Code: Engelbert Humperdinck - Twelve Great Songs Plus 'Release Me'.1966. Title: Release Me Artist: Engelbert Humperdinck Release Date: 1966 Label: Mercury, Spectrum Audio, Woodford Genre: Vocal Music 36:03 160 KBIT 48 MB 1. Release Me 2. Quiet Nights 3. Yours Until Tomorrow 4. There's a Kind of Hush (All Over the World) 5.
This Is My Song 6. Misty Blue 7. Take My Heart 8.
How Near Is Love 9. Walk Through This World 10. If I Were You 11. Talking Love 12. My World (Il Mondo) 13.
Ten Guitars Nota: entre la edicion Parrot y esta hay diferencias esta trae 13 canciones, la 5 y 6 que no las trae Parrot que trae 12 y la cancion diferente de esta seria: B1 There Goes My Everything. Code: Engelbert Humperdinck - The Last Waltz.1967 mp3 160KBIT caratulas 62 mb Nota incluidas las 3 canciones diferentes. Parrot: A3Misty Blue A4 If I Were You B1Am I That Easy To Forget Label: Universal Music Australia Pty. Total Tracks: 16 Genre: Pop Released: 1991 A1 The Last Waltz (2:58) A2 A Place In The Sun (2:41) A3 Misty Blue (2:06) A4 If I Were You (2:10) A5 Two Different Worlds (2:30) A6 If It Comes To That (2:36) B1 Am I That Easy To Forget (3:00) B2 Everybody Knows (2:20) B3 To The Ends Of The Earth (2:30) B4 Miss Elaine E.S.
Jones (2:00) B5 All This World And The Seven Seas (2:51) B6 Long Gone (2:40). Code: xxxxx Engelbert Humperdinck - A Man Without Love.1968. Pop mp3 160KBIT caratulas incluidas LP 72 mb 1. A Man Without Love 2.
Can't Take My Eyes Of You 3. From Here To Eternity 4. Spanish Eyes 5. A Man And A Woman 6. Quando, Quando, Quando 7. Up, Up And Away 8. Wonderland By Night 9.
What A Wonderful World 10. Call On Me 11. By The Time I Get To Phoenix 12. Shadow Of Your Smile (Love Theme From The Sandpiper) Bonus cd Label: Universal Music Australia Pty.
Total Tracks: 18 Released: 1992 13. Pretty Ribbon 15. Dommage, Dommage (Too Bad, Too Bad) 16.
When I Say Goodnight 17. Funny Familiar Forgotten Feelings 18. There Goes My Everything. Code: xxxxx Engelbert Humperdinck - Engelbert.1969. Pop 50:17 160KBIT mp3 caratulas 60MB 01 - Love Can Fly 02 - Love Was Here Before The Stars 03 - Don't Say No (Again) 04 - Let Me Into Your Life 05 - Through The Eyes Of Love 06 - Les Bicyclettes De Belsize 07 - The way It Used To Be 08 - Marry Me 09 - To Get To You 10 - You're Easy To Love 11 - True 12 - A Good Thing Going Bonus 13 - Stay 14 - Come Over Here 15 - You Love 16 - If I Were You 17 - Two Different Worlds 18 - Am I That Easy To Forget. Code: xxxxx Engelbert & Tom Jones - Back To BackThe Best Of.1969. Pop 160Kbit mp3 caratulas 73 MB 01 - Engelbert Humperdinck Release Me 02 - Engelbert Humperdinck There Goes My Everything 03 - Engelbert Humperdinck The Last Waltz 04 - Engelbert Humperdinck Am I That Easy To Forget 05 - Engelbert Humperdinck A Man Without Love 06 - Tom Jones It's Not Unusual 07 - Tom Jones What's New Pussycat?
