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
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