http://rapidshare.com/files/84866829/5_-_The_Beatles_-_Rubber_Soul.rar
All tracks written by John Lennon and Paul McCartney, except where noted.
UK release
Side one
1. "Drive My Car" – 2:30
2. "Norwegian Wood (This Bird Has Flown)" – 2:05 * Featuring George Harrison on sitar
3. "You Won't See Me" – 3:22 * Featuring Mal Evans on Hammond organ
4. "Nowhere Man" – 2:44
5. "Think for Yourself" (Harrison) – 2:19 * Featuring McCartney on fuzz bass
6. "The Word" – 2:43 * Featuring George Martin on harmonium
7. "Michelle" – 2:42
Side two
1. "What Goes On" (Lennon, McCartney, Ringo Starr) – 2:50
2. "Girl" – 2:33
3. "I'm Looking Through You" – 2:27
4. "In My Life" – 2:27 * Featuring George Martin on piano
5. "Wait" – 2:16
6. "If I Needed Someone" (Harrison) – 2:23
7. "Run for Your Life" – 2:18
U.S. release
Side one
1. "I've Just Seen a Face" – 2:04
2. "Norwegian Wood (This Bird Has Flown)" – 2:00
3. "You Won't See Me" – 3:19
4. "Think for Yourself" (George Harrison) – 2:16
5. "The Word" – 2:42
6. "Michelle" – 2:42
Side two
1. "It's Only Love" – 1:53
2. "Girl" – 2:26
3. "I'm Looking Through You" – 2:20
4. "In My Life" – 2:23
5. "Wait" – 2:13
6. "Run for Your Life" – 2:21
http://rapidshare.com/files/84866829/5_-_The_Beatles_-_Rubber_Soul.rar
Released in December 1965 -- and capping a year that had been defined by groundbreaking singles such as Bob Dylan's "Like a Rolling Stone" and the Rolling Stones' "(I Can't Get No) Satisfaction" -- Rubber Soul finds the Beatles rising to meet the challenge their peers had set. Characteristically, they achieved a new musical sophistication and a greater thematic depth without sacrificing a whit of pop appeal. Producer George Martin described Rubber Soul as "the first album to present a new, growing Beatles to the world," and so it was.
The band's development expressed itself in a variety of overlapping ways. On the U.K. version (the only one available on CD), "Drive My Car" presents a comic character study of a sort that had not previously been in the Beatles' repertoire. More profoundly, however, Dylan's influence suffuses the album, accounting for the tart emotional tone of "Norwegian Wood," "I'm Looking Through You," "You Won't See Me" and "If I Needed Someone." (Dylan would return the compliment the following year, when he offered his own version of "Norwegian Wood" -- titled "4th Time Around" -- on Blonde on Blonde, and consequently made Lennon "Paranoid.") Lennon's "Nowhere Man," which he later acknowledged as a depressed self-portrait, and the beautifully reminiscent "In My Life" both reflect the more serious and personal style of songwriting that Dylan had suddenly made possible.
Musically speaking, George Harrison's sitar on "Norwegian Wood" -- the first time the instrument was used in a pop song -- and Paul McCartney's fuzz bass on "Think for Yourself" document the band's increasing awareness that the studio could be more than a pit stop between tours. From this point on, a fascination with the sonic possibilities of recording would inspire the Beatles' greatest work.
Harrison called Rubber Soul "the best one we made," because "we were suddenly hearing sounds that we weren't able to hear before." And as for why the band's hearing had grown so acute, well, that was another aspect of the times. "There was a lot of experimentation on Rubber Soul," said Ringo Starr, "influenced, I think, by the substances."
Total album sales: 6.5 million
Peak chart position: 1
http://rapidshare.com/files/84866829/5_-_The_Beatles_-_Rubber_Soul.rar
terça-feira, 22 de janeiro de 2008
sexta-feira, 18 de janeiro de 2008
4) Highway 61 Revisited - Bob Dylan
http://rapidshare.com/files/84823848/4_-_Bob_Dylan_-_Highway_61_Revisited.rar
All songs were written by Bob Dylan.
Side one
"Like a Rolling Stone" – 6:13
"Tombstone Blues" – 5:58
"It Takes a Lot to Laugh, It Takes a Train to Cry" – 4:09
"From a Buick 6" – 3:19
"Ballad of a Thin Man" – 5:58
Side two
"Queen Jane Approximately" – 5:31
"Highway 61 Revisited" – 3:30
"Just Like Tom Thumb's Blues" – 5:31
"Desolation Row" – 11:21
http://rapidshare.com/files/84823848/4_-_Bob_Dylan_-_Highway_61_Revisited.rar
From Rolling Stone:
Bruce Springsteen has described the beginning of "Like a Rolling Stone," the opening song on Bob Dylan's Highway 61 Revisited, as the "snare shot that sounded like somebody'd kicked open the door to your mind." The response of folk singer Phil Ochs to the entire album was even more rhapsodic. "It's impossibly good. . . ." he said. "How can a human mind do this?"