08 - Tom Jones Green Green Grass Of Home 09 - Tom Jones Detroit City 10 - Tom Jones (It Looks Like) I'll Never Fall In Love Again 11 - Tom Jones I'm Coming Home 12 - Tom Jones Delilah 13 - Tom Jones Help Yourself 14 - Tom Jones A Minute Of Your Time 15 - Tom Jones Love Me Tonight 16 - Engelbert Humperdinck Les Bicyclettes De Belsize 17 - Engelbert Humperdinck The Way It Used To Be 18 - Engelbert Humperdinck I'm A Better Man 19 - Engelbert Humperdinck Winter World Of World 20 - Engelbert Humperdinck There' A Kind Of Hush. Code: xxxxx We made it happen.1970. mp3 160Kbit caratulas 58mb 01. We Made It Happen 02.
My Cherie Amour 03. Raindrops Keep Falling On My Head 04. Love Me With All Your Heart (Quando Caliente El Sol) 05. Something 07. Everybody's Talkin' 08.
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Love For Love (Ciao, My Love) 09. Just Say I Love Her 10.
Wand'rin' Star 11. My Wife The Dancer 12. Leaving On A Jet Plane Bonus 13. From Here To Eternity (bonus) 14. Spanish Eyes (bonus) 15. A Man And A Woman (bonus) 16.
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Quando, Quando, Quando (bonus). Code: xxxxx Engelbert Humperdinck - A merry Christmas with Engelbert Humperdinck.1980.
160Kbit mp3 caratulas 42MB 1.: O Come All Ye Faithful (Adeste Fidelis) 2.: Have Yourself A Merry Little Christmas 3.: Blue Christmas 4.: Away In A Manger 5.: O Little Town Of Bethlehem 6.: Trilogy-We Three Kings Of Orient Are/First Noel/Silent Night Holy Night 8.: Mary's Boy Child 9.: God Rest Ye Merry Gentlemen 10.: Lord's Prayer. Code: xxxxx Engelbert Humperdinck - Remember I love you.1987. Mp3 / 160kbps / Caratulas / 75mb 1.
Love Is All 1987 2. To All The Girls I've Loved Before 3. On The Wings Of A Silverbird 4. Are You Lonesome Tonight 5. Under The Man In The Moon 6. Nothing's Gonna Change My Love For You 7. Senorita Bonita 8.
I Can't Stop Loving You 9. Engelbert & Gloria Gaynor - Love Is The Reason 11. Just For The Love Of You 12. Ho Do I Stop Loving You 13.
After You (New Version) 14. You Made A Believer Out Of Me 15. I Bid You Goodbye 16. We'll Meet Again. Code: xxxxx Engelbert Humperdinck - In Liebe Engelbert.1988. Pop 160Kbit mp3 Caratulas 67mb Nota:tambien llamado Engelbert Humperdinck-Radio Dancing 01 Lady Lolita 02 This Time Tomorrow 03 Alone In The Night 04 Love You Back To Sleep 05 Radio Dancing 06 Bella Italia 07 Aba Heidschi Bumbeidschi 08 Les Bicyclettes De Belsize 09 The Second Time 10 I Can Never Let You Go 11 One And One Made Three 12 Natural Love 13 Tokyo Tears 14 One World. Code: xxxxxx Engelbert Humperdinck - Ich Denk An Duch.1989.
Nota: son el mismo diferente titulo Step into my life' mp3 / 160kbps / Caratulas / 64 mb 01 Red Roses For My Lady 02 You Are So Beautiful 03 Love Story 04 A Man Without Love 05 Sentimental Lady 06 Theres Something Wrong In Paradise 07 Your Are My Love 08 I Get Lonely 09 Only A Lonely Child 10 Sweet Lady Jane 11 Star Of Bethlehem 12 I Wanna Rock You In My Wildest Dreams 13 Step Into My Life 14 Youre My Heart, Youre My Soul 15 Dancing With Tears In My Eyes 16 I Gave You My Love. Code: xxxxx Engelbert Humperdinck - Tambien Llamado - You Are So Beautiful mp3 / 160kbit / caratulas / 72mb 01 - I'm Got Gonna Dream Our Dreams For You 02 - Take Away The Sorrow 03 - Always On My Mind 04 - Sorry Seems To Be The Hardest Word 05 - Tell It Like It Is 06 - Our Love Is Forever 07 - You Are So Beatiful 08 - Fashion Magazine 09 - Heart Of Gold 10 - California Blue 11 - I Wish I Could Be There 12 - Someone To Love 13 - Something's Gotten Hold Of My Heart 14 - I Am In Love Again 15 - Here We Are 16 - Let's Fall In Love Again. Code: xxxxx Engelbert Humperdinck - Christmas Eve.1994 mp3 / 160kbps / 63MB 1. Believe in Love - With Last, James 2. Have I Told You Lately - With Morrison, Van 3.
