Hits Of  English Albams

History :
             The story of British classical music extends over more than a thousand years. A distinctive national tone was identifiable already in medieval times, and in the fifteenth century Dunstable was a leading international figure. The Renaissance saw the emergence of great composers such as Tallis, Byrd and Gibbons, and the seventeenth century was lit up by the brief but brilliant career of Purcell. After a long period dominated by composers from abroad, British creativity reasserted itself once more on the world stage. Elgar and Vaughan Williams, followed by their successors Britten and Tippett, opened the way for the crowded and diverse scene of the present day. British writer and broadcaster Anthony Burton traces this history in an informative 120-page booklet. Two packed CDs with a glorious selection of music, mostly complete works or movements, illustrate the story and offer richly enjoyable listening in their own right.

            Gardel began his career singing in bars and parties and in 1913 formed a duet with José Razzano (which would last until 1925), singing a wide variety of folk songs. Gardel made  the music his own by inventing the Tango-song, with his 1917 hit Mi Noche Triste, (which sold a 100.000 copies) and was an instant popular hit in Latin American countries. Gardel toured Argentina, Uruguay, Chile, Brasil, Puerto Rico, Venezuela, Colombia and cities like Barcelona, Paris and New York. He sold 70.000 records in the first three months of a 1928 visit to Paris. During his short life, he recorded a total of 770 themes, including 514 tangos. Gardel's huge popularity as an interpreter of the melancholy ballads of the tango was confirmed in the 1920s and 30s in nightclubs and motion pictures. The Argentine elite overcame their aversion to the tango's humble origins and open sensuality only when the man and his music were already widely accepted in France and Spain. Radio performances and a film career extended this appeal.

I live it, I feel it in the sweet glance of a beautiful and well-endowed woman who sees me drive by in my fast "voiturette"; I know that I am the tango when after leaving the racetrack the crowd of men follow me with their glances; I am not deceived when the tailor takes pains to make me his best suit or the saleswoman looks for the prettiest necktie for me. I know that the tribute is to the tango. I am for them the tango. And I like it, because I feel more like I belong here. Even though I intone a sweet French song, even though people listen to my beautiful notes of "Parlez moi D'Amour", I know that I am the singer of tangos who lends himself for other songs. (Gardel's comment for: Noticias Gráficas, Buenos Aires, Sept. 21, 1933).

"People do not understand what I do, they think that I make the money without doing anything.   And I do make it, it is certain; I make a lot, but work many hours of the day. So that they realize, this figure is enough: I get to record twenty songs each month. In addition to the recording, which in that form has to be almost daily, taking into account the instrumentation, the harmonization of guitars, the modifications that should always be introduced, so that the song and the instruments work well, and it will be visible what is my life; very pleasant, I cannot complain, only about the continuous work."  (Gardel's comment for: La Nación, Buenos Aires, June 30, 1929).