Édith Piaf, born Édith Giovanna Gassion (19 December 1915 - 10 October 1963), was a French singer and cultural icon who "is almost universally regarded as France's greatest popular singer." Her singing reflected her life, with her specialty being ballads. Among her songs are "La vie en rose" (1946), "Hymne à l'amour" (1949), "Milord" (1959), "Non, je ne regrette rien" (1960), "l'Accordéoniste" (1941), "Padam...Padam", and "La Foule". Despite numerous biographies, much of Piaf's life is shrouded in mystery. She was born Edith Giovanna Gassion in Belleville, Paris, a high-immigration district. Legend has it that she was born on the pavement of Rue de Belleville 72, but her birth certificate cites the Hôpital Tenon, the hospital for the 20th arrondissement of which Belleville is part. She was named Édith after the World War I British nurse Edith Cavell, who was executed for helping French soldiers escape from German captivity. Piaf —a Francilien colloquialism for "sparrow"— was a nickname she would receive 20 years later. In 1935 Piaf was discovered in the Pigalle area of Paris by nightclub owner Louis Leplée, whose club Le Gerny off the Champs-Élysées was frequented by the upper and lower classes alike. He persuaded her to sing despite her extreme nervousness, which, combined with her height of only 1.42m (4' 8"), inspired him to give her the nickname that would stay with her for the rest of her life and serve as her stage name, La Môme Piaf (Parigot translatable as "The Waif Sparrow", "The Little Sparrow", or "Kid Sparrow"). Leplée taught her the basics of stage presence and told her to wear a black dress, later to become her trademark apparel. Leplée ran an intense publicity campaign leading up to her opening night, attracting the presence of many celebrities, including actor Maurice Chevalier. Her nightclub gigs led to her first two records produced that same year, with one of them penned by Marguerite Monnot, a collaborator throughout Piaf's life. On 6 April 1936, Leplée was murdered and Piaf was questioned and accused as an accessory, but was acquitted. Leplée had been killed by mobsters with previous ties to Piaf. A barrage of negative media attention now threatened her career. To rehabilitate her image, she recruited Raymond Asso, with whom she would become romantically involved. He changed her stage name to "Édith Piaf", barred undesirable acquaintances from seeing her, and commissioned Monnot to write songs that reflected or alluded to Piaf's previous life on the streets. In 1940, Édith co-starred in Jean Cocteau's successful one-act play Le Bel Indifférent. She began forming friendships with prominent people, including Chevalier and poet Jacques Borgeat. She wrote the lyrics of many of her songs and collaborated with composers on the tunes. In 1944, she discovered Yves Montand in Paris, made him part of her act, and became his mentor and lover. Within a year, he became one of the most famous singers in France, and she broke off their relationship when he had become almost as popular as she was. During this time she was in great demand and very successful in Paris as France's most popular entertainer. After the war, she became known internationally, touring Europe, the United States, and South America. In Paris, she gave Atahualpa Yupanqui (Héctor Roberto Chavero)—the most important Argentine musician of folklore—the opportunity to share the scene, making his debut in July 1950. She helped launch the career of Charles Aznavour in the early 1950s, taking him on tour with her in France and the United States and recording some of his songs. At first she met with little success with U.S. audiences, who regarded her as downcast. After a glowing review by a prominent New York critic, however, her popularity grew, to the point where she eventually appeared on the Ed Sullivan Show eight times and at Carnegie Hall twice (1956 and 1957). Édith Piaf's signature song "La vie en rose" was written in 1945 and was voted a Grammy Hall of Fame Award in 1998. Bruno Coquatrix' famous Paris Olympia music hall is where Piaf achieved lasting fame, giving several series of concerts at the hall, the most famous venue in Paris, between January 1955 and October 1962. Excerpts from five of these concerts (1955, 1956, 1958, 1961, 1962) were issued on record and CD and have never been out of print. The 1961 concerts were promised by Piaf in an effort to save the venue from bankruptcy and where she debuted her song "Non, je ne regrette rien". In April 1963, Piaf recorded her last song, "L'homme de Berlin". Piaf died of liver cancer at Plascassier, on the French Riviera, on 10 October 1963, but only publicly disclosed on the 11th, the same day that Jean Cocteau died. She slipped in and out of consciousness for the last months of her life. It is said that Sarapo drove her body back to Paris secretly so that fans would think she had died in her hometown. She is buried in Père Lachaise Cemetery, in Paris, where her grave is among the most visited.
