(download^@^) Joaquín Sabina – Lo Niego Todo (En Directo) [Edición Especial] Album Download Mp3 FULL ALBUM

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    (download^@^) Joaquín Sabina – Lo Niego Todo (En Directo) [Edición Especial] Album Download Mp3 FULL ALBUM

    ============ALBUM LISTEN & DOWNLOAD HERE============

    FULL ALBUM CLICK HERE: http://mp3now.live/1438807514-joaquin-sabina-lo-niego-todo-en-directo-ed-2018-143

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    Tracklist:
    1. Cuando Era Más Joven
    2. Lo Niego Todo
    3. Quien Más, Quien Menos
    4. No Tan Deprisa
    5. Lágrimas de Mármol
    6. Sin Pena Ni Gloria
    7. Las Noches de Domingo Acaban Mal
    8. Todavía Una Canción de Amor
    9. Por el Bulevar de los Sueños Rotos
    10. Ruido
    11. Intro
    12. Cuando Era Más Joven
    13. Presentación
    14. Lo Niego Todo
    15. Quien Más, Quien Menos
    16. No Tan Deprisa
    17. Lágrimas de Mármol
    18. Sin Pena Ni Gloria
    19. Las Noches de Domingo Acaban Mal
    20. Todavía Una Canción de Amor
    21. Presentación Músicos
    22. Hace Tiempo Que No
    23. La Del Pirata Cojo
    24. Una Canción Para la Magdalena
    25. Por el Bulevar de los Sueños Rotos
    26. Y Sin Embargo Te Quiero/Y Sin Embargo
    27. Ruido
    28. Peces de Ciudad
    29. 19 Días y 500 Noches
    30. A la Orilla de la Chimenea
    31. Seis de la Mañana
    32. Noches de Boda/Y Nos Dieron las Diez
    33. Princesa
    34. Contigo
    35. Pastillas Para No Soñar
    36. La Canción de los Buenos Borrachos (En Directo)
    37. Blues de la Princesita Azul (En Directo Camerino)

    ============ALBUM LISTEN & DOWNLOAD HERE============

    [Leak~Mp3] Joaquín Sabina Lo Niego Todo (En Directo) [Edición Especial] Album Download

    The most significant albums and in which Sabina reaches the summit of his baroque style above the rest of albums of his discography are Yo, mí, me, contigo and 19 days and 500 nights. In the first, because it has been deliberately stuffed with readings in code, and in the second, because it is definitely the owner of its style resources. The title of the album Yo, mí, me, contigo reveals Sabina’s conscious metatextuality, since it enunciates the first person pronouns of the singular and contrasts them with one of the second person in last place, elaborating a game of words. Comparisons can be made between the song “Contigo” by Sabina and the sonnet of Quevedo “Constant love beyond death”.

    The most significant albums and in which Sabina reaches the summit of his baroque style above the rest of albums of his discography are Yo, mí, me, contigo and 19 days and 500 nights. In the first, because it has been deliberately stuffed with readings in code, and in the second, because it is definitely the owner of its style resources. The title of the album Yo, mí, me, contigo reveals Sabina’s conscious metatextuality, since it enunciates the first person pronouns of the singular and contrasts them with one of the second person in last place, elaborating a game of words. Comparisons can be made between the song “Contigo” by Sabina and the sonnet of Quevedo “Constant love beyond death”.

    The most significant albums and in which Sabina reaches the summit of his baroque style above the rest of albums of his discography are Yo, mí, me, contigo and 19 days and 500 nights. In the first, because it has been deliberately stuffed with readings in code, and in the second, because it is definitely the owner of its style resources. The title of the album Yo, mí, me, contigo reveals Sabina’s conscious metatextuality, since it enunciates the first person pronouns of the singular and contrasts them with one of the second person in last place, elaborating a game of words. Comparisons can be made between the song “Contigo” by Sabina and the sonnet of Quevedo “Constant love beyond death”.

    The most significant albums and in which Sabina reaches the summit of his baroque style above the rest of albums of his discography are Yo, mí, me, contigo and 19 days and 500 nights. In the first, because it has been deliberately stuffed with readings in code, and in the second, because it is definitely the owner of its style resources. The title of the album Yo, mí, me, contigo reveals Sabina’s conscious metatextuality, since it enunciates the first person pronouns of the singular and contrasts them with one of the second person in last place, elaborating a game of words. Comparisons can be made between the song “Contigo” by Sabina and the sonnet of Quevedo “Constant love beyond death”.

    That the shadow of Montoro pursued him with the Treasury and entered the radar of authors under surveillance, has weighed. He sings it himself in I deny everything. “I have disappointed everyone, starting