Bruno martino - don martino barreto - bussola ieri


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For legions of Americans, the iconic Capitol orange & yellow swirl 45rpm label is synonymous with The Beach Boys and/or The Beatles, and a time in US history when California was at the center of our cultural revolution. For me, however, it represents Capitol's impressive–albeit largely obscure–catalog of 1960's soul and R&B.

Capitol began the 60s with a stable of whitebread hitmakers such as The Kingston Trio, The Four Preps & The Four Freshmen, along with a revolving door of teens, TV stars & novelty acts. Thankfully, that all changed in 1963–first with the arrival of Surf Music, and then with the British Invasion. (One thing that didn't change, however, was Capitol's lucrative country music roster; roughly 25% of the releases in this discography are country.)

Simultaneously, Capitol was also producing top-notch soul music from studios in California, Nashville & New York; but while classy, soulful acts like Nat King Cole, Nancy Wilson & Lou Rawls frequently hit the charts, relatively few of the other soul releases made a dent, and most disappeared without a trace. So when I went surfing for a discography to identify these lost soul sides, I was surprised to find that there wasn't one.

Until now.

I've added some general notes and trivia below:

1. This discography is for 45rpm singles that follow the numeric numbering system associated with the main Capitol label only, which include a few Deltone, Colossal, KEF, Trump, Chips & Apple releases. Subsidiary labels that have unique numbering series like Tower, Sidewalk & Uptown are not included. I'll add another discography for promo/custom singles in the future.

2. The orange & yellow "swirl" design replaced Capitol's long-standing purple label, and was in use (in the .) from December 1961 until March 1969. However, earlier hits–like Robert Mitchum's "The Ballad Of Thunder Road" [#3986] from 1958 (which surprisingly re-entered the Hot 100 Chart in early 1962) were repressed/reissued on the swirl label.

3. During the swirl's inaugural period, a few releases were pressed with both purple & swirl labels, which makes it difficult to pinpoint the swirl's actual debut. The earliest example I've found is Bobby Edwards' "What's The Reason" [#4674] from December, 1961.

4. Many of the records listed are extremely rare & hard to find, and in a couple of cases, only one or two copies are known to exist (. "Address Unknown" by The Baystaters).

5. Capitol's numbering system is very confusing because they reused the same series numbers: the 2000 & 3000 series from the 50s were recycled in the late 60s & early 70s, and the 4000 & 5000 series were reused in the 70s & 80s. To add confusion, the LP 2000 series that started in 1963 ran concurrently with the later 2000 series of 45s.

6. Capitol 45s typically sound awful--even those that have never been played--due in part to the company's notorious practice of recycling vinyl. The bulk of 45s were pressed either at the Los Angeles plant (identified by an asterisk or star in the run-out deadwax on each side) or the Scranton, PA plant (identified by a triangular IAM stamp in the run-out deadwax on each side.) I've found that the Scranton pressings sound marginally better.

7. In July, 1968, Capitol switched to a design where the label size was reduced to accommodate a patented ridged ring that would prevent slippage when 45s were stacked on a turntable. This is also when they began routinely issuing singles in Stereo.

8. Red entries in the discography are unreleased or currently unknown.

9. Yellow entries are tentative and need verification. If you have info on these or unknown titles--or corrections--please send me an email with proof , preferably a label scan.

10. I'll complete the Stereo/Mono listings over time.

11. I've embedded some Amazon product links for tracks that are legitimately available on CD or mp3. The process is ongoing and is by no means intended to be comprehensive. I won't link to products that are of dubious copyright or mastering (translation: bootlegs and vinyl transfers).

12. If a song placed on Billboard's Hot 100, Country, R&B or Adult-Contemporary charts, its highest position is listed in [brackets] after the title.

13. This discography is © copyrighted.


*The DATE column reflects a general calendar timeline, when the bulk of releases appeared in Billboard singles reviews. Records were not released in numeric order, so actual release dates (when known) may differ from the calendar. Capitol briefly used a release date code on the label from September 1962 to August 1964 (which I'll add later).