01- La Vie en Rose 02- Les Troius Cloches 03- Hymne à l'Amour 04- Padam...Padam 05- Bravo Pour le Clown 06- Johnny, Tu N'Es Pas un Ange 07- La Goulante du Pauvre Jean 08- L'Accordeeoniste 09- C'est a Hambourg 10- Homme a La Motto 11- Amants d'Un Jour 12- La Foule Listen 13- Mon Manege a Moi (Tu Me Fais Tourner La Tête) 14- Milord 15- Mon Dieu 16- Non, Je Ne Regrette Rien 17- Exodus 18- Il Fallait 19- Tiens V'la un Marin 20- Quoi Ca Sert l'Amour 21- Sous Le Ciel de Paris 22- Comme Moi 23- Paris 24- C'est l'Amour 25- Mon Amant de Saint-Jean 26- Tojours Aimer 27- La Valse de l'Amour 28- L'effet Que Tu Me Fais 29- Avant Nous 30- T'es Beau Tu Sais
This is the first Stones’ LP as it was released in the UK back on April 17, 1964. As you can see, the cover of the original UK edition has no title or identifying information other than the photo and the Decca logo - an "unheard of" design concept back then originated by manager Andrew Oldham. Upon its release, The Rolling Stones became one of 1964's biggest sellers in the UK, staying at #1 for 12 weeks, while its USA version (England's Newest Hitmakers, released by the London label) reached #11 in the US charts, going gold in the process. In August 2002, England's Newest Hitmakers was reissued as a new remastered CD and SACD digipak by ABKCO, while this original version, its British counterpart, has remained out of print since 1987. Added are contemporary singles plus their first EP as bonus tracks. Enjoy it!
01- [Get Your Kicks On] Route 66 02- I Just Want to Make Love to You 03- Honest I Do 04- Mona [I Need You Baby] 05- Now I've Got a Witness [Like Uncle Phil and Uncle Gene] 06- Little by Little 07- I'm a King Bee 08- Carol 09- Tell Me [You're Coming Back] 10- Can I Get a Witness 11- You Can Make It If You Try 12- Walking the Dog
Singles:
13- Come On 14- I Want to Be Loved 15- I Wanna Be Your Man 16- Stoned 17- Poison Ivy I 18- Fortune Teller 19- Not Fade Away
EP:
20- Bye Bye Johnnie 21- Money [That’s What I Want] 22- You Better Move On 23- Poison Ivy II
Two years on from a debut album awash with punk spirit and scorching blues-rock, the London trio Noisettes return with Wild Young Hearts, a set of sleek pop songs steeped in soul, dizzy on disco and harking back to the days of blues and jazz greats. From the stomping electro-rock of "Saturday Night" and galloping funk grooves of first single "Don’t Upset The Rhythm", to the joyous, jazzy title track, the glorious ‘60s-tinged soul of "Never Forget You" and the sultry, shimmering pop of "24 Hours", in Wild Young Hearts, Noisettes have made what is set to be one of 2009’s most adventurous albums. Hope you like it.
01- Sometimes 02- Don't Upset The Rhythm [Go Baby Go] 03- Wild Young Hearts 04- 24 Hours 05- Every Now And Then 06- Beat Of My Heart 07- Atticus 08- Never Forget You 09- So Complicated 10- Saturday Night 11- Cheap Kicks
American bootleg compiling all those different versions/mixes originally released in the USA and now out of print since they weren't included as part of the remasters boxes which include exclusively the original UK mixes.
