Julio Iglesias Love Songs Full Album Zip

Love Songs is an English language compilation of mainly love songs by Julio Iglesias released in 2004. It contains his greatest English language hit - his duet with Willie Nelson on "To All The Girls I've Loved Before" which reached the top 5 of the Billboard Hot 100. It also features a duet with Dolly Parton on "When You Tell Me You Love Me" as well as a live version of "As Time Goes By" from Casablanca. Iglesias departs from the love song theme on the album with a version of Don McLean's "Vincent" ("Starry Starry Night").

This past weekend Julio was featured on a new episode of the nationally syndicated hit TV show THE SONG, where he sat down for an interview along with Rudy Perez and performed songs from his new album.

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"When you get to the 35-year mark in your career you make albums for your fans to love you more so they don't forget about you" Iglesias told The Associated Press during an interview at his waterfront mansion on an island north of Miami Beach.

The title may seem strange for a lover but the album's songs -- Iglesias' trademark ballads plus lively cumbia and Caribbean rhythms -- refer to divorce from worldly possessions old acquaintances and bad memories.

"Divorcio" sold 200000 copies in Spain the day it was released adding to Iglesias' career total of more than 250 million albums sold. And the master of crossover plans to record songs from the album in French Italian and English as he has done previously to expand his international appeal.

More than 100 million records sold, 965 gold records, 350 platinum records, more than 2,200 live concerts, about 800 TV appearances in 69 countries, 57 albums and 340 recorded songs in seven languages. Is there any singer anywhere who can top that?

Two come close: Momentos (Moments), from an album recorded in Spanish, French and Italian in 1982 and rereleased by CBS Records after the success of 1100 Bel Air Place two years ago, made it to the No. 1 spot on the charts in an unbelievable 90 countries at one time or another. The single Momentos, the exquisitely melancholic lead song, reminisces about a romance that was, and both laments and acknowledges the passing of love.