Trilogy of Lust (1995) aka Xue lian Genre: Adult | Crime | Drama Country: Hong kong | Director: Julie Lee & Tun Fei Mou Language: English or german (2 separate audio tracks)
Subtitles: English for some Cantonese spoken lines
(Optional, embedded in Mkv file) Aspect ratio: :1 | Length: 88mn Uncut Hardcore Version Dvdrip H264 Mkv - 720x544 - 25fps - http:///title/tt0121898/

Controversial in Hong Kong for being a high-profile hardcore drama, this one got its star Julie Lee (the 'chopsticks' girl from BUNMAN : THE UNTOLD STORY) into trouble with the Hong Kong press.
It's a rather strange, mainland-set destructive love-triangle drama in which a shy young girl (Lee) falls for a younger man.  They kill her husband (who bought her, anyway), and it all goes downhill from there.
Suffice to say, it's LAST TANGO IN CHINA - with eggs, sand and eels used in 'bizarre' ways, and it all leads to a very gory and shocking ending.
Let's just say that it's not one for the feminists among you.
When the film was released in Hong Kong, it was cut down for the hardcore close-ups, and possibly some violence as well.  Fortunately, a long-since-deleted Swiss/Austrian DVD came out some years back, which re-instated those bits missing from the HK print. Trilogy of Lust (1995)   http:///view/1FE24985342C0A5/ http:///view/14493FF9DBC28CE/

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Martino was married to Judi. He had three children, Alison Martino , Alfred Cini, and Alana Cini; and several grandchildren.

Recently on WWE Network 's Table For 3 program, Bruno Sammartino, RIc Flair, and Randy Orton discussed a number of interesting topics. Specifically, Sammartino talked about suggesting Ivan Koloff as his replacement when he originally left WWE for medical reasons, and the process of having his WWE statue made. According to Sammartino, he suggested Koloff as his replacement to Vince McMahon, Sr. "Well, after eight years, I told the old man, as we called him, Vince McMahon [Sr.], I said, 'you'd better get somebody.' I said, 'my body is broke, man.' My body was hurting from head to toe. And eventually he did. And I felt bad because he got a guy that I respected very much as a performer. It was Ivan Koloff. I suggested to Vince, I thought Ivan Koloff would be great because we had done great business all over." Sammartino said, "Koloff, he had done so well I told Vince, I said, 'I think he could carry [the title]' because the reason why it was hard for a heel to carry the championship for a really, really long, long period of time because a heel could get over on TV. All he had to do is go out there and beat the heck out of somebody maybe half his size and say, 'this is what I'm going to do to Bruno Sammartino when I meet him.' But it was very difficult to get a babyface over as quick." Sammartino went on to express his disappointment, as Koloff was not given much of a chance in the top spot. "I felt very, very bad that I even mentioned him because [after] three weeks, they took it off of him and gave it on Pedro Morales. Fine. Pedro is a good guy and a good performer. I just felt bad Ivan didn't get the break." See Also Bruno Sammartino Says Hulk Hogan Wasn't A Great Draw, Reveals Why He Returned To WWF In The 80s Also during the show, Sammartino complained about having his WWE statue made. "Did you have to go to New York where they put the stuff [on your face]? Oh my God! That was terrible. Yeah, to make the mold and, you know me, I can't breathe out of my nose. I said, 'how long is this going to take?' because I can't breathe. They said, '10 minutes.' It was 30 minutes! You felt like you were suffocating. It's so hot in there. Then, when they take it off, it doesn't come out and they're trying to bust it. It's nasty." Subscribe to WWE Network. If you use any of the quotes from this article, please credit WWE Networks' Table For 3 with an H/T to WrestlingINC for the transcription. Got a news tip or correction? Send it to us by clicking here .

There was, however, a price to pay for his new stardom. In 1952, when Here in My Heart had been No 1 in America, two thugs turned up at the house of Martino's manager demanding to buy the young singer's contract. According to Martino, when they threatened his manager's life, "he just gave them my contract for free".


Bruno Martino - Don Martino Barreto - Bussola IeriBruno Martino - Don Martino Barreto - Bussola IeriBruno Martino - Don Martino Barreto - Bussola IeriBruno Martino - Don Martino Barreto - Bussola Ieri

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