Recorded in a mind-boggling six days and released in August 1965, Highway 61 Revisited -- named after the road that runs from Dylan's home state of Minnesota down through the Mississippi Delta -- is one of those albums that, quite simply, changed everything. In and of itself, "Like a Rolling Stone," which was rumored to be about Andy Warhol acolyte Edie Sedgwick, forever altered the landscape of popular music -- its "vomitific" lyrics (in Dylan's memorable term), literary ambition and sheer length (6:13) shattered limitations of every kind. But that was literally only the beginning. "Ballad of a Thin Man" delivered the definitive Sixties comment on the splintering hip/ straight fault line: "Something is happening here, but you don't know what it is/Do you, Mr. Jones?" If anyone questioned whether or not Dylan had truly "gone electric," the roaring rock & roll of "From a Buick 6" and "Tombstone Blues" -- both powered by legendary guitarist Mike Bloomfield - left absolutely no doubt.
The album ends with "Desolation Row," a swirling eleven-minute surrealist night journey of indescribable power. Confronted with the dilemma of providing an ending to an album so bursting with ideas, Dylan evokes a Hieronymus Bosch-like season in hell that, in retrospect, seems to foretell all the Sixties cataclysms to come. "The Titanic sails at dawn," he sings wearily near the song's end. "Everybody is shouting, 'Which side are you on?' " That "Desolation Row" is an all-acoustic track - a last-minute decision on Dylan's part - is one final stroke of genius: a spellbinding new vision of folk music to close the album that, for the time being at least, destroyed folk music. The gesture was simultaneously touching and a devastating "Fuck you!"
Not that Dylan wasn't having fun all the while as well. The toy siren that opens the album's title track was keyboardist's Al Kooper's playful way of policing the sessions for Highway 61 Revisited. "If anybody started using drugs anywhere," he explained, "I'd walk into the opposite corner of the room and just go whooooooooo."
Total album sales: 1.5 million
Peak chart position: 3
http://rapidshare.com/files/84823848/4_-_Bob_Dylan_-_Highway_61_Revisited.rar
All songs were written by Bob Dylan.
Side one
"Like a Rolling Stone" – 6:13
"Tombstone Blues" – 5:58
"It Takes a Lot to Laugh, It Takes a Train to Cry" – 4:09
"From a Buick 6" – 3:19
"Ballad of a Thin Man" – 5:58
Side two
"Queen Jane Approximately" – 5:31
"Highway 61 Revisited" – 3:30
"Just Like Tom Thumb's Blues" – 5:31
"Desolation Row" – 11:21
http://rapidshare.com/files/84823848/4_-_Bob_Dylan_-_Highway_61_Revisited.rar
From Rolling Stone:
Bruce Springsteen has described the beginning of "Like a Rolling Stone," the opening song on Bob Dylan's Highway 61 Revisited, as the "snare shot that sounded like somebody'd kicked open the door to your mind." The response of folk singer Phil Ochs to the entire album was even more rhapsodic. "It's impossibly good. . . ." he said. "How can a human mind do this?"
Recorded in a mind-boggling six days and released in August 1965, Highway 61 Revisited -- named after the road that runs from Dylan's home state of Minnesota down through the Mississippi Delta -- is one of those albums that, quite simply, changed everything. In and of itself, "Like a Rolling Stone," which was rumored to be about Andy Warhol acolyte Edie Sedgwick, forever altered the landscape of popular music -- its "vomitific" lyrics (in Dylan's memorable term), literary ambition and sheer length (6:13) shattered limitations of every kind. But that was literally only the beginning. "Ballad of a Thin Man" delivered the definitive Sixties comment on the splintering hip/ straight fault line: "Something is happening here, but you don't know what it is/Do you, Mr. Jones?" If anyone questioned whether or not Dylan had truly "gone electric," the roaring rock & roll of "From a Buick 6" and "Tombstone Blues" -- both powered by legendary guitarist Mike Bloomfield - left absolutely no doubt.
The album ends with "Desolation Row," a swirling eleven-minute surrealist night journey of indescribable power. Confronted with the dilemma of providing an ending to an album so bursting with ideas, Dylan evokes a Hieronymus Bosch-like season in hell that, in retrospect, seems to foretell all the Sixties cataclysms to come. "The Titanic sails at dawn," he sings wearily near the song's end. "Everybody is shouting, 'Which side are you on?' " That "Desolation Row" is an all-acoustic track - a last-minute decision on Dylan's part - is one final stroke of genius: a spellbinding new vision of folk music to close the album that, for the time being at least, destroyed folk music. The gesture was simultaneously touching and a devastating "Fuck you!"
Not that Dylan wasn't having fun all the while as well. The toy siren that opens the album's title track was keyboardist's Al Kooper's playful way of policing the sessions for Highway 61 Revisited. "If anybody started using drugs anywhere," he explained, "I'd walk into the opposite corner of the room and just go whooooooooo."