01- I Saw Her Standing There (edited count-in released by VEE-JAY) 02- I Want to Hold Your Hand (fake stereo) 03- This Boy (fake stereo) 04- Long Tall Sally I (mono UK pre-mix) 05- I Call Your Name (mono UK pre-mix) 06- Roll Over Beethoven (stereo mix plus echo added) 07- Thank You Girl (stereo mix plus echo added) 08- You Really Got a Hold on Me (stereo mix plus echo added) 09- Devil in Her Heart (stereo mix plus echo added) 10- Money [That's What I Want] (stereo mix plus echo added) 11- You Can't Do That (fake stereo mix plus echo added) 12- Long Tall Sally II (stereo UK pre-mix plus echo added) 13- I Call Your Name (stereo UK pre-mix plus echo added) 14- Please Mister Postman (stereo mix plus echo added) 15- I'll Get You (fake stereo mix plus echo added) 16- She Loves You (fake stereo mix plus echo added) 17- I'll Cry Instead (mono UK pre-mix with extra verse) 18- And I Love Her (mono UK pre-mix with single tracked vocal) 19- Anytime at All (mono UK pre-mix) 20- When I Get Home (mono UK pre-mix) 21- I Feel Fine (fake stereo mix plus echo added) 22- She's a Woman (fake stereo mix plus echo added) 23- Yes It Is (fake stereo mix) 24- Ticket to Ride (fake stereo mix) 25- Help! (fake mono mix plus "James Bond" intro) 26- The Word (stereo UK pre-mix) 27- I'm Looking Through You (stereo UK pre-mix) 28- I'm Only Sleeping (mono UK pre-mix) 29- We Can Work It Out (UK original stereo mix) 30- Day Tripper (UK original stereo mix) 31- I'm Only Sleeping (stereo UK pre-mix)
On the Radio: The Lucky Strike "Lite-Up Time" Shows compiles a series of nightly broadcasts Sinatra recorded for CBS, with heavy 'promotional consideration,' of course, from those cigarettes inhaled one after the other in so many of Mickey Spillane's Mike Hammer stories. These cuts don't provide the been-there, seen-it-all Chairman of the Board that would one day pack The Sands where he would lament about his "very good years." These ARE the good years. The exhaustive On the Radio delivers 25 different songs—the same ones he would both lay down in the recording studio on the same day he played these sessions and with which he would serenade audiences that same night in New York and Hollywood nightclubs. Any exhaustion is hardly detectable, though, as Sinatra sounds as unique and professional as ever, especially on swingers he would carry far into his golden years such as "You Do Something to Me" or "I've Got My Love to Keep Me Warm." Sinatra also shines on ballads, the highlight being "Don't Blame Me". The real draw here is being able to close your eyes and imagine coming home after work, firing up a tasty Lucky Strike (this is required, of course), mixing a Rob Roy and tuning in to hear Old Blue Eyes do what he does best before he even hit his prime.
01- Night and Day I 02- White Christmas 03- Oh, Look at Me Now 04- Dolores 05- As Time Goes By 06- Chiribiribin 07- This is the Beginning of the End 08- I'll Be Seeing You 09- You Make Me Feel So Young 10- S'Wonderful 11- Love Me or Leave Me 12- On the Sunny Side of the Street 13- Blue Skies 14- Begin the Beguine 15- Ol' Man River 16- Don't Blame Me 17- It All Depends on You 18- You Do Something to Me 19- Somebody Loves Me 20- Just One of Those Things 21- They Did Not Believe Me 22- Out of Nowhere 23- I've Got My Love to Keep Me Warm 24- For You 25- Night and Day II
Antonio Machado was one of Spain's 20th century's best poets. Raised in Andalucía, his poetry has become national common culture and this album greatly contributed to that. Serrat, himself a notable poet as well as the most important songwriter of Spain for the past thirty five years, composed excellent music for a handful of Machado's poems. The result is incredibly beautiful, with an match between tempo and meaning so outstanding that for the not-so-well-read it might be difficult to digest the news that it was not Serrat's own lyrics. This is a magic combination of two of Iberia's best: a poet with a word tried by Spain's trials and tribulations; a singer with a voice which evokes Spain. The result? A few songs with an expression that portraits the elation and passion of the true Spanish heart. For those who understand the Spanish language there probably cannot be a better touch of it, of its earnest people, and their buoyant perspective to life. Together with this: some memorable reflections as "Caminante no hay camino, se hace camíno al andar". (Traveller, you have no ready-made path forward; you create the path as you go along.)
