·"The Original Recordings 1965-1967" - Los Mockers

Los Mockers were a popular 1960s rock band in Latin America that was part of the Uruguayan Invasion. The group was formed in 1963 on Montevideo, Uruguay but moved to Argentina in early 1966 after winning a contract with EMI-Odeón, Argentina. The band members were Polo Pereira (guitar, vocals), Jorge Fernández (guitar, backing vocals), Esteban Hirschfield (organ, backing vocals, harmonica), Julio Montero (bass, vocals) and Beto Freigeda (drums). They modeled themselves off of the Rolling Stones and covered many of their song(evven in English). The original lineup disbanded in 1967.





http://www.mediafire.com/?245yyxzyiyj


01- What a Life
02- Let Me Try Again
03- Don't Go Away
04- Show Me The Way
05- Tell Me Something New
06- Empty Harem
07- Make Up Your Mind
08- You Got It
09- Can't Be a Lie
10- All The Time
11- Sad
12- Every Night
13- I Wanna Go
14- My Baby
15- It Was Me
16- Girl You Won't Succeed
17- Paint It Black
18- Captain Grey
19- Confusion

Bonus Tracks (from early live radio broadcasts):

20- I Just Wanna Make Love to You
21- Oh Baby (We Got a Good Thing Going)

·"Con Permiso, Soy el Tango" - Julio Sosa

Julio María Sosa Venturini (February 2, 1926 – November 26, 1964), usually referred to simply as Julio Sosa or El Varón del Tango, was an Uruguayan tango singer. Sosa was born in Las Piedras, a Canelones Department suburb of Montevideo, Uruguay. He moved to Buenos Aires, Argentina, in 1949, where became famous with Enrique Francini and Armando Pontier's Orquesta típica. Working with numerous other orchestras, he was reunited with Pontier in 1955, with whom he recorded several best-selling albums on the RCA Victor and Columbia labels and became one of the most important tango singers in the genre's history. He married Nora Ulfed in 1958 and had a daughter. His marriage ended in separation, however, and he settled into a relationship with Susana Merighi. Nicknamed El Varón del Tango ("the man's man of tango"), Sosa also published a book of poetry, "Dos horas antes del alba" ("Two Hours Before the Dawn"), in 1960. Following his switch to Columbia Records in 1961, the Pontier orchestra incorporated a new bandoneonist, Leopoldo Federico, and the association helped make the group the most successful in its genre, at the time. Sosa's fame acquainted him with sports cars, as well. He suffered numerous accidents during the early 1960s, mostly as a result of excess velocity. He was behind the wheel of a DKW coupé when, in the early hours of November 25, 1964, he crashed into a roadside hazard light on Buenos Aires' Figueroa Alcorta Avenue, killing him instantly at age 38.





http://www.megaupload.com/?d=89BCSDH2

01- Destellos
02- Volvió Una Noche
03- Margot
04- Soledad
05- Ivette
06- Viejo Rincón
07- Confesión
08- Cuando Era Mía Mi Vieja
09- Sus Ojos Se Cerraron
10- Mañana Iré Temprano
11- Tarde
12- Tu Pálido Final
13- Que Me Quiten Lo Bailao'
14- Tiempos Viejos
15- Un Tropezón
16- Tengo Miedo
17- Siga el Corso
18- Barrio Pobre
19- Guapo y Varón
20- Cambalache
21- María
22- En Esta Tarde Gris
23- El Firulete
24- Dicen Que Dicen
25- Tu Pálido Final (versión 2)
26- La Cumparsita
27- Nada
28- Otario Que Andás Penando
29- Mano a Mano
30- El Último Café
31- Rencor
32- Madame Ivonne
33- Uno
34- Milonga del 900
35- Che Papusa, Oí
36- Qué Falta Que Me Hacés
37- Qué Me Importa Tu Pasado
38- Nunca Tuvo Novio
39- Qué Me Van a Hablar de Amor
40- Levanta la Frente