Holly Holy - With Diamond, Neil 4. Ave Maria - With Schubert, Franz 5.
Navigator 12 free. One More Night - With Collins, Phil 6. Your Love - With Traditional 7. Bed of Roses - With BonJovi, Jon 8. White Christmas - With Berlin, Irving 9. Lean on Me - With Withers, Bill 10. A Whole New World - With Menken, Alan 11.
O Little Town of Bethlehem - With Brooks, Phillip 12. God’s Sending Angels - With Traditional. Engelbert Humperdinck - The very best of Engelbert Humperdinck.2CDS.1996. Code: xxxxx Engelbert Humperdinck - As time goes by.1997. Label: Success Format: CD, Album Country: US Released: 1997 Genre: Stage & Screen mp3 / 160kbps / caratulas / 52mb Tracklisting: 1 As Time Goes By (3:23) 2 I Don't Want To Walk Without You (3:04) 3 Embraceable You (2:49) 4 I Wish I Knew (3:35) 5 You'll Never Know (2:48) 6 Red Sails In The Sunset (3:04) 7 You Belong To My Heart (3:40) 8 The Very Thought Of You (3:45) 9 My Foolish Heart (2:52) 10 I'll Walk Alone (3:41) 11 Far Away Places (3:29) 12 A Lovely Way To Spend An Evening (3:33) BONUS 13. Long Ago (And Far Away) 14.
A night to remember. Code: Engelbert Humperdinck - Songs From The Heart.1999. Mp3 / 160kbps / 45 MB 01 - Day After Day 02 - Without You 03 - Killing Me Softly 04 - Leaving On A Jet Plane 05 - Something 06 - Put Your Hand In The Hand 07 - You'll Never Walk Alone (Live) 08 - Love The One You're With (Live) 09 - My Cherie Amour 10 - Help Me Make It Through The Night 11 - Show And Tell 12 - The First Time Ever I Saw Your Face 13 - Raindrops Keep Fallin' On My Head 14 - Photograph 15 - Release Me (Live).
On the newest Snydecast Dana and Ken drop the name of Englebert Humperdinck. It's not surprising they dropped it. It's a heavy name to carry. SELF HIGH FIVE. Anyway, it's not his real name. He was born Arnold Dorsey but he thought that name was too normal He wanted a weird name that sounded like a Muppet and a German sexual position. Engelbert Humperdinck.
It's not even easy to spell. The 'C' at the end throws me off. Here's some info from Wikipedia that I cut and pasted without reading: Engelbert Humperdinck (born Arnold George Dorsey; 2 May 1936) is an English pop singer. He is best known for his songs 'Release Me' and 'The Last Waltz', both singles topping the UK music charts in 1967, and selling in large-enough numbers to help the singer achieve 'the rare feat of scoring two million sellers in one year.'
In North America, he is also known for his 1976-hit single, 'After the Lovin'.' Humperdinck is regarded by music critics to be 'one of the finest middle-of-the-road balladeers around.' Here's a YouTube video that claims to be one of his albums. I didn't watch it. Hopefully halfway through it becomes some weird German Muppet sex romp: Posted.