01- Cantares 02- Retrato 03- Guitarra del Mesón 04- Las Moscas 05- Llanto y Coplas 06- La Saeta 07- Del Pasado Efímero 08- Españolito 09- A un Olmo Seco 10- He Andado Muchos Caminos 11- En Coulliure 12- Parábola
Wilco (The Album) is the seventh studio album by American alternative rock group Wilco which was released June 30, 2009. According to lead singer Jeff Tweedy, the band "allow[ed] [themselves] a little bit more leeway in terms of sculpting the sound in the studio and doing overdubs and using the studio as another instrument". After Wilco released their sixth studio album, Sky Blue Sky, in 2007, they spent the following two years touring to promote the album. In August 2008, Billboard reported that Wilco had been playing two new songs, "One Wing" and "Sonny Feeling", at recent shows in anticipation of a new studio album.Rolling Stone revealed the title of the album on April 28, 2009. The album was recorded in Neil Finn's recording studio Roundhead Studios in Auckland, New Zealand. Members of Wilco were present to record material for a 7 Worlds Collide compilation album to benefit Oxfam. Guitarist Nels Cline and multi-instrumentalist Mikael Jorgensen provided overdubs once the band returned to Chicago, Illinois. The album was produced by the band and Jim Scott, who worked as an engineer on Being There, Summerteeth, and Sky Blue Sky. The band joined Scott in Valencia, California to mix the album. On May 13, 2009, the album leaked on the internet, and Wilco promptly responded by streaming the album for free on their website. The stream resulted in over 100,000 visits to Wilco's website on the 13th. The band also suggested that those who downloaded the leaked copy make a charitable donation to Inspiration Corporation, an organization that assists low-income families in Chicago. The album was named after the band because it "[felt] like what the band was meant to be".
01- Wilco [The Song] 02- Deeper Down 03- One Wing 04- Bull Black Nova 05- You and I 06- You Never Know 07- Country Disappeared 08- Solitaire" 09- I'll Fight 10- Sonny Feeling 11- Everlasting Everything
Let It Be… Naked is a version of the 1970 Let It Be album by The Beatles that was remixed and remastered under the direction of Paul McCartney. The album is presented in a form which Paul McCartney considered closer to its original artistic vision: to "get back" to the rock 'n' roll sound of their early years rather than the orchestral overdubs and embellishments which were added by Phil Spector in the production of the final Let It Be album. Paul McCartney in particular was always dissatisfied with the over produced sound on the Phil Spector remixes, especially for his song "The Long and Winding Road", which he believed was ruined by the process. George Harrison gave his approval for the ...Naked project before he died. McCartney's attitude contrasted with Lennon's from over two decades earlier. In his September 1980 Playboy interview, Lennon had defended Spector's work, saying "-He was given the shittiest load of badly-recorded shit with a lousy feeling to it ever, and he made something of it.-" The origin of the Let It Be...Naked project arose during a chance reunion of Paul McCartney and "Let It Be" film director Michael Lindsay-Hogg on an airplane flight in the early 2000s. McCartney and Lindsay-Hogg discussed the unavailability of the film on both VHS and DVD, which led to discussion of a possible remixed "soundtrack" to accompany a proposed future DVD release. In early 2002, McCartney recruited Abbey Road in-house engineers Paul Hicks, Guy Massey and Allan Rouse to go back into the vaults and assemble a brand new studio album from the 30 reels of tape recorded during the January 1969 sessions. Since much of the Let It Be material had been recorded live, many sound anomalies existed on the tapes. Hicks, Massey and Rouse did extensive work digitally cleaning up each individual track of every song before remixing it. Some takes were edited together to come up with the best possible final version. In the case of one song—"Dig a Pony"—one errant note sung by John Lennon was even digitally pitch-corrected. Two songs that had been included on the original Let It Be album, the traditional Liverpool folk song "Maggie Mae" and "Dig It" were both excised, as Paul McCartney considered them studio improvisations and too weak for inclusion. In their place was Lennon's "Don't Let Me Down," but rather than the b-side from the single, a composite edit of the two versions from the rooftop concert was inserted. "I've Got a Feeling" was also presented in a new composite edit of its two rooftop concert takes. "Across the Universe," which actually dates from nearly a year before the rest of the album was recorded, was retained, although stripped of almost all of its overdubs and, for the first time on record, played at correct speed. There is also a different solo in