Caso Cerrado” in 1995 and “Auto Rojo” in 1998. Pappo's other love was car racing. He raced in Argentina's top stock-car category, TC, and in motorcycle races, with limited success. Sadly, Pappo died in a road accident in Luján, Buenos Aires province, on 24 February 2005. At route 5, km 71, Pappo's Harley-Davidson lost control, fell to the ground, and a car traveling in the opposite direction hit him, causing his death. The songs featured here are 6 songs extracted from his last album “Buscando un Amor” (2003), on which he homaged BB King, plus 12 other tracks which were recorded live in Buenos Aires on November 6, 2004, at a “BB King Tribute Concert” starred by Pappo himself and BB’s drummer Tony Coleman.
01- Tribute to BB King 02- Rock Me, Baby 03- Thrill is Gone 04- Killin' Floor 05- Trouble No More 06- Little Red Rooster
Recorded Live with Tony Coleman:
07- Tribute to BB King 08- I ain't Drunk 09- All Your Love 10- How blue Can You Get 11- Rock Me, Baby 12- Thrill is Gone 13- Master Charge 14- Everyday I Have the Blues 15- Chop This & Solo 16- Sweet Little Angel 17- Killin' Floor 18- Let the Good Times Roll
After Almendra broke up, Luis Alberto Spinetta (main composer of the group) released a lo-fi solo album called "Spinettalandia y sus amigos" and then visited Europe, where he saw first hand groups like Led Zeppelin and Deep Purple. Back in Buenos Aires, he decided to form a group where he could recreate the heavy rock sound he had seen and liked so much. And so, Pescado Rabioso was born. The group was originally a trio: Spinetta (vocals and guitars), David Lebón (vocals and bass guitar) and Black Amaya (drums). While recording their first album ("Desatormentándonos", released in 1971) they were joined by Carlos Cutaia (organ). In 1972 they released a double LP (simply called "2"), and then they disbanded. Spinetta recorded and released in 1973 another album under the Pescado Rabioso moniker, but in fact it was a solo album: "Artaud". Although "Artaud" was officially billed as the third Pescado Rabioso album, the Argentinean group had actually broken up by the time it was recorded. It's essentially a solo effort by singer-guitarist-songwriter Luis Alberto Spinetta, with contributions from his brother, drummer Carlos Gustavo Spinetta, bassist Emilio Del Guercio, and drummer Rodolfo García, the latter two of whom had played with Spinetta back in the pre-Pescado Rabioso band called Almendra. "Artaud", dedicated to the french surrealist poet Antonin Artaud, is a milestone in argentine rock. It’s considered by many not only Spinetta's masterpiece, but also the best album ever released in Argentina. If it's something of a progressive/psychedelic record, it has more to do with the juxtaposition of late-'60s and early-'70s styles on display than it has to do with the music itself. On various different tracks, Spinetta offers accomplished, sentimental acoustic-based folk-rock balladry ("Todas las Hojas Son del Viento"); languid jazzy San Francisco-styled mild psych ("Cementerio Club," "Bajan") with quavering guitar; folk-rock with a touch of late-'60s Lennon-McCartney at their most romantic ("La Sed Verdadera"); a piano-backed piece that recalls early Todd Rundgren at his softest ("A Starosta, El Idiota"); and a taut Latin-flavored rocker vaguely reminiscent of early Santana ("Las Habladurias del Mundo"). There's a little weirdness here, but it's limited to just a few spots, like the gradual submersion of "La Sed Verdadera" under ambient restaurant-like white noise and howling wind, and the sudden detour of "A Starosta, El Idiota" into gloomy dissonant piano rumbles, weeping, along with a far-off snatch of the Beatles' "She Loves You" single. The incredible intimacy of the accoustic pieces have earned comparisons to Nick Drake, though I’m not entirely convinced: Spinetta’s performances hint instead at dark neuroses and strange obsessive urges lurking just beneath the deceptively calm surface of the songs. The argentine edition of Rolling Stone magazine voted this album as no. 1 in the "Top 100 best argentine rock albums".