(#150: 8 February 1975, 3 weeks) Track listing: Release Me/Quando Quando Quando/Les Bicyclettes De Belsize/Spanish Eyes/Am I That Easy To Forget/There Goes My Everything/A Man Without Love/Another Time, Another Place/Love Me With All Your Heart/The Way It Used To Be/Winter World Of Love/The Last Waltz There is a famous photograph from 1967 which features Engelbert Humperdinck and Tom Jones, Decca and the year’s golden boys, lounging back, grinning, against their respective Rolls Royces, as if in affable disbelief – how come they haven’t rumbled us yet? Or, more precisely, the Likely Lads of post-Beatles British balladry, or, more floridly (according to the late Billy MacKenzie) “Thunderbirds in pop.” For a while, to the public, they were inseparable – hanging out together, appearing on each other’s TV shows – and must have seemed like two sides of the same coin.
These days, though, I think of Humperdinck as a kind of Pacino to Jones’ de Niro; the two styles need each other but Jones’ persona is the less trustworthy, the more evasive – he is able to scurry under his varying masks of toughness and roughness, stutters and mumbles in his songs, gives the impression he’s always two further corners round the corner than you might find comfortable. Whereas Humperdinck wouldn’t have a heart if he didn’t wear it on his sleeve; he is painfully conscious about setting his own record straight (as a singer) – Jones laughs or hiccups off sorrow and suffering, but Humperdinck thrusts his loneliness in our faces. And lonely he was fated to be, just like Gene Pitney and George Michael (two other singers whose audiences have not taken well to finding happy – look at the top row of photos on the rear of His Greatest Hits, taken, as with the star shots for Elton John’s Greatest Hits, by Terry O’Neill, and you’d swear it was George circa 1985); it was for a time his oxygen, his lifeline. Never forget that when “Release Me” blasted off from the bottom of the bill at Sunday Night At The London Palladium and into the world, he was already thirty with nearly a decade of failure behind him; sometime nightclub performer, both as singer and saxophonist, he had been laid low for a fatal while by TB, and by the time Gordon Mills proposed the name change from Arnold (“Gerry”) Dorsey he was struggling to support his wife in a cold, bare flat in Hammersmith. This was his last roll of the dice; if “Engelbert” didn’t work, it would be proper job time.
But it did work, and not necessarily in the venerable “you’re too beautiful to suffer” trope of pop idolatry; there was that Anglo-Indian unplaceable exoticism about him – more pronounced than that other Anglo-Indian re-import, Cliff Richard – and the idea that he popped out from nowhere and seemed to come from everywhere provided sufficient allure for the demographic Lena has elsewhere termed “the Housewives of Valium Court”; left alone by their day job husbands to dream of other and better things. In his palpable suffering, he provided a relief projection screen for the pains of his audience. Not that Humperdinck has ever been a tortured soul, or at least not in ways he has decided to divulge to us; he is generally self-deprecating, amiable, wears “vain” like a Better Badge. When hustled onto a package tour in early ’67 with Hendrix’ Experience and the Walker Brothers he surprisingly bonded with Jimi, who would study his act closely from the wings and to whom the older man would offer tips on how to work an audience. Once he even provided understudy guitar for Humperdinck (“You can’t do this, Jimi! You’re a star!” “Oh don’t worry, I’ll stand behind that curtain and nobody will know it’s me”), who remarked (approvingly) that it was like being backed by three guitars. In more recent times he has happily provided the vocal for “Lesbian Seagull,” and upon discovering Damon Albarn had asked him to participate in Gorillaz’ Plastic Beach and that his management had turned Albarn down flat, an appalled Humperdinck promptly dismissed the team and installed his son as manager.
Engelbert Humperdinck Engelbert
It’s a remarkable story in many ways, but it’s all the sadder that, despite the Pacino comparison, Humperdinck had for the most part to deal with the equivalent of – Val Guest, or Gerald Thomas. The arrangers who contribute to these twelve songs are none of them awful as such – on the contrary, they include top names of the period such as ex-Joe Meek conspirator Charles Blackwell, Johnny Harris and Mike Vickers – but none seems to have been inspired to provide more than the obvious. Too many of these songs follow an identical formula, with tinkling piano, obligatory key changes for the final verse (to show off Humperdinck’s range) and, worst of all, a horribly obtrusive Light Programme choir who seem intent on pushing the singer towards heaven, or hell, as quickly as possible.