the song "Let It Be". Including versions from the original album and the two compilation albums 1 and Anthology 3, it is the fourth version of the "Let It Be" solo to be released by The Beatles. Another striking difference is in McCartney's "The Long and Winding Road," where the Naked producers chose the last recorded take over the rough early take used by Phil Spector for the original album. The original lyric reads "anyway, you'll never know, the many ways I've tried," whereas on this version it reads "anyway, you've always known, the many ways I've tried." Electric guitar and electric piano are also present, played respectively by Harrison and Billy Preston. Naturally, this version is devoid of Phil Spector's orchestral and choral overdubs; the unadorned take from the Let It Be album can be found on the compilation album Anthology 3. The studio dialogue from the original album was removed, as was the dialogue from the rooftop concert that had originally closed the album. Additionally, the running order is quite different from the Let It Be album. After the release of Let It Be... Naked in 2003, critics referred to this CD—with its simpler song versions—as being the "de-Spectorized" version of the original Let It Be album. It was first released in November 2003.
01- Get Back 02- Dig a Pony 03- For You Blue 04- The Long and Winding Road 05- Two of Us 06- I've Got a Feeling 07- One After 909 08- Don't Let Me Down 09- I Me Mine 10- Across the Universe 11- Let It Be
Bobby Fuller (October 22, 1942 – July 18, 1966) was an American rock singer, songwriter, and guitar player best known for his single "I Fought the Law". Born in Baytown, Texas, Robert Gaston Fuller spent most of his youth in El Paso, Texas, where he idolized Buddy Holly, a fellow Texan (Holly was a native of Lubbock, Texas). He played in clubs and bars, and recorded on independent record labels in Texas, with a constantly-changing line-up, during the early 1960s. The only constant band members were Fuller himself (on vocals and guitar), and his younger brother, Randy Fuller (born on January 29, 1944, Hobbs, New Mexico) on bass. Most of these independent releases (except two songs that were recorded at the studio of Norman Petty in Clovis, New Mexico), and an excursion to Yucca Records, also in New Mexico, were recorded in the Fullers' own home-cum-studio, with Fuller acting as the producer. He even built a primitive echo chamber in the backyard. The quality of the recordings, using a couple of microphones and a mixing board purchased from a local radio station, was so impressive that he even offered the use of his 'studio' to local acts for free so he could hone his production skills. Fuller moved to Los Angeles in 1964 with his band The Bobby Fuller Four, and was signed to Mustang Records by producer Bob Keane, who was noted for discovering Ritchie Valens and producing many surf music groups.[1] By this time, group consisted of Bobby and brother Randy on vocals/guitar and bass respectively, Jim Reese on guitar and DeWayne Quirico (later replaced by Dalton Powell) on drums. At a time when the British Invasion and folk rock were the dominant genres in rock, Fuller stuck to Buddy Holly's style of classic rock and roll with Tex Mex flourishes. His recordings reveal the influence of Eddie Cochran, The Beatles, Elvis Presley, Little Richard, and the Everly Brothers in cover recordings and original compositions, as well as instrumental surf guitar. Less well known was Fuller's ability to emulate the reverb-laden surf guitar sounds of Dick Dale and the Ventures. His first Top 40 hit was "Let Her Dance," written by Bobby Fuller. His second hit, "I Fought the Law," hit #8 on Billboard. It was written by Sonny Curtis, a former member of Holly's group The Crickets, and recorded by the line-up of the Fuller brothers, James Reese on guitar, and Dalton Powell on drums. His third Top 40 hit was the Buddy Holly cover song "Love's Made a Fool of You." Just after "I Fought The Law" became a top ten hit, Bobby Fuller was found dead in his automobile, which was parked near his Los Angeles home. The police considered the death an apparent suicide/accident, however, some people believe Fuller was murdered. The investigation was botched from the start. The crime scene was not secured and no fingerprints were obtained. A witness also claimed seeing a police officer throw a can of gasoline found at the scene into the trash. Fuller was found with multiple wounds all over his body and covered in gasoline, leading many to speculate that the perpetrators fled before they could set the car on fire. Police later changed the cause of death to "accidental asphyxiation" citing no evidence of foul play. Despite the official cause of death stated by authorities, rumors and speculation still surround Fuller's mysterious death. Fuller is buried in the Forest Lawn Memorial Park in Los Angeles.