·"Recopilación Zitarrosa" - Alfredo Zitarrosa

Alfredo Zitarrosa (b. March 10, 1936, d. on January 17, 1989 in Montevideo, Uruguay; a Uruguayan singer, composer, poet, writer and journalist. He is regarded as one of the most important figures in the popular music of his country and Latin America in general. Among the songs which became big hits are included "Doña Soledad" (Miss Soledad), "Recordándote" (Remembering you), "Stéfanie", "Adagio a mi país" (Adagio to my country) , "Zamba Por Vos" (Zamba for you), "El Violín de Becho" (Becho's violin) and the poem by milonga "Guitarra negra" (Black Guitar). As a poet, he was honored by the Inspectorate of Montevideo with the Municipal Poetry Award of 1959, for the book Explicaciones (Explanations) , which he never wanted to publish. In 1988 his storybook Por si el recuerdo (In case I remember), was published, containing stories written at various times during his life. Like any creator, Alfredo Zitarrosa nourishes his work from several sources, but even so, in his particular case emphasis has to be placed on the highly autobiographical nature of his compositions.





http://www.mediafire.com/file/mxmjgi5mamn/Zitarrosa.rar

01- Milonga De Ojos Dorados
02- Coplas Al Compadre Juan Miguel
03- De No Olvidar
04- Milonga Para Una Niña
05- Del Que Se Ausenta
06- Recordándote
07- Cueca Del Regreso
08- Zamba por Vos
09- Pa'l Que Se Va
10- Mire Amigo
11- Si Te Vas
12- Los Dos Criollos
13- No Me Esperes
14- La Canción Del Cantor
15- Doña Soledad
16- Milonga Triste
17- A José Artigas
18- Décimas A Jacinto Luna
19- Gato Del Perro
20- Qué Pena
21- En Blanco y Negro
22- Yaraví

· "La Conferencia Secreta del Toto's Bar" - Los Shakers

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!!!!





http://www.megaupload.com/?d=HPA4UB2E

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

· "Eco2" - Jorge Drexler

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.





http://rapidshare.com/files/221959189/2005_-_Eco2_-_Jorge_Drexler.rar

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

· Los Shakers -"Shakers For You"

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...





http://www.megaupload.com/?d=TF5USLTP

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

· "Break It All" - USA album - Los Shakers

Words of these “Beatles from Río de la Plata” filtered through the United States, so in mid 1965 Audio-Fidelity (a New York based label with a fetish for stereo) agreed to release their first album in USA, with the only condition that the master tape, and consequent record release, had to be stereo. Since in EMI-Odeon, Argentina, original recording sessions master tapes were destroyed once the mono mixes were done, the group had no option than recording the whole album again in order to get a stereo master. These recording sessions happened between September and October 1965, and the group also recorded some of their latest compositions in order to keep on releasing new stuff in South America some of which also ended forming part of that master sent to USA, and eventually part of that American album too. The album was called “Break It All” and though not a big seller back then (it was first released in early 1966 but passed unnoticed) most foreign Los Shakers’ fans are familiar with. Osvaldo Fattoruso says: “There’s something weird about these recordings mainly because Hugo was kind of hoarse or just couldn’t sing, so I ended up singing many of the songs he used to sing. We only ever played in South America. I recall there were talks about going to the States but personally I didn’t believe that we would ever make it up there. Even though I might not have liked their music or what they did in general terms, I had a lot of respect for foreign pop groups. I knew somehow that they were better than us for the general American audience. Remember we didn’t even know how to speak English back then. All we could do was singing “fake” English!!!”





http://www.megaupload.com/?d=S6ITWO2B

01- Break It All - 07/9/65 *
02- What a Love - 08/9/65
03- Only in Your Eyes - 09/9/65
04- Don’t Ask Me Love - 10/9/65
05- Do Not Disturb - 29/9/65
06- Give Me - 10/9/65
07- It’s Not Bad - 28/10/65
08- For You, For Me - 09/9/65
09- Boleto Para Pasear - 18/5/65
10- Thinking - 08/9/65
11- Won’t You Please? - 21/10/65
12- Forgive Me - 09/9/65