You can tell why something like “Am I That Easy To Forget?” didn’t do quite as well as his ’67 trilogy of hits; the Horlicks singers are blocking Humperdinck’s emotional path, the watching-as-she-walks-out-on-me scenario too familiar; the formula was becoming tired. Those ’67 trilogy of hits, however, the three biggest selling singles of a year which supposedly opposed all that these songs stood for; if anything, quite apart from providing some sort of reassurance to maturing screamers finding Revolver a bit much, these performances solidify and refract their inbuilt misery. “Release Me” was built on the template of Little Esther Phillips’ 1962 version, but holds none of the knowing sass of the impetuous and bored fourteen-year-old girl playing patient emotional table tennis with her backing singers. And just because Phillips’ version is the more “approachable” or “authentic” (in relation to what?) does not necessarily make hers the superior reading. Humperdinck captures his own mounting desperation very effectively, starting low and gradually building up to the point where, when he finally reaches the top C of the final “So,” he can barely balance himself.
It is almost like a plea from the future to the past to let it escape, and live, and maybe has more in common with “Strawberry Fields Forever” than it cares to admit. In a nation where no-strings divorce had not yet quite been legalised, this cut through to a lot of disappointed hearts, and the single remained on the chart for well over a year (in part bolstered by its ebullient B-side “Ten Guitars” which latter sadly does not appear on this compilation). At least in “Release Me” he has another (and realer) love to go to, or go off with, but the two follow-ups cut off these escape routes. “There Goes My Everything” is enhanced by John McLaughlin’s imaginative guitar comping but cannot be taken seriously due to a bumptious bass trombone which plods through the arrangement like a doped elephant, let alone the “there goes my only possession” leitmotif (is he waiting for the repo men to come and pick her up?). With “The Last Waltz” there is little left save piano, and echoes (both oddly reminding me of Ultravox’s “Vienna”) and the trail of the song is anyway confusing; in its tenure he appears to meet the girl and finish with her in the space of two minutes. Muscially, too, Les Reed achieves a crafty fusion of new and old; the verses are a competent Bacharach pastiche but the chorus could have come out of Victorian operetta.
But it doesn’t seem to presage anything approaching a desirable future. Even when Humperdinck is “happy” there is always a sting in his wink. “Quando Quando Quando,” one of his most popular tracks (though a surprisingly under-performing single in the UK) and certainly one which I heard in my youth performed by endless Italian wedding bands, does well with Harris’ criss-crossing vertigos of strings and woodwind, but he hasn’t won her yet and it’s debatable whether he will.
His “Spanish Eyes” is also less assured (and wobblier on the diction front) than Al Martino’s hit version, and brings out some of the song’s innate absurdities (suddenly they’re in Mexico! Say “si si”!). Still, we recall that in The Good Life, when Paul Eddington’s henpecked executive Jerry is having a rare afternoon off, he stretches himself out on the sofa, pours out some liquor and revels in a Humperdinck album; here is also the man many men of their time wished they could be. The loneliness, meanwhile, gets worse. If not tackling Les Reed/Barry Mason originals, he’d most often be found reworking translated Italian San Remo weepies. Thus “A Man Without Love” strolls merrily on its ground of sprightly acoustic guitar, French horn, harp and accordion, such that we hardly notice what he’s singing: “I cannot face this world/That’s fallen down on me.” Like David Ruffin in “I Wish It Would Rain,” he cannot even leave his room. He even cites “If You Go Away” (“slowly dying”).