Total album sales: 1.5 million
Peak chart position: 3
http://rapidshare.com/files/84823848/4_-_Bob_Dylan_-_Highway_61_Revisited.rar
3) Revolver - The Beatles
http://rapidshare.com/files/84816227/3_-_The_Beatles_-_Revolver.rar
All tracks are credited to Lennon/McCartney, except where noted.
UK release
Side one
"Taxman" (George Harrison) – 2:39
"Eleanor Rigby" – 2:07
"I'm Only Sleeping" – 3:01
"Love You To" (Harrison) – 3:01
"Here, There and Everywhere" – 2:25
"Yellow Submarine" – 2:40
"She Said She Said" – 2:37
Side two
"Good Day Sunshine" – 2:09
"And Your Bird Can Sing" – 2:01
"For No One" – 2:01
"Doctor Robert" – 2:15
"I Want to Tell You" (Harrison) – 2:29
"Got to Get You into My Life" – 2:30
"Tomorrow Never Knows" – 2:57
U.S. release
Side one
"Taxman" (Harrison) – 2:39
"Eleanor Rigby" – 2:07
"Love You To" (Harrison) – 3:01
"Here, There and Everywhere" – 2:25
"Yellow Submarine" – 2:40
"She Said She Said" – 2:37
Side two
"Good Day Sunshine" – 2:09
"For No One" – 2:01
"I Want to Tell You" (Harrison) – 2:29
"Got to Get You into My Life" – 2:30
"Tomorrow Never Knows" – 2:57
http://rapidshare.com/files/84816227/3_-_The_Beatles_-_Revolver.rar
From Rolling Stone:
"I don't see too much difference between Revolver and Rubber Soul," George Harrison once said. "To me, they could be Volume One and Volume Two." Revolver extends the more adventurous aspects of its predecessor -- its introspection, its nascent psychedelia, its fascination with the possibilities of the studio -- into a dramatic statement of generational purpose. The album, which was released in August 1966, made it thrillingly clear that what we now think of as "the Sixties" was fully -- and irreversibly -- under way.
Part of that revolutionary impulse was visual. Klaus Voormann, one of the Beatles' artist buddies from their days in Hamburg, Germany, designed a striking photo-collage cover for Revolver; it was a crucial step on the road to the even trippier, more colorful imagery of Sgt. Pepper's Lonely Hearts Club Band, which would come less than a year later.
And then there's the music. The most innovative track on the album is John Lennon's "Tomorrow Never Knows." Attempting to distill an LSD trip into a three-minute song, Lennon borrowed lyrics from Timothy Leary's version of The Tibetan Book of the Dead and recorded his vocal to sound like "the Dalai Lama singing from the highest mountaintop." Tape loops, a backward guitar part (Paul McCartney's blistering solo on "Taxman," in fact) and a droning tamboura completed the experimental effect, and the song proved hugely influential. For his part, on "Eleanor Rigby" and "For No One," McCartney mastered a strikingly mature form of art song, and Harrison, with "Taxman," "I Want to Tell You" and "Love You To," challenged Lennon-McCartney's songwriting dominance.
Revolver, finally, signaled that in popular music, anything -- any theme, any musical idea -- could now be realized. And, in the case of the Beatles, would be.
Total album sales: 5 million
Peak chart position: 1
http://rapidshare.com/files/84816227/3_-_The_Beatles_-_Revolver.rar
All tracks are credited to Lennon/McCartney, except where noted.
UK release
Side one
"Taxman" (George Harrison) – 2:39
"Eleanor Rigby" – 2:07
"I'm Only Sleeping" – 3:01
"Love You To" (Harrison) – 3:01
"Here, There and Everywhere" – 2:25
"Yellow Submarine" – 2:40
"She Said She Said" – 2:37
Side two
"Good Day Sunshine" – 2:09
"And Your Bird Can Sing" – 2:01
"For No One" – 2:01
"Doctor Robert" – 2:15
"I Want to Tell You" (Harrison) – 2:29
"Got to Get You into My Life" – 2:30
"Tomorrow Never Knows" – 2:57
U.S. release
Side one
"Taxman" (Harrison) – 2:39
"Eleanor Rigby" – 2:07
"Love You To" (Harrison) – 3:01
"Here, There and Everywhere" – 2:25
"Yellow Submarine" – 2:40
"She Said She Said" – 2:37
Side two
"Good Day Sunshine" – 2:09
"For No One" – 2:01
"I Want to Tell You" (Harrison) – 2:29
"Got to Get You into My Life" – 2:30
"Tomorrow Never Knows" – 2:57
http://rapidshare.com/files/84816227/3_-_The_Beatles_-_Revolver.rar
From Rolling Stone:
"I don't see too much difference between Revolver and Rubber Soul," George Harrison once said. "To me, they could be Volume One and Volume Two." Revolver extends the more adventurous aspects of its predecessor -- its introspection, its nascent psychedelia, its fascination with the possibilities of the studio -- into a dramatic statement of generational purpose. The album, which was released in August 1966, made it thrillingly clear that what we now think of as "the Sixties" was fully -- and irreversibly -- under way.