01- Todas Las Hojas Son Del Viento 02- Cementerio Club 03- Por 04- Superchería 05- La Sed Verdadera 06- Cantata De Puentes Amarillos 07- Bajan 08- A Starosta, El Idiota 09- Las Habladurías Del Mundo
Machine Head is the sixth Deep Purple studio album. It was recorded at the Grand Hotel Montreux, Switzerland in December 1971 with the Rolling StonesMobile Studio, and released in March 1972. The conditions in which the original recordings were made are quite outstanding. Hiring the Rolling Stones Mobile One equipment and studios, the band recorded the entirety of the tracks in a Montreux hotel facility, with no overdubs. The "Smoke on the Water" lyrics' citation "Frank Zappa and the Mothers" refers to Zappa's show at a nearby casino. The casino burned down a few days before the start of scheduled Machine Head recording sessions. The song entitled "When a Blind Man Cries" was also recorded during these sessions, but not included on the album. Instead, it was used as a the B-side on the "Never Before" single. Anyway the song appears here as a bonus track, since this is is the album's 25th anniversary edition containing a digital remaster done at Abbey Road studios in 1997. The album is often cited as being very influential in the development of the heavy metal music genre. It is Deep Purple's most successful recording, topping the charts in several countries following its release. In 2001 Q magazine named it as one of the 50 Heaviest Albums of All Time. Machine Head is the subject of one of the Classic Albums series of documentaries about the making of famous albums.
Second of these three CDs which explore the genesis of the music of The Beatles, by taking a look back at some of the early rock and roll music which influenced Lennon, Mc Cartney, Harrison and Starr. These were the artists that were their idols, and these are the songs that they covered on stage in Hamburg and at the Cavern, on the BBC, and on their early albums. In a word, these are the records the Beatles listened to the way we listen to Beatles records…
01- I Got a Woman - Elvis Presley 02- Too Much Monkey Business - Chuck Berry 03- Keep Your Hands Off my Baby - Little Eva 04- Youngblood - The Coasters 05- A Shot of Rhythm & Blues - Arthur Alexander 06- Sure to Fall - Carl Perkins 07- That's Allright Mama - Elvis Presley 08- Carol - Chuck Berry 09- Soldier of Love [Lay Down Your Arms] - Arthur Alexander 10- Clarabella - The Jodimars 11- I'm Gonna Sit Right Down and Cry [Over You] - Elvis Presley 12- Crying, Waiting, Hoping - Buddy Holly & The Crickets 13- To Know Him is To Love Him - The Teddy Bears 14- The Honeymoon Song - Marino Marini and His Quartet 15- Johnny B. Goode - Chuck Berry 16- Memphis, Tennessee - Chuck Berry 17- Lucille - Little Richard 18- Sweet Little Sixteen - Eddie Cochran 19- Lonesome Tears in my Eyes - The Johnny Burnette Trio 20- Nothin' Shakin' [But the Leaves on the Trees] - Eddie Fontaine 21- The Hippy Hippy Shake - Chan Romero 22- Glad All Over - Carl Perkins 23- I Just Don't Understand - Ann Margret & The Jordanaires 24- So How Come [No One Loves Me] - The Everly Brothers 25- I Forgot to Remember to Forget - Elvis Presley 26- I Got to Find My Baby - Chuck Berry 27- Oh, My Soul! - Little Richard 28- Don't Ever Change - The Crickets 29- Lend Me Your Comb - Carl Perkins 30- Beautiful Dreamer - Slim Whitman
Renato Carosone (3 January 1920 – 20 May 2001) was among the greatest figures of Italian music scene in the second half of the 20th century. He was also a modern performer of the so-called canzone napoletana, Naples' song tradition. Carosone was born in Naples, where he studied piano at his hometown's Conservatory and obtained his diploma in 1937, when he was just 17. He soon signed a contract as a band leader for a tour of Africa. After that job, he ended up in Addis Ababa working as a pianist. In a short while he became quite famous there and had several gigs as band leader. He returned to Italy in 1946, after the end of World War II. Those ten years spent abroad had exposed him to new rhythms and new sounds, but, in spite of his international success, Carosone was a stranger to the Italian audience. He had to start his career afresh, playing the piano in some small dance-hall bands. In 1949 he was asked to put together a group for a club's opening night. After some auditions, he signed the Dutch guitarist Peter Van Wood and the Napolitan drummer Gegè Di Giacomo: so the Trio Carosone was born. The trio became quartet with the Hungarian Gypsy musician Elek Bacsik on bass, guitar and violin. Afterwards Van Wood and Bacsik left the group to pursue solo careers. Gegè Di Giacomo remained with Carosone, who contacted other musicians to finally form a real band. During 1950s Carosone became more and more popular, his orchestra was on high demand both in Italy and abroad, and records sales were soaring high. A hint of his world-wide success: his song Torero - specially composed for a Spain tour - remained for 14 weeks at number 1 on the US hit parade, was translated into 12 languages and no fewer than thirty cover versions were recorded in the United States alone. On 5 January 1957 Carosone and his band started off a successful American tour with a concert in Cuba. The last tour concert was a triumph at the prestigious Carnegie Hall in New York. Several of his hits were the result of this long and fruitful cooperation with the lyricist Nicola Salerno, who used the pseudonym Nisa. They could understand each other perfectly: just one hint by Carosone, and Nisa wrote a funny, witty little story about it. Among their greatest hits, "'O suspiro", "Torero", "Tu' vuo' fa' l'americano", "Caravan Petrol", "Pigliate 'na pastiglia,"'O Sarracino". Only a few famous songs in Carosone's repertoire were not written by Nisa: "...E la barca tornò sola" (a lively parody of a song performed by Gino Latilla at Sanremo Music Festival in 1954), "Tre numeri al loto", "Maruzzella" (dedicated to his wife Marisa), "'O russo e 'a rossa". He and his group even participated in some Italian films as “Totó, Peppino e Le Fanatiche” (1958). Carosone surprisingly announced his retirement in 1960, when he was still at the top of his success: "I'd rather retire now on the crest of the wave, than after being tormented by the doubt that yè-yè fashion and new armies wearing blue-jeans may wipe away all that I have achieved in so many years of work and worries". His decision caused an uproar. Some even suspected obscure criminal threats from Napolitan maffia. Away from the spotlight, Carosone turned to other interests, mainly painting. On 9 August 1975 Carosone made a comeback in a televised concert, and then he resumed his musical career with live concerts, performing at the San Remo Music Festival and other various TV programs, until late 1990s. He died in Rome in 2001.
01- Tu Vuo' Fa' l'Americano 02- Caravan Petrol 03- Torero 04- Io, Mammetta e Tu 05- Piccolisima Serenata 06- La Pansè 07- 'O Russo e A'Russa 08- Pigliate 'Na Pastiglia 09- 'O Sarracino 10- La Donna Riccia 11- Maruzzella 12- Mambo Italiano 13- Chella Llà 14- 'A Sunnambula 15- 'Stu Fungo Cinese! 16- T'è Piaciuta 17- 'A Casciaforte 18- Scapricciatiello 19- E la Barca Tornò Sola 20- Buonanotte
“Queen II” is the second album by EnglishrockbandQueen, originally released in 1974. It was recorded at Trident Studios, London, England in August 1973, and engineered by Mike Stone. The two sides of the original LP were labeled "Side White" and "Side Black" (instead of the conventional sides "A" and "B"), with corresponding photos of the band dressed in white or in black on either side of the record's label face. The album is also a loose concept album, with the white side having songs with a more emotional theme and the black side almost entirely about fantasy, often with quite dark themes. Mick Rock's album cover photograph was frequently re-used by the band throughout its career, most notably in the music video for the song "Bohemian Rhapsody" (1975). There are two versions of this photograph, one with black for the background and foreground (right), the other with a brown foreground. Numerous problems beset the album's release. Its completion coincided with the 1973 oil crisis and consequently, government-enforced measures for energy conservation delayed its manufacture by several months. The lead vocalist Freddie Mercury composed the entire "Black" side, contributing virtuosic piano and harpsichord pieces and a wide range of distinctive vocal performances. The "White" side is very diverse: four of the five numbers were composed by Brian May, where one is instrumental, one is sung by Mercury and Taylor (with May at the piano), the next is sung by Mercury, and the last by May. The closing track of The "White" Side is Taylor's only composition in the album. John Deacon played acoustic guitar as well as bass on most of the album, except the songs "White Queen" and "Some Day One Day", which were performed by May, partly on an inexpensive Hairfred guitar that he had owned since his childhood. The album is included in the book 1001 Albums You Must Hear Before You Die.
http://rapidshare.com/files/217759599/Queen_II.rar 01- Procession 02- Father to Son 03- White Queen (As It Began) 04- Some Day One Day 05- The Loser in the End 06- Ogre Battle 07- The Fairy Feller's Master-Stroke 08- Nevermore 09- The March of the Black Queen 10- Funny How Love Is 11- Seven Seas of Rhye
ELVIS is the second album by Elvis Presley, released on RCA Victor Records only in mono, LPM 1382, in October 1956. Recording sessions took place on September 1, September 2, and September 3 at Radio Recorders in Hollywood, with one track leftover from the sessions for Presley's debut album at RCA recording studios on January 30 in New York. It spent four weeks at #1 on the Billboard Top Pop Albums chart that year.