At 47, Peter Stampfel is on a career track to nowhere--he's in musicfor the fun, and love, of it. Forever older than Bob Dylan, PaulMcCartney, Ed Sanders, Tina Turner, and Phil Niekro (if younger thanDave Van Ronk, Bill Wyman, Tuli Kupferberg, Ike Turner, and SatchelPaige), he became a "professional" musician in the early '60s, cuttinghis eyeteeth with such legendary aggregations as the Temporal WorthHigh Steppers and the Strict Temperance String Band of Lower DelanceyStreet and his first album as half of the Holy Modal Rounders. In theintervening decades he's managed to put his stampfel on about a dozenlong-playing phonograph records, and then only if you count theFugs. This is unfortunate because, as Billy Altman once observed,Stampfel "has a working knowledge of almost every song ever written."Among the tragically unrecorded staples and one-shot wonders of hisrepertoire are "Goldfinger," "You Must Unload," "Cajun Polka,""Fucking Sailors in Chinatown," "South Street," "Heigh Ho," and"Kingdom Coming," written by the pioneering American pop composerHenry Clay Work to celebrate the signing of the EmancipationProclamation.Over the past few years Stampfel has been working with a youngish bandcalled the Bottle Caps, and if you're diligent you may be able tolocate the album they've just released on Rounder (named in part afterStampfel's longest-running band). Springing eternal, Stampfel swearsit's his best record ever, and while I'd pick the collaborativeHave Moicy! (still in catalogue on Rounder) and then maybe theearly Rounders twofer (ditto on Fantasy), he ain't just whistling "IWish I Was a Mole in the Ground." There's something, well,well-made about this album; it never gibbers or passes out orbusts a gut laughing. In fact, it's so stylistically consistent thatyou might think the inventor of such genres as "progressive old-timey"and "acid folk" has gone folk-rock 20 years too late. The tipoff isdrummer Peter Moser--though he rocks harder than, say, Jeff Berman(the onetime Unholy Modal Rounder who's backed more New Yorkers withacoustic guitars than the pawn shop), he nevertheless tends to propthe songs up instead of kicking them in the ass. This isn't to insultMoser, but to iterate a supposition of almost every song everwritten--namely, that meaning shouldn't be subsumed by any of itsconstituent elements, for instance rhythm. If you can live with that,then Peter Stampfel and the Bottle Caps is a very good recordindeed. In the throes of early infatuation, I touted it overPsychocandy as debut album of the year, and it's still upthere.As one might hope, the album showcases several mind-expanding covers,including a protectionist drinking song and an obscure Lloyd Priceditty featuring a spoken coda in which a smitten, pimply soundingStampfel explains the orbit of the moon to his date ("Hey, you wannatalk about something else?"). Previously unrecorded materialpredominates, however--some from cronies in and out of the band, mostwritten by Stampfel with help from lead guitarist John Scherman orlongtime collaborator Antonia. Though Stampfel has always composed,never before has he taken up anywhere near half an album with his owncreations, which is no doubt another reason he's so high on the newrecord--finally, this is him. Only at 47, he's changed a little. Athis folkadelic best, Stampfel did a kind of slack-wire act, strikinghis own crazy folkie balance between soul and satire and his own crazyrock and roll balance between hell-bent enthusiasm and musicianlyeffect. With the Bottle Caps he plays it closer to solid ground,falling less often but relying a hair-and-a-half too much on satireand effect.Stampfel proved he can still take a flier late in March, when hedevoted an astonishing solo appearance at the Speak Easy to songs he'dnever performed publicly. Clutching in near panic at a pile of notes,he did sometimes forget lyrics and chord changes, yet he animatedevery selection with a concentration compounded of love andterror. Opening for himself May 10 at the same venue, he was a lotmore together. But not until the solo set was almost over did it takeoff, just in time for him to come bounding back with the Bottle Caps,who opened with "Be True to Your School" before zipping into the firstthree songs from the album, which Stampfel identified as such. He'sclearly put a lot of thought into this sequence, and live or on recordit's pretty neat. "Drink American" is a genuine patriotic novelty fromNashville, a call to aid "the farmer and the trucker and the brewersacross the land" by imbibing only U.S. brands ("made from amber wavesof grain"); "Surfer Angel" crushes "Wipe Out" and "Endless Sleep"(roughly speaking) down into a subgenre I'm amazed no one got to inthe '60s, the surf death song; and "Random Violence" ("You may call meRandy!") shows "Sympathy for the Devil" where to get off: "You are astranger/But I'm even stranger/And I'm gonna blow you away." Toneshifts here. "Drink American" is a classic piece of found weirdness,albeit not as deadpan as Stampfel usually prefers; "Surfer Angel" is ajoke, albeit a joke with more layers (and laugh lines) than I havespace to indicate; and "Random Violence" is a sick joke, albeit aserious one. But satire does prevail.As must be tempting, for a musicologist like Stampfel, thearrangements quote a lot, often to overly overt satiric effect:meaning rools, you bet. While the breaks from "Born Free" and"Telstar" that festooned the live "Mindless Boogie" made no explicitcomment on the lyric, they were played more for laughs than formusical satisfaction, and in a sarcastic piece like "Surfer Angel,"which features bits of "Wipe Out," "I Only Want to Be With You," and(live) "Ride the Wild Surf," the comedy verged on the sophomoric. WhenStampfel used to set his mock hippie-occult futurism to mutantelectric prebluegrass, the humor was subtler, stoneder, kinder, morecosmic, but now he lives in the infernal present of the '80s insteadof the eternal future of the '60s. It's the difference betweenbelieving "a worldwide popular music" is just around the corner, asStampfel did way back in 1964 without foreseeing either Julio Iglesiasor Michael Jackson, and the tuckered-out antireincarnation kicker ofthe new album's "Funny the First Time": "This big joke is coming to anend." A few songs--notably the factory workers' "Screaming IndustrialBreakdown" and the diehard bohos' "Impossible Groove," with LukeFaust's theoretically climactic "Press On" given credit only fortrying--do undercut this mood. But only when the band rocks out--onthe live "Paraphernalia" and "Mindless Boogie"--does the big joke seemlike big fun.Of course, I'm leaving out one thing: Stampfel's singing. Time was hisquavery Charlie Poole tenor all but forced him into comedy, but overthe years it's gotten bigger and deeper, resonating from the diaphragminstead of the nose, until now he can be an exceptionally intenseinterpreter. I mean the man can project. So something strange happensto the black-comic "Random Violence" and the actively uncompassionate"Lonely Junkie" ("My bowels are in stasis/My atrophied ass/Is heavyand leaded/And loaded with gas"), especially live--the nastyprotagonists get to do their own talking, an effect rendered no lessvivid by Stampfel's propensity to sing as if barely containing a fitof gleeful laughter, evil or euphoric as the case may be. And becauseStampfel is still fundamentally a singer, one with at least a workinginterest in every song ever written, euphoria remains apossibility. Two decades after he joined in the Robin Remailly song onthat theme--"I pinched Eve on the bottom patted Adam on theback/Smiled at the serpent and it smiled back/I took a bite from theapple with two bites gone/And shouted euphoria"--he springs eternal,still in music for the love, and fun, or it.Village Voice, May 27, 1986 be457b7860