Part of that revolutionary impulse was visual. Klaus Voormann, one of the Beatles' artist buddies from their days in Hamburg, Germany, designed a striking photo-collage cover for Revolver; it was a crucial step on the road to the even trippier, more colorful imagery of Sgt. Pepper's Lonely Hearts Club Band, which would come less than a year later.
And then there's the music. The most innovative track on the album is John Lennon's "Tomorrow Never Knows." Attempting to distill an LSD trip into a three-minute song, Lennon borrowed lyrics from Timothy Leary's version of The Tibetan Book of the Dead and recorded his vocal to sound like "the Dalai Lama singing from the highest mountaintop." Tape loops, a backward guitar part (Paul McCartney's blistering solo on "Taxman," in fact) and a droning tamboura completed the experimental effect, and the song proved hugely influential. For his part, on "Eleanor Rigby" and "For No One," McCartney mastered a strikingly mature form of art song, and Harrison, with "Taxman," "I Want to Tell You" and "Love You To," challenged Lennon-McCartney's songwriting dominance.
Revolver, finally, signaled that in popular music, anything -- any theme, any musical idea -- could now be realized. And, in the case of the Beatles, would be.
Total album sales: 5 million
Peak chart position: 1
http://rapidshare.com/files/84816227/3_-_The_Beatles_-_Revolver.rar
segunda-feira, 10 de dezembro de 2007
2) Pet Sounds - The Beach Boys
http://rapidshare.com/files/75698980/2__The_Beach_Boys_-_Pet_Sounds.rar
All songs by Brian Wilson and Tony Asher, except where noted.
Side one
1. "Wouldn't It Be Nice" (Wilson, Asher, Mike Love) – 2:22 * Features Brian Wilson and Mike Love on lead vocals
2. "You Still Believe in Me" – 2:30 * Features Brian Wilson on lead vocals; originally titled "In My Childhood"
3. "That's Not Me" – 2:27 * Features Mike Love [w/Brian Wilson] on lead vocals
4. "Don't Talk (Put Your Head on My Shoulder)" – 2:51 * Features Brian Wilson on lead vocals
5. "I'm Waiting for the Day" (Wilson, Love) – 3:03 * Features Brian Wilson on lead vocals
6. "Let's Go Away for Awhile" (Wilson) – 2:18 * Instrumental, Originally titled "The Old Man and the Baby"
7. "Sloop John B" (Trad. arr. Wilson) – 2:56 * Features Brian Wilson and Mike Love on lead vocals
Side two
1. "God Only Knows" – 2:49 * Features Carl Wilson on lead vocals: Brian & Bruce on the tag.
2. "I Know There's an Answer" (Wilson, Terry Sachen, Love) – 3:08 * Features Mike Love, Al Jardine, and Brian Wilson on lead vocals; Originally titled "Hang On to Your Ego"
3. "Here Today" – 2:52 * Features Mike Love on lead vocals
4. "I Just Wasn't Made for These Times" – 3:11 * Features Brian Wilson on lead vocals
5. "Pet Sounds" (Wilson) – 2:20 * Instrumental; originally titled "Run James Run"
6. "Caroline, No" – 2:52 * Features Brian Wilson on lead vocals; The barking of his dogs Banana and Louie closes the song
http://rapidshare.com/files/75698980/2__The_Beach_Boys_-_Pet_Sounds.rar
From Rolling Stone:
"Who's gonna hear this shit?" Beach Boys singer Mike Love asked the band's resident genius, Brian Wilson, in 1966, as Wilson played him the new songs he was working on. "The ears of a dog?" Confronted with his bandmate's contempt, Wilson made lemonade of lemons. "Ironically," he observed, "Mike's barb inspired the album's title."
Barking dogs -- Wilson's dog Banana among them, in fact -- are prominent among the found sounds on the album. The Beatles made a point of echoing them on Sgt. Pepper's Lonely Hearts Club Band -- an acknowledgment that Pet Sounds was the inspiration for the Beatles' masterpiece. That gesture actually completed a circle of influence: Wilson initially conceived of Pet Sounds as an effort to top the Beatles' Rubber Soul.
Wilson essentially made Sounds without the rest of the band, using them only to flesh out the vocal arrangements. He even considered putting the album out as a solo project, and the first single, "Caroline, No," was released under his own name. The deeply personal nature of the songs, which Wilson co-wrote primarily with lyricist Tony Asher, further distinguished the album from the Beach Boys' typical fare. Its luxurious sound convey a heartbreaking wistfulness, as songs such as "I Just Wasn't Made for These Times" and "I'm Waiting for the Day" bid farewell to the innocent world of the early Sixties and to the Beach Boys' fun-in-the-sun hits.