01- Rip It Up 02- Love Me 03- When My Blue Moon Turns to Gold Again 04- Long Tall Sally 05- First in Line 06- Paralyzed 07- So Glad You're Mine 08- Old Shep 09- Ready Teddy 10- Anyplace Is Paradise 11- How's the World Treating You? 12- How Do You Think I Feel?
Bonus Tracks:
13- Playing for Keeps 14- Too Much 15- Don't be Cruel 16- Hound Dog 17- Anyway You Want Me (That's How I Will Be) 18- Love Me Tender
"The Freewheelin' - Bob Dylan" is Dylan's second studio album, released in May 1963 by Columbia Records. Dylan's debut album, "Bob Dylan", had featured just two original songs. "Freewheelin'" contained just two covers, the traditional tune "Corrina, Corrina", and "Honey, Just Allow Me One More Chance" — which Dylan re-wrote extensively, all the other songs were Dylan originals and the "Freewheelin'" album showcased for the first time Dylan's song-writing talent. The album kicked off with "Blowin' in the Wind", which would become one of Dylan's most celebrated songs. In July 1963, the song became an international hit for folk trio Peter, Paul & Mary. This album reached number 22 in the US (eventually going platinum), and later became a number 1 hit in the UK in 1965. It was one of 50 recordings chosen in 2002 by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 97 on Rolling Stone magazine's list of the 500 greatest albums of all time.
01- Blowin' In The Wind 02- Girl From The North Country 03- Masters Of War 04- Down The Highway 05- Bob Dylan's Blues 06- A Hard Rain's A-Gonna Fall 07- Don't Think Twice, It's All Right 08- Bob Dylan's Dream 09- Oxford Town 10- Talking World War III Blues 11- Corrina, Corrina 12- Honey, Just Allow Me One More Chance 13- I Shall Be Free
This album pairs one of the greatest flamenco singers of today, cantaor Diego ”El Cigala”, with one of Cuba's finest Afro-Cuban jazz pianists, Bebo Valdes. With Valdes (father of the great Chucho Valdes) born in 1918, there's a 40-year age difference between the pianist and the singer, but they do a fine job crossing generations and oceans to discover the commonalities between Caribbean and the Iberian music, coming up with a romantic marriage of the two cultures using rumbas, guajira, sons and boleros, all this in a classy jazz atmosphera. All the songs are classics out of the Latin music tradition, using just a handful of players in support. Valdes' fingers are delicate and prone to dramatic flourishes; Cigala's voice is pure flamenco in its hoarse intonation, cadence and emotional outpourings. The two masters make the union work by focusing on the drama of the love songs—“Veinte Años”, “Inolvidable” and the title track, “Lágrimas Negras”, are just three amazing examples as fuel for some of the most exquisitely passionate music to come out in ages. This original pairing between Bebo Valdés and el Cigala is sublime. The songs are all standards, but the arrangements are not. Each song features Valdes' smooth jazzy piano melodies and el Cigala's guttural, passionate vocals. To appreciate the entire album's sophisticated textures, it should be listened to in absolute darkness so all of one's senses can focus on its velvety and harsh beauty. Winners of three PREMIOS DE LA MUSICA AWARDS (Spanish Academy of Musical Arts & Sciences) this album was recorded at the suggestion of Spanish Hollywood Oscar Award-winning director, Fernando Trueba (Belle Epoque), and has become a phenomenon in Spain. Picked by New York Times critic Ben Rattcliff as "the best album of the year", “Lágrimas Negras” has had an impressive debut. The album has never been out of the top 30 since its release in Spain for about nine months, achieving double Platinum sales status. It has also won five Amigo Awards, one Premio Ondas, and three Premios de la Musica Awards (including Best Album).
01- Inolvidable 02- Veinte años 03- Lágrimas negras 04- Nieblas del riachuelo 05- Corazón loco 06- Se me olvidó que te olvidé 07- Vete de mi 08- La bien pagá 09- Eu sei que vou te amar
This is Los Shakers’ 2nd LP first released back in late 1966. It was recorded on a time when the group slowly started to feel they were getting worn out, mainly from the huge number of live shows they did and also for another important reason, the lyrics. Although the quality of their music was really high, their English lyrics were of a doubtful quality, sometimes even bad, and with the evolution of pop-rock in Argentina, they started to be left out in an escenario where the bands decided to gamble and write and sing in Spanish. That was the way Argentine national rock went, and The Shakers were left out, partly by their own decision. Anyway, regarding Los Shakers’ music, the best was yet to come...
