·"The Complete BBC Sessions Vol. 3" - The Beatles

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·"Quejas de Bandoneón" - Aníbal Troilo y Su Orquesta

Aníbal Carmelo Troilo (July 11, 1914 - May 18, 1975 in Buenos Aires) was an Argentine tango musician, bandoneon player, composer, and bandleader in Argentina. His orquesta típica was among the most popular with social dancers during the golden age of tango (1940-1955), but he changed to a concert sound by the late 1950s. He was one of those few artists who made us wonder what mystery, what magic produced such a rapport with people. As a bandoneon player, he was neither a stylist like Pedro Maffia, nor a virtuoso like Carlos Marcucci, nor a multiple creator like Pedro Laurenz, nor a phrasing player like Ciriaco Ortiz. But he had something of them all and he was, precisely, a master of personality and feeling in his expression. As an orchestra leader, he dug an undoubtedly tango style, balanced, without histrionisms and of undeniable taste. He knew how to choose the best players according to his musical ideas, he selected good singers, who beside him achieved their best, to such an extent that when they left the orchestra, only partially and for a short time could they reach a similar level. He also knew how to choose a repertory without having to accept the conditions suggested by the recording companies. Finally, he was an inspired composer, creator of pieces made to last forever, as also his renditions of somebody else's works which became masterpieces of all times. As composer, Troilo contributed an extensive number of major works. Some of his most outstanding titles are: "Toda mi vida", "Barrio de tango", "Pa' que bailen los muchachos", "Garúa", "María", "Sur", "Romance de barrio", "Che, bandoneón", "Discepolín", "Responso", "Patio mío", "Una canción", "La cantina", "Desencuentro" and "La última curda". If we add two bandoneon duets with Astor Piazzolla in 1970 when they recorded Cobián's "El motivo" and Carlos Gardel's "Volver", truly tango rarities for collectors, we then have a total of 485 recordings released even though it is presumed that there are several takes still in the can which were never released. He was a mythical character of Buenos Aires, who, as a poet said: "On May 18, 1975, his bandoneon fell off his hands"...





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01- Quejas de Bandoneón
02- Comme Il Faut
03- Danzarín
04- Los Mareados
05- Responso
06- Verano Porteño
07- Pa' que Bailen los Muchachos
08- Lo que Vendrá
09- La Cumparsita
10- Naipe Marcado
11- Melancólico
12- Mi Refugio
13- Inspiración
14- Fechoría
15- A Mis Viejos
16- La Racha
17- La Bordona
18- Tierrita
19- El Baqueano
20- La Trilla

Bonus Tracks (with Astor Piazzolla):