01- Let Her Dance 02- Julie 03- A New Shade of Blue 04- Only When I Dream 05- You Kiss Me 06- Little Annie Lou 07- I Fought The Law 08- Another Sad and Lonely Night 09- Saturday Night 10- Take My Word 11- Fool of Love 12- Never To Be Forgotten
Bonus Tracks:
13- I Fought The Law (early version) 14- Love's Made a Fool of You 15- Don't Ever Let Me Know 16- The Magic Touch 17- My True Love 18- She's My Girl 19- King of the Wheels 20- I Fought the Law (alternate version)
End of the Century is the fifth album by the American punk rock band Ramones. It was produced by Phil Spector and was released on February 4, 1980. After Spector became interested in the band, he offered to produce the next record. Vocalist Joey Ramone was an avid fan of his early work, including albums by many girl groups and Let It Be by The Beatles. The result was a change of the band's musical style. As an attempt at a Top 40 record and mainstream acceptance, its songs are more "produced" and longer in duration, averaging around three minutes.The album reached number 44 on the US Billboard 200 chart, and scored number 14 on the UK Albums Chart, making it the band's highest-charting album in both countries. Even though its best charting single was "Baby, I Love You", the more known songs are "Do You Remember Rock 'n' Roll Radio?" and Spector's version of "Rock 'n' Roll High School". The album was certified gold in Argentina in 1993 (sales over 30,000 copies).
01- Do You Remember Rock 'n' Roll Radio? 02- I'm Affected 03- Danny Says 04- Chinese Rock 05- The Return of Jackie and Judy 06- Let's Go 07- Baby, I Love You 08- I Can't Make It on Time 09- This Ain't Havana 10- Rock 'n' Roll High School 11- All the Way 12- High Risk Insurance
Yellow Submarine Songtrack is a soundtrack album by The Beatles for the 1999 re-release of the 1968 film Yellow Submarine released on 13 September 1999 in the United Kingdom and the following day in the United States. It contains only The Beatles songs used in the film, including tracks absent from the original Yellow Submarine album. The extra tracks replaced the George Martin film score from the original release, while the complete score was included as a DVD audio track in the CD/DVD package featuring the album and film. The songs were fully remixed from the original multitrack tapes for this album, something not done for the original Compact Disc release of The Beatles catalogue in the late 1980s except for Help! and Rubber Soul. The remixed tracks of the album feature many alterations and adjustments from the original stereo mixes. Almost all of The Beatles songs included in the film are on Yellow Submarine Songtrack. An exception is "A Day in the Life", which was not put in because EMI did not want too many songs from Sgt. Pepper's Lonely Hearts Club Band to be included. Although all of the tracks were remixed, the songs included on Songtrack are the standard catalogue recordings (versions) that were previously available on other releases. Consequently, the extra verse of "It's All Too Much" or the off-the-cuff rendition of "Think for Yourself" heard in the film are not included on the album. The title track, "Yellow Submarine" contains the line "a life of ease" from John Lennon that had been missing in prior stereo mixes of the song. The multitrack tapes of "Hey Bulldog" were newly synchronized to create the Songtrack version. Due to the way the song had been originally recorded, the piano and drum performances were inseparable for a new mix. They remain on the left audio channel while snare overdubs performed by Ringo Starr are centred. The automatic double tracking that possibly erroneously continued into the first verse on the 1966 stereo version of "Eleanor Rigby" was corrected in the 1999 remix. The vocals by Paul McCartney are centred and slightly out of synch to the orchestration on this mix. The prior stereo version of "Love You To" contains a shorter fade than the initial mono recording. This shortening is retained in the Songtrack version. Acoustic guitars and percussion are situated at the left channel for the new mix of "All Together Now". McCartney and Lennon's vocals are centred while the chorus is split across the left and right. The background vocals heard on the second verse are more audible and the guitar is clearer. The Songtrack version of "Only a Northern Song" marked the appearance of the song for the first time in true stereo. The original 1969 stereo album featured a synthesized Duophonic variant of the original mono version. A stereo mix of this song also appeared on the Anthology 2 compilation album, but was made up of alternate takes featuring different overdubs and lyrics. The album debuted in the UK charts at #8 selling 19,000 copies in its first week. It also peaked at #15 on the Billboard 200, with 68,000 copies sold in its opening week. In France the album debuted at #13.