Unfortunately, Capitol Records proved no more enamored of Pet Sounds than had Love; the label actually considered not releasing the album at all. Not yet vindicated by history, Wilson withdrew further into his inner world. "At the last meeting I attended concerning Pet Sounds," Wilson wrote in his autobiography (which took the name of the album's opening track, "Wouldn't It Be Nice") about his dealings with Capitol's executive brain trust, "I showed up holding a tape player and eight prerecorded, looped responses, including 'No comment,' 'Can you repeat that?' 'No' and 'Yes.' Refusing to utter a word, I played the various tapes when appropriate."
Total album sales: 1.6 million
Peak chart position: 10
http://rapidshare.com/files/75698980/2__The_Beach_Boys_-_Pet_Sounds.rar
All songs by Brian Wilson and Tony Asher, except where noted.
Side one
1. "Wouldn't It Be Nice" (Wilson, Asher, Mike Love) – 2:22 * Features Brian Wilson and Mike Love on lead vocals
2. "You Still Believe in Me" – 2:30 * Features Brian Wilson on lead vocals; originally titled "In My Childhood"
3. "That's Not Me" – 2:27 * Features Mike Love [w/Brian Wilson] on lead vocals
4. "Don't Talk (Put Your Head on My Shoulder)" – 2:51 * Features Brian Wilson on lead vocals
5. "I'm Waiting for the Day" (Wilson, Love) – 3:03 * Features Brian Wilson on lead vocals
6. "Let's Go Away for Awhile" (Wilson) – 2:18 * Instrumental, Originally titled "The Old Man and the Baby"
7. "Sloop John B" (Trad. arr. Wilson) – 2:56 * Features Brian Wilson and Mike Love on lead vocals
Side two
1. "God Only Knows" – 2:49 * Features Carl Wilson on lead vocals: Brian & Bruce on the tag.
2. "I Know There's an Answer" (Wilson, Terry Sachen, Love) – 3:08 * Features Mike Love, Al Jardine, and Brian Wilson on lead vocals; Originally titled "Hang On to Your Ego"
3. "Here Today" – 2:52 * Features Mike Love on lead vocals
4. "I Just Wasn't Made for These Times" – 3:11 * Features Brian Wilson on lead vocals
5. "Pet Sounds" (Wilson) – 2:20 * Instrumental; originally titled "Run James Run"
6. "Caroline, No" – 2:52 * Features Brian Wilson on lead vocals; The barking of his dogs Banana and Louie closes the song
http://rapidshare.com/files/75698980/2__The_Beach_Boys_-_Pet_Sounds.rar
From Rolling Stone:
"Who's gonna hear this shit?" Beach Boys singer Mike Love asked the band's resident genius, Brian Wilson, in 1966, as Wilson played him the new songs he was working on. "The ears of a dog?" Confronted with his bandmate's contempt, Wilson made lemonade of lemons. "Ironically," he observed, "Mike's barb inspired the album's title."
Barking dogs -- Wilson's dog Banana among them, in fact -- are prominent among the found sounds on the album. The Beatles made a point of echoing them on Sgt. Pepper's Lonely Hearts Club Band -- an acknowledgment that Pet Sounds was the inspiration for the Beatles' masterpiece. That gesture actually completed a circle of influence: Wilson initially conceived of Pet Sounds as an effort to top the Beatles' Rubber Soul.
Wilson essentially made Sounds without the rest of the band, using them only to flesh out the vocal arrangements. He even considered putting the album out as a solo project, and the first single, "Caroline, No," was released under his own name. The deeply personal nature of the songs, which Wilson co-wrote primarily with lyricist Tony Asher, further distinguished the album from the Beach Boys' typical fare. Its luxurious sound convey a heartbreaking wistfulness, as songs such as "I Just Wasn't Made for These Times" and "I'm Waiting for the Day" bid farewell to the innocent world of the early Sixties and to the Beach Boys' fun-in-the-sun hits.
Unfortunately, Capitol Records proved no more enamored of Pet Sounds than had Love; the label actually considered not releasing the album at all. Not yet vindicated by history, Wilson withdrew further into his inner world. "At the last meeting I attended concerning Pet Sounds," Wilson wrote in his autobiography (which took the name of the album's opening track, "Wouldn't It Be Nice") about his dealings with Capitol's executive brain trust, "I showed up holding a tape player and eight prerecorded, looped responses, including 'No comment,' 'Can you repeat that?' 'No' and 'Yes.' Refusing to utter a word, I played the various tapes when appropriate."
Total album sales: 1.6 million
Peak chart position: 10
http://rapidshare.com/files/75698980/2__The_Beach_Boys_-_Pet_Sounds.rar
1) Sgt. Pepper's Lonely Hearts Club Band - The Beatles
http://rapidshare.com/files/75685211/1__The_Beatles_-_Sgt._Peppers_Lonely_Hearts_Club_Band__1967_.rar
Sgt. Pepper's Lonely Hearts Club Band was the first Beatles album to be released with identical track listings in the United Kingdom and the United States (although the American release did not contain the side two runout groove and inner groove sound effects). All songs written by Lennon-McCartney, except where noted.