21- El Motivo
22- Volver

·"Stay"- The Hollies

The Hollies are an English rock group from Manchester formed in the early 1960s. Known for their distinctive vocal harmony style, they became one of the leading British groups of the era. They enjoyed considerable popularity in many countries, although they did not achieve major US chart success until 1966. Along with the Rolling Stones and The Searchers, they are one of the few British pop groups of the early 1960s that has never officially broken up and which continues to record and perform to the present. In a 2009 interview, member Graham Nash said that the group decided just prior to a performance to call themselves the "Hollies" because of their admiration for Buddy Holly. The original lineup included Allan Clarke as lead vocalist, Graham Nash as guitarist and vocalist, Vic Steele (real name Vic Farrell, 1945) on guitar, with Eric Haydock and Don Rathbone rounding out the group on bass guitar and drums. Steele left in May 1963, shortly before they signed to Parlophone as label-mates of the Beatles. Tony Hicks and Bobby Elliott joined the band in quick succession in 1963; both had played in a Nelson-based band, the Dolphins, Bernie Calvert, who replaced Haydock in 1966, was also a Dolphin member. The group's first U.S. album release came in 1964 as part of the first wave of British Invasion acts. They are commonly associated with Manchester, as some of the original Hollies grew up in the city. The Hollies had a squeaky-clean image, and were known for their bright vocal harmonies. Though initially known for its cover versions, the band moved towards written-to-order songs provided to them by such writers as Graham Gouldman. Soon after, the group's in-house songwriting trio of Clarke, Hicks and Nash began providing hits. Their EMI debut single "Ain't That Just Like Me" was released in May 1963, and hit #25 on the UK Singles Chart. Their second single, a cover of The Coasters' "Searchin," hit #12. They scored their first British Top 10 hit in early 1964 with a cover of Maurice Williams and The Zodiacs' "Stay", which reached #8 in the UK. It was lifted from the band's Parlophone debut album Stay With The Hollies, released on 1 January 1964, which went to #2 on the UK album chart. This album was released in the US though under the name Here I Go Again, on The Hollies' then-U.S. label Imperial. The hits continued with "Here I Go Again" (May 1964, UK #4); the group's first self-penned hit "We're Through" (Sep. 1964, UK #7); "Yes I Will" (Jan. 1965, UK #9); the Clint Ballard, Jr.-penned "I'm Alive" (May 1965, UK#1, US #103); and "Look Through Any Window" [Sept. 1965, UK #4] which also broke The Hollies into the US top 40 for the first time [#32, Jan. 1966]. However "If I Needed Someone" (Dec. 1965), the George Harrison song originally recorded by the Beatles on Rubber Soul, charted significantly lower, only reaching #20 in the UK. They returned to the UK Top 10 with "I Can't Let Go" (Feb. 1966, UK #2, US #42) and "Bus Stop" (UK #2, US #5, 1966) (written by future 10CC member Graham Gouldman). Their only non-charting single in this period was the Burt Bacharach-Hal David song "After The Fox" (Sep. 1966), which featured Jack Bruce on Bass guitar & Burt Bacharach himself on keyboards and was the theme song from the Peter Sellers comedy film of the same name, which was issued on the United Artists label. From this point until Nash's departure, the single A-sides were all Clarke-Hicks-Nash collaborations; "Stop Stop Stop" (Oct. 1966, UK #2, US #7), known for its distinctive banjo arrangement; "On a Carousel" (Feb. 1967; UK #4, 1967, US #11, Australia #14,), "Carrie Anne" (May 1967, UK #3, US #9, Australia #7) (the song from which actress Carrie-Anne Moss got her name, having been born when the song was on the charts). The last Hollies single of the '60s to feature Graham Nash was "Jennifer Eccles" (Mar. 1968, UK #7, US #40, Aust. #13. Like most British groups' during this period, The Hollies' US releases almost always featured different track listings from their original UK albums. The Hollies second album "In The Hollies Style" (1964) did not chart and none of its tracks were released in the US. The Hollies’s third album simply called Hollies hit number 8 in the UK in 1965. Their fourth Would You Believe made it to #16 in 1966. Released in the US as Hear Here and Beat Group, they failed to crack the top 100. Meanwhile a US Imperial Bus Stop album made of songs clipped from earlier albums climbed to #75, the group's first US album to enter the Top 100. While all their albums included original compositions, these were usually listed under the pseudonym "L. Ransford". Released in October 1966, For Certain Because (UK #23, 1966) was the group's fifth album, their first album consisting entirely of original compositions by Clarke, Hicks and Nash. Released in the U.S. as Stop! Stop! Stop! it reached U.S. #91 and spawned a U.S. release only single "Pay You Back With Interest" which was a modest hit reaching U.S. #28. Another track "Tell Me To My Face" was a moderate hit by Mercury artist Keith and would also be covered a decade later by Dan Fogelberg and Tim Weisberg on their Twin Sons Of Different Mothers album. The Searchers and Paul & Barry Ryan each had a minor UK Chart hit with Their song "Have You Ever loved Somebody" in 1967....while Graham Nash co-wrote John Walker's first solo hit "Annabella" that year...and later in 1968 Nash took a guest vocal on The Scaffold's UK Chart topper "Lily The Pink" (which referenced The Hollies 1968 hit "Jennifer Eccles"). Their next album Evolution was released on 1 June 1967, the same day as The Beatles' Sgt Pepper's Lonely Hearts Club Band. It was also their first album for their new U.S. label Epic. It reached UK #13 and U.S. #43. The U.S. version included the single "Carrie Anne". When Nash left in December 1968 it was due to a number of issues. Nash was by then feeling something of a prisoner of his early pop success; like John Lennon and George Harrison he too disliked the screaming of fans drowning out the songs in concerts. He felt imprisoned within The Hollies "pop group identity" too, when he wanted to write more personalised songs of a reflective nature not necessarily utilising vocal harmonies, and was clashing with producer Ron Richards over material. He relocated to Los Angeles, where he joined forces with former Buffalo Springfield guitarist Stephen Stills and ex-Byrds singer David Crosby to form one of the first supergroups, Crosby, Stills & Nash. Nash told Disc magazine, "I can't take touring any more. I just want to sit at home and write songs. I don't really care what the rest of the group think." The Hollies were inducted to the Rock and Roll Hall of Fame in 2010.





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01- Talkin' Bout You
02- Mr. Moonlight
03- You Better Move On
04- Lucille
05- Baby Don't Cry
06- Memphis, Tennessee
07- Stay
08- Rockin' Robin
09- Whatcha Gonna Do About It
10- Do You Love Me?
11- It's Only Make Believe
12- What Kind of Girl Are You
13- Little Lover
14- Candy Man

Bonus Track:

15- Just One Look