01- Yellow Submarine 02- Hey Bulldog 03- Eleanor Rigby 04- Love You To 05- All Together Now 06- Lucy in the Sky with Diamonds 07- Think for Yourself 08- Sgt. Pepper's Lonely Hearts Club Band 09- With a Little Help from My Friends 10- Baby You're a Rich Man 11- Only a Northern Song 12- All You Need Is Love 13- When I'm Sixty-Four 14- Nowhere Man 15- It's All Too Much
Roberto Carlos Braga, (born April 19, 1941 in Cachoeiro do Itapemirim, Espírito Santo, Brazil) is a Grammy Award-winning Brazilian singer, who has achieved a great deal of success and recognition in his 50 year career. Most of his songs are written in partnership with his friend, singer and songwriter Erasmo Carlos. Roberto Carlos has sold over 100 million albums around the world. He is considered one of the most influential artists in Brazil during the 1960s, being cited as a source of inspiration by many artists and bands up to the 1990s. Influenced by his idol Elvis Presley and the 1950s rock revolution, he rose to stardom as the main figure of the 1960s musical movement known as Jovem Guarda (Young Guard) in opposition to the 'Old Guard' of Brazilian music. "Jovem Guarda" was the first manifestation of the Brazilian pop rock movement. Since then, Roberto Carlos has been called 'O Rei' (the King), as well as Elvis. During the 1960s, Roberto Carlos also starred in a few motion pictures directed by Roberto Farias, many of them heavily inspired by the Beatles movies. Later, he moved towards a more serious, adult contemporary approach to singing, whilst consistently continuing to score hits throughout the 1970s and 1980s, in his country, throughout Latin America, Portugal, Spain and Italy. He remained active through the 1990s and beyond, focusing on romantic songs. Every year, Roberto Carlos hosts a special TV show singing his greatest hits along with special guests. The show has become a tradition in Brazilian television. In 1986, he had success at Radio City Music Hall (New York, NY) and, two years later, won the Grammy as the Best Latin American Pop singer. In 1989, Roberto Carlos became one of the only Brazilians ever to win a Grammy Award in the category of Best Latin Pop Album with Roberto Carlos / Tolo. On July 11, 2009, to celebrate his 50th career anniversary, Roberto Carlos performed a major show at Maracanã Stadium. It was his first presentation in the stadium. The estimated audience was about 70,000 people.