Side one 1. "Sgt. Pepper's Lonely Hearts Club Band" – 2:04
2. "With a Little Help from My Friends" – 2:46
3. "Lucy in the Sky with Diamonds" – 3:30
4. "Getting Better" – 2:49
5. "Fixing a Hole" – 2:38
6. "She's Leaving Home" – 3:37
7. "Being for the Benefit of Mr. Kite!" – 2:39
Side two
1. "Within You Without You" (George Harrison) – 5:07
2. "When I'm Sixty-Four" – 2:37
3. "Lovely Rita" – 2:44
4. "Good Morning Good Morning" – 2:43
5. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" – 1:20 6. "A Day in the Life" – 5:33
http://rapidshare.com/files/75685211/1__The_Beatles_-_Sgt._Peppers_Lonely_Hearts_Club_Band__1967_.rar
From Rolling Stone:
Sgt. Pepper's Lonely Hearts Club Band is the most important rock & roll album ever made, an unsurpassed adventure in concept, sound, songwriting, cover art and studio technology by the greatest rock & roll group of all time. From the title song's regal blasts of brass and fuzz guitar to the orchestral seizure and long, dying piano chord at the end of "A Day in the Life," the thirteen tracks on Sgt. Pepper's Lonely Hearts Club Band are the pinnacle of the Beatles' eight years as recording artists. John Lennon, Paul McCartney, George Harrison and Ringo Starr were never more fearless and unified in their pursuit of magic and transcendence. Issued in Britain on June 1st, 1967, and a day later in America, Sgt. Pepper's Lonely Hearts Club Band is also rock's ultimate declaration of change. For the Beatles, it was a decisive goodbye to matching suits, world tours and assembly-line record-making. "We were fed up with being Beatles," McCartney said decades later, in Many Years From Now, Barry Miles' McCartney biography. "We were not boys, we were men . . . artists rather than performers." At the same time, Sgt. Pepper formally ushered in an unforgettable season of hope, upheaval and achievement: the late 1960s and, in particular, 1967's Summer of Love. In its iridescent instrumentation, lyric fantasias and eye-popping packaging, Sgt. Pepper defined the opulent revolutionary optimism of psychedelia and instantly spread the gospel of love, acid, Eastern spirituality and electric guitars around the globe. No other pop record of that era, or since, has had such an immediate, titanic impact. This music documents the world's biggest rock band at the very height of its influence and ambition. "It was a peak," Lennon confirmed in his 1970 Rolling Stone interview, describing both the album and his collaborative relationship with McCartney. "Paul and I definitely were working together," Lennon said, and Sgt. Pepper is rich with proof: McCartney's burst of hot piano and school-days memoir ("Woke up, fell out of bed . . . ") in Lennon's "A Day in the Life," a reverie on mortality and infinity; Lennon's impish rejoinder to McCartney's chorus in "Getting Better" ("It can't get no worse"). "Sgt. Pepper was our grandest endeavor," Starr said, looking back, in the 2000 autobiography The Beatles Anthology. "The greatest thing about the band was that whoever had the best idea - it didn't matter who -- that was the one we'd use. No one was standing on their ego, saying, 'Well, it's mine,' and getting possessive." It was Neil Aspinall, the Beatles' longtime assistant, who suggested they reprise the title track, just before the grand finale of "A Day in the Life," to complete Sgt. Pepper's theatrical conceit: an imaginary concert by a fictional band, played by the Beatles. The first notes went to tape on December 6th, 1966: two takes of McCartney's music-hall confection "When I'm Sixty-Four." (Lennon's lysergic reflection on his Liverpool childhood, "Strawberry Fields Forever," was started two weeks earlier but issued in February 1967 as a stand-alone single.) But Sgt. Pepper's real birthday is August 29th, 1966, when the Beatles played their last live concert, in San Francisco. Until then, they had made history in the studio -- Please Please Me (1963), Rubber Soul (1965), Revolver (1966) -- between punishing tours. Off the road for good, the Beatles were free to be a band away from the hysteria of Beatlemania. McCartney went a step further. On a plane to London in November '66, as he returned from a vacation in Kenya, he came up with the idea of an album by the Beatles in disguise, an alter-ego group that he subsequently dubbed Sgt. Pepper's Lonely Hearts Club Band. "We'd pretend to be someone else," McCartney explained in Anthology. "It liberated you -- you could do anything when you got to the mike or on your guitar, because it wasn't you." Only two songs on the final LP, both McCartney's, had anything to do with the Pepper character: the title track and Starr's jaunty vocal showcase "With a Little Help From My Friends," introduced as a number by Sgt. Pepper's star crooner, Billy Shears. "Every other song could have been on any other album," Lennon insisted later. Yet it is hard to imagine a more perfect setting for the Victorian jollity of Lennon's "Being for the Benefit of Mr. Kite!" (inspired by an 1843 circus poster) or the sumptuous melancholy of McCartney's "Fixing a