01- Never, Never - 15/6/66 02- The Child and Me - 02/6/66 03- Hear My Words - ? /? /66 04- Picking up Troubles - 07/6/66 05- Too Late - 10/3/66 06- Let Me Tell You - 28/7/66 07- Got Any Money? - 04/8/66 08- You’ll Find Another Girl - 28/4/66 09- Smile Again - 11/5/66 10- Reviens Ma Chérie - 24/5/66 11- Waiting - 19/8/66 12- Hope You’ll Like It 042 - 14/9/66
Bonus Tracks:
13- Michelle (stereo mix) - 09/3/66 14- Always You (mono single mix) - 10/3/66 15- Oh, My Friend (stereo mix) - 24/3/66 16- Girl (stereo mix) - 30/3/66 17- Let Me Alone - 10/3/66 18- Yellow Submarine - 14/9/66 19- Red Rubber Ball - ? /? /67 20- Don’t Ever Phone Me Again, Baby - ? /? /67 21- The Land of the 1000 Dances - 11/4/67 22- Hallelujah - 27/1/67
Rarities:
23- Always You (stereo mix from master tape) - 10/3/66 24- Oh, My Friend (movie mono mix - different guitar solo) - 24/3/66 25- You’ll Find Another Girl (stereo mix) - 28/4/66 26- Smile Again (stereo mix) - 11/5/66 27- Never, Never (stereo mix) - 15/6/66 28- Let Me Tell You (stereo mix) - 28/7/66 29- Got Any Money? (stereo mix) - 04/8/6628) 30- Waiting (stereo mix) - 19/8/66
"A Quick One" is the second album by The Who, released in 1966. American record company executives released the album under the title Happy Jack, rather than the sexually suggestive title of the UK release, and due to "Happy Jack" being a top forty hit in the U.S. "Happy Jack" was not included on the UK version of the album, but instead was released as a non-album single. This is widely regarded by fans to have been a pivotal album for the group, due to the departure from the R&B / pop formula featured on the band's first release. Part of the marketing push for the album was a requirement that each band member should write at least two of the songs on it (although Roger Daltrey only wrote one), so this Who album is the least dominated by Pete Townshend's writing. The album was also the band's first foray into the form of rock opera, with "A Quick One, While He's Away", the title track of the LP, a nine-minute suite of song snippets telling a story of infidelity and reconciliation. The Who would later go on to write and record the full scale rock operas "Tommy" and "Quadrophenia". The album was intended to be pop music, a sonic participant in the pop art movement. The cover was designed by the pop art exponent Alan Aldridge, with the front cover depicting the band playing their instruments. The album was recorded at IBC Studios, Pye Studios and Regent Sound, in London, England in 1966. Kit Lambert was the producer. In 2003, the album was ranked number 383 on Rolling Stone magazine's list of the 500 greatest albums of all time.
01- Run, Run, Run 02- Boris, The Spider 03- I Need You 04- Whiskey Man 05- Heatwave 06- Cobwebs & Strange 07- Don't Look Away 08- See My Way 09- So Sad About Us 10- A Quick One (While He's Away)
Bonus Tracks:
11- Substitute 12- I'm a Boy 13- In the City 14- Disguises 15- Circles 16- Batman 17- Bucket T 18- Barbara Anne 19- Happy Jack 20- I've Been Away 21- Man With Money 22- Great Shakes + US Air Force recruitment (Happy Jack)
Los Chalchaleros is an Argentine folk musical combo consisting of four musicians (3 guitars and percussion - all of them are also singers). They're also considered the best ever of all Argentinean folk groups. The group was established in 1948 in the northern province of Salta. It is named after a local song-bird, the chalchalero. The original group was formed by Victor José Zambrano ("Cocho"), Carlos Franco Sosa, Aldo Saravia, and Juan Carlos Saravia. They gave their first public concert in June 16, 1948. On this "Their Greatest Hits" selection from 1974 the group is formed by Juan Carlos Saravia (leader of the group), percussionist Eduardo Román ("Polo"), Ricardo Francisco Figueroa ("Pancho"), and lead guitarist Ernesto Cabeza, which was probably the best of their different line-ups through the years. Los Chalchaleros have released more than 50 LPs, all of them typically focusing in traditional Argentinean folk music, mainly zamba.
01- Zamba de Mi Esperanza 02- Viene Clareando 03- Sapo Cancionero 04- A los Bosques Yo me Interno 05- La López Pereyra 06- Jamás 07- Lloraré 08- La Nochera 09- Amor y Fiesta 10- Zamba del Grillo 11- Yo Vendo unos Ojos Negros 12- Zamba del Chalchalero