01- Amigo 02- Amada Amante 03- Qué Será de Ti 04- Detalles 05- Desahogo 06- Propuesta 07- La Distancia 08- Un Gato en la Oscuridad 09- Un Millón de Amigos 10- Cama y Mesa 11- El Día que Me Quieras 12- Por Amor 13- Palabras 14- Debaixo dos Caracóis dos seus Cabelos 15- Emoçoes 16- Fera Ferida 17- Amigo II 18- Amada Amante II 19- Como Vai Vocè 20- Detalhes 21- Desabafo 22- Proposta
Emerson, Lake & Palmer (ELP) were an English progressive rock supergroup. In the 1970s, the band was extremely popular, selling over 35 million albums and headlining huge concerts. The band consisted of Keith Emerson (keyboards), Greg Lake (guitar, bass guitar, vocals) and Carl Palmer (drums, percussion). On two occasions in 1969, The Nice (with Keith Emerson on keyboards) and King Crimson (with Greg Lake on bass and vocals) shared the same venue, first on August 10, 1969 at the 9th Jazz and Blues Pop Festival in Plumpton, England and on October 17, 1969 at Fairfield Halls in Croydon, England. After playing at a few of the same concerts, Emerson and Lake tried working together and found their styles to be not only compatible but also complementary. They wanted to be a keyboard/bass/drum band, and so searched out a drummer. Before settling on Carl Palmer, who at that time was a member of Atomic Rooster, they approached Mitch Mitchell of The Jimi Hendrix Experience. Mitchell was uninterested but passed the idea to Jimi Hendrix. Hendrix, tired of his band and wanting to try something different, expressed an interest in playing with the group. Since Emerson and Lake had settled on Palmer by then, this led the British press to speculate about a supergroup called HELP, or "Hendrix, Emerson, Lake & Palmer". Because of scheduling conflicts, such plans were not immediately realised, but the initial three planned a jam session with Hendrix after their second concert at the Isle of Wight Festival (their debut being in The Guildhall, Plymouth on Sunday 23 August 1970 at 7.30pm - with the band "Earth" as support), with the possibility of him joining. Hendrix died shortly thereafter, and the three pressed on as Emerson, Lake and Palmer. Their first four years were a creatively fertile period. Lake produced five of their first six albums (Brain Salad Surgery being co-produced with Pete Sinfield, who had recently abandoned King Crimson), starting with Emerson, Lake and Palmer (1970), which contained the hit "Lucky Man". Their best known early performance had been a relatively modest show at the August 1970 Isle of Wight Festival, one of the last of the great Woodstock-era festivals. Tarkus (1971) was their first successful concept album, described as a story about "reverse evolution". The March 1971 live recording (Newcastle, UK) of the band's next album Pictures at an Exhibition, an interpretation of Modest Mussorgsky's work of the same name, was issued as a low-priced record, the success of which contributed to the band's overall popularity. The 1972 album Trilogy contained ELP's best-selling single, the understated "From the Beginning". In 1973, the band had garnered enough recognition to form their own record label, Manticore Records, and purchased an abandoned cinema as their own rehearsal hall. In late 1973, Brain Salad Surgery, with an eye-catching sleeve designed by H. R. Giger, was released and became the band's best-known studio album. The lyrics were co-written by Peter Sinfield, who was the lyricist for King Crimson's first four albums. The subsequent world tours were documented with a massive three-LP live recording, Welcome Back my Friends to the Show that Never Ends. The ELP sound was dominated by the Hammond organ and Moog synthesizer of the flamboyant Emerson. The band's compositions were heavily influenced by classical music in addition to jazz and – at least in their early years – hard rock. Many of their pieces are arrangements of, or contain quotations from, classical music, and they can be said to fit into the sub-genre of symphonic rock. Onstage, the band exhibited an unorthodox mix of virtuoso musicianship and over-the-top theatrical bombast. ELP then took a three-year break to reinvent its music but lost contact with the changing musical scene. The band toured the US and Canada in 1977 and 1978 on a killing schedule of night after night performances – some with a full orchestra, which was a heavy burden on the tour revenues. These late-1970s tours found ELP working harder than ever to stay in touch with their audience. But as disco, punk rock, corporate rock and New Wave styles began to alter the musical landscape, ELP could no longer generate the excitement of being forerunners in musical innovation. Eventually, they drifted apart due to personality conflicts and irreconcilable differences concerning musical direction.
01- Karn Evil 9: First Impression-Part 2 02- Lucky Man 03- From the Beginning 04- Knife-Edge 05- Hoedowm 06- Jerusalem 07- C'est La Vie 08- Still...You Turn Me On 09- Tank 10- Fanfare For the Common Man 11- Tocatta 12- Peter Gunn 13- Nutrocker 14- I Believe In Father Christmas