“Les Bicyclettes De Belsize,” written by Reed and Mason for a scatty short film about a bloke on his bike and a billboard model who comes to life, tries to breathe carefree but again and again the mourning chords (and muted trumpets) drag it down. “Come the dawn,” concludes Huperdinck, “they are all dead – yes, they’re dead.” We could almost be listening to Scott 3. 1969’s “The Way It Used To Be” is possibly Humperdinck’s most tortured record, in that Mike Vickers’ orchestra and chorus seem to pummel into his head – there he is, out of his room, but he’s in the dark corner of a restaurant, on his own, and everyone and everything else in there seems to be laughing at him, ganging up on him.
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As with Herman’s Hermits’ contemporaneous “My Sentimental Friend,” he asks the band to strike up an old love song, in the meagre hope that “she” might be passing by and look in, and be changed “even if the words are not so tender.” His mirthless laugh of “Ha!” is bitter, and the song tries very hard not to be “You Don’t Have To Say You Love Me” (“It’s quite easy to let go/Then the song begins again”). Note the “crowded room” appearing yet again, like a harsh reminder of earlier and better times. Reed’s arrangement of his and Mason’s “Winter World Of Love” does show some imagination, progressing from the icy “Il Silenzio” trumpet at the beginning to the hearth rug of Home Service strings which end the song, with Humperdinck progressively modifying his “O-ho”s to “Oh no” – but are they really going to stay in their bunker “until summer comes again” (well, it is the end of the sixties)? As the seventies rolled around the Brtish hits began to dry up, although Humperdinck’s personal popularity did not and, if anything, increased abroad, especially in the States; 1970’s “Love Me With All My Heart,” a variation on “Love Is A Many Splendoured Thing,” did no business in the UK (there is a case for Humperdinck as inventor of X-Factor pop, with those bravura high notes, climactic key changes and choirs).
His most interesting record of this period was 1971’s “Another Time, Another Place,” written by Mike Leander and Eddie Seago, which with its whirlybird arrangement is almost the anti-“Quando Quando Quando”; here is perhaps Humperdinck’s greatest torture – he keeps running into his ex no matter where he goes, and it’s always friendly and she’s almost always with somebody else – but the Strictly Come Dancing flourishes of Laurie Holloway’s aptly garish arrangement serve to mask deeper pains (“And I try desperately to hide”). Occasionally he even breaks into proto-Martin Fry mock-exasperation. And again, that word which keeps cropping up through the record, “regret.” Regret for not being hip, for sticking himself in, or to, the past?
But never, unlike Jones, does he do revenge songs. No, his is the epitome of pure romantic suffering; it’s a wonder that Mills didn’t think to rechristen him Heathcliff – it’s that intense and windblown. And that quality was still being clung to by a number of people, enough to get this last-ditch best-of to number one and on the chart for thirty-four weeks (last-ditch in that Humperdinck’s Decca contract was coming to an end, and so Decca took note of what K-Tel, Arcade and Ronco had been doing and advertised the record aggressively on TV; a signifier of a trend set to dominate the top of the album chart for the next fourteen years or so – single-artist retrospectives, and eventually the return of “Various Artists,” all aimed at relatively undiscriminating Woolworth’s buyers). But things were changing; Humperdinck, realising it was all finally rather ridiculous, if admirably so, ensconced himself happily on the Vegas circuit (and went on to score many more hits everywhere except Britain), Barry Manilow was waiting round the corner, and this year of 1975 will end in a quite different place, with another exotically glamorous, reinvented man of uncertain pedigree. But here we start, with the way it used to be, and who would ever think of trading in those Rolls Royces or conspiratorial schoolboy winks? I'll second that, nice work. I'd never looked at the track listing on this comp before.
It doesn't include I'm A Better Man, a no.15 hit in the late summer of 1969 that broke his run of seven consecutive Top 5 hits. Not only was it a reasonably big hit, it's also one of his best singles, and a Bacharach song that isn't overfamiliar. As you say, its optimism ('How fast the shadows fade. I have something wonderful to live for') may have kept it out of the Top 10 as that isn't really want Hump fans wanted, but I can only imagine Decca's compilers forgot it existed. Certainly worth a listen if you don't know it.
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