Hole," with its blend of antique shadows (a harpsichord played by the Beatles' producer George Martin) and modern sunshine (double-tracked lead guitar executed with ringing precision by Harrison). The Pepper premise was a license to thrill. It also underscored the real-life cohesion of the music and the group that made it. Of the 700 hours the Beatles spent making Sgt. Pepper (engineer Geoff Emerick actually tallied them) from the end of 1966 until April 1967, the group needed only three days' worth to complete Lennon's lavish daydream "Lucy in the Sky With Diamonds." "A Day in the Life," the most complex song on the album, was done in just five days. (The oceanic piano chord was three pianos hit simultaneously by ten hands belonging to Lennon, McCartney, Starr, Martin and Beatles roadie Mal Evans.) No other Beatles appear with Harrison on his sitar-perfumed sermon on materialism and fidelity, "Within You Without You," but the band wisely placed the track at the halfway point of the original vinyl LP, at the beginning of Side Two: a vital meditation break in the middle of the jubilant indulgence. The Beatles' exploitation of multitracking on Sgt. Pepper transformed the very act of studio recording (the orchestral overdubs on "A Day in the Life" marked the debut of eight-track recording in Britain: two four-track machines used in sync). And Sgt. Pepper's visual extravagance officially elevated the rock album cover to a Work of Art. Michael Cooper's photo of the Beatles in satin marching-band outfits, in front of a cardboard-cutout audience of historical figures, created by artist Peter Blake, is the most enduring image of the psychedelic era. Sgt. Pepper was also the first rock album to incorporate complete lyrics to the songs in its design. Yet Sgt. Pepper's Lonely Hearts Club Band is the Number One album of the RS 500 not just because of its firsts -- it is simply the best of everything the Beatles ever did as musicians, pioneers and pop stars, all in one place. A 1967 British print ad for the album declared, "Remember Sgt. Pepper's Lonely Hearts Club Band Is the Beatles." As McCartney put it, the album was "just us doing a good show." The show goes on forever.
Total album sales: 11.7 million
Peak chart position: 1
http://rapidshare.com/files/75685211/1__The_Beatles_-_Sgt._Peppers_Lonely_Hearts_Club_Band__1967_.rar
Sgt. Pepper's Lonely Hearts Club Band was the first Beatles album to be released with identical track listings in the United Kingdom and the United States (although the American release did not contain the side two runout groove and inner groove sound effects). All songs written by Lennon-McCartney, except where noted.
Side one 1. "Sgt. Pepper's Lonely Hearts Club Band" – 2:04
2. "With a Little Help from My Friends" – 2:46
3. "Lucy in the Sky with Diamonds" – 3:30
4. "Getting Better" – 2:49
5. "Fixing a Hole" – 2:38
6. "She's Leaving Home" – 3:37
7. "Being for the Benefit of Mr. Kite!" – 2:39
Side two
1. "Within You Without You" (George Harrison) – 5:07
2. "When I'm Sixty-Four" – 2:37
3. "Lovely Rita" – 2:44
4. "Good Morning Good Morning" – 2:43
5. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" – 1:20 6. "A Day in the Life" – 5:33
http://rapidshare.com/files/75685211/1__The_Beatles_-_Sgt._Peppers_Lonely_Hearts_Club_Band__1967_.rar
From Rolling Stone:
Sgt. Pepper's Lonely Hearts Club Band is the most important rock & roll album ever made, an unsurpassed adventure in concept, sound, songwriting, cover art and studio technology by the greatest rock & roll group of all time. From the title song's regal blasts of brass and fuzz guitar to the orchestral seizure and long, dying piano chord at the end of "A Day in the Life," the thirteen tracks on Sgt. Pepper's Lonely Hearts Club Band are the pinnacle of the Beatles' eight years as recording artists. John Lennon, Paul McCartney, George Harrison and Ringo Starr were never more fearless and unified in their pursuit of magic and transcendence. Issued in Britain on June 1st, 1967, and a day later in America, Sgt. Pepper's Lonely Hearts Club Band is also rock's ultimate declaration of change. For the Beatles, it was a decisive goodbye to matching suits, world tours and assembly-line record-making. "We were fed up with being Beatles," McCartney said decades later, in Many Years From Now, Barry Miles' McCartney biography. "We were not boys, we were men . . . artists rather than performers." At the same time, Sgt. Pepper formally ushered in an unforgettable season of hope, upheaval and achievement: the late 1960s and, in particular, 1967's Summer of Love. In its iridescent instrumentation, lyric fantasias and eye-popping packaging, Sgt. Pepper defined the opulent revolutionary optimism of psychedelia and instantly spread the gospel of love, acid, Eastern spirituality and electric guitars around the globe. No other pop record of that era, or since, has had such an immediate, titanic impact. This music documents the world's biggest rock band at the very height of its influence and ambition. "It was a peak," Lennon confirmed in his 1970 Rolling