Bonus Tracks:

13- Boleto Para Pasear (stereo mix from master tape) - 18/5/65
14- Let Me go (mono version) - 07/9/65
15- Tell Them (mono mix) - 16/12/65
16- Stop the Game (mono mix) - 26/10/65

Rarities:

17- Let Me go (stereo version) - 07/9/65
18- Break It All (from master tape) - 07/9/65
19- The Longest Night (stereo version) - 07/9/65
20- More (stereo version) - 07/9/65
21- Baby Yeah, Yeah (stereo version) - 07/9/65
23- Baby Do the Shake (stereo version) - 07/9/65
24- What a Love (from master tape) - 08/9/65
24- Everybody Shake (stereo version) - 08/9/65
25- Thinking (from master tape) - 08/9/65
26- Forgive Me (from master tape) - 09/9/65
27- Don’t Ask Me Love (from master tape) - 10/9/65
28- Do Not Disturb (from master tape) - 29/9/65
29- Won’t You Please? (from master tape) - 21/10/65
30- Stop the Game (stereo mix) - 26/10/65
31- Tell Them (stereo mix) - 16/12/65

* Refers to recording dates.

· Los Shakers - "Los Shakers"

In March 1965, four Uruguayan guys (Hugo Fattoruso -21 y.o.-, Osvaldo Fattoruso -18 y.o.-, Roberto "Pelín" Capobianco -21 y.o.- and Carlos "Caio" Vila -21 y.o.-) started to record their first album at the EMI-Odeon recording studios in Buenos Aires, Argentina.
Los Shakers were the most popular rock band in South America during the mid sixties and they also were part (and leaders) of the so-called "Uruguayan Invasion" in Argentina. The band was formed in mid-1964 in Montevideo (Uruguay) and modeled after The Beatles, since the movie "A Hard Day's Night" caused such an impact on these young guys that they immediatly adopted similar haircuts and clothing. The band sang and composed 95% of their stuff in English, despite their location, and gained their greatest popularity in Argentina, Uruguay, Brasil, Venezuela, Peru, Paraguay and Bolivia. They issued their first single, "Keep Searchin' / Only in Your Eyes" in 1965, but it was their second single, "Break It All / More" the one which went straight to nº 1. This LP (here with added bonus tracks and rarities), released in mid-1965, contained the A-sides of their two first singles, plus a dozen of new recordings mostly written by the Fattoruso brothers. "Los Shakers", their first LP, remains as one of the strongest albums of the beat era from anywhere in the world. As capable musics in their own right, the band was able to dissect the harmonic elements of the Beatles "A Hard Day's Night / Beatles For Sale" era writing, adding their unique jazzy-pop-latin sensibilities and a healthy shot of the infectious joie de vivre that made the early Beatles so appealing.





http://www.megaupload.com/?d=3WVOXQH5

01- Break It All - 12/4/65 *
02- What a Love - 23/3/65
03- Baby Yeah, Yeah - 22/6/65
04- Forgive Me - 05/5/65
05- Everybody Shake - 18/6/65
06- Thinking - 19/4/65
07- It’s My Party - 21/4/65
08- Keep Searching - 12/5/65
09- For You, For Me - 08/4/65
10- Shake in the Streets - 04/5/65
11- The Longest Night - 16/6/65
12- Baby Do the Shake - 21/5/65
13- Don’t Ask Me Love - 12/4/65
14- Give Me - 04/6/65

Bonus Tracks:

15- Only in Your Eyes - 25/3/65
16- More - 27/4/65
17- My Bonnie - 23/3/65

Rarities:

18- I Wanna Be Your Man - 23/3/65
19- Boleto Para Pasear (mono mix - unreleased) - 18/5/65
20- See You Later Alligator - 27/5/65
21- À Présent Tu Peux T’en Aller - 09/6/65
22- No Fuimos (stereo) - 22/7/65
23- Nena Baila Shake (stereo) - 22/7/65
24- No Fuimos (stereo + from master tape) - 22/7/65

(* Dates refer to recording dates)