Stone interview, describing both the album and his collaborative relationship with McCartney. "Paul and I definitely were working together," Lennon said, and Sgt. Pepper is rich with proof: McCartney's burst of hot piano and school-days memoir ("Woke up, fell out of bed . . . ") in Lennon's "A Day in the Life," a reverie on mortality and infinity; Lennon's impish rejoinder to McCartney's chorus in "Getting Better" ("It can't get no worse"). "Sgt. Pepper was our grandest endeavor," Starr said, looking back, in the 2000 autobiography The Beatles Anthology. "The greatest thing about the band was that whoever had the best idea - it didn't matter who -- that was the one we'd use. No one was standing on their ego, saying, 'Well, it's mine,' and getting possessive." It was Neil Aspinall, the Beatles' longtime assistant, who suggested they reprise the title track, just before the grand finale of "A Day in the Life," to complete Sgt. Pepper's theatrical conceit: an imaginary concert by a fictional band, played by the Beatles. The first notes went to tape on December 6th, 1966: two takes of McCartney's music-hall confection "When I'm Sixty-Four." (Lennon's lysergic reflection on his Liverpool childhood, "Strawberry Fields Forever," was started two weeks earlier but issued in February 1967 as a stand-alone single.) But Sgt. Pepper's real birthday is August 29th, 1966, when the Beatles played their last live concert, in San Francisco. Until then, they had made history in the studio -- Please Please Me (1963), Rubber Soul (1965), Revolver (1966) -- between punishing tours. Off the road for good, the Beatles were free to be a band away from the hysteria of Beatlemania. McCartney went a step further. On a plane to London in November '66, as he returned from a vacation in Kenya, he came up with the idea of an album by the Beatles in disguise, an alter-ego group that he subsequently dubbed Sgt. Pepper's Lonely Hearts Club Band. "We'd pretend to be someone else," McCartney explained in Anthology. "It liberated you -- you could do anything when you got to the mike or on your guitar, because it wasn't you." Only two songs on the final LP, both McCartney's, had anything to do with the Pepper character: the title track and Starr's jaunty vocal showcase "With a Little Help From My Friends," introduced as a number by Sgt. Pepper's star crooner, Billy Shears. "Every other song could have been on any other album," Lennon insisted later. Yet it is hard to imagine a more perfect setting for the Victorian jollity of Lennon's "Being for the Benefit of Mr. Kite!" (inspired by an 1843 circus poster) or the sumptuous melancholy of McCartney's "Fixing a Hole," with its blend of antique shadows (a harpsichord played by the Beatles' producer George Martin) and modern sunshine (double-tracked lead guitar executed with ringing precision by Harrison). The Pepper premise was a license to thrill. It also underscored the real-life cohesion of the music and the group that made it. Of the 700 hours the Beatles spent making Sgt. Pepper (engineer Geoff Emerick actually tallied them) from the end of 1966 until April 1967, the group needed only three days' worth to complete Lennon's lavish daydream "Lucy in the Sky With Diamonds." "A Day in the Life," the most complex song on the album, was done in just five days. (The oceanic piano chord was three pianos hit simultaneously by ten hands belonging to Lennon, McCartney, Starr, Martin and Beatles roadie Mal Evans.) No other Beatles appear with Harrison on his sitar-perfumed sermon on materialism and fidelity, "Within You Without You," but the band wisely placed the track at the halfway point of the original vinyl LP, at the beginning of Side Two: a vital meditation break in the middle of the jubilant indulgence. The Beatles' exploitation of multitracking on Sgt. Pepper transformed the very act of studio recording (the orchestral overdubs on "A Day in the Life" marked the debut of eight-track recording in Britain: two four-track machines used in sync). And Sgt. Pepper's visual extravagance officially elevated the rock album cover to a Work of Art. Michael Cooper's photo of the Beatles in satin marching-band outfits, in front of a cardboard-cutout audience of historical figures, created by artist Peter Blake, is the most enduring image of the psychedelic era. Sgt. Pepper was also the first rock album to incorporate complete lyrics to the songs in its design. Yet Sgt. Pepper's Lonely Hearts Club Band is the Number One album of the RS 500 not just because of its firsts -- it is simply the best of everything the Beatles ever did as musicians, pioneers and pop stars, all in one place. A 1967 British print ad for the album declared, "Remember Sgt. Pepper's Lonely Hearts Club Band Is the Beatles." As McCartney put it, the album was "just us doing a good show." The show goes on forever.
Total album sales: 11.7 million
Peak chart position: 1
http://rapidshare.com/files/75685211/1__The_Beatles_-_Sgt._Peppers_Lonely_Hearts_Club_Band__1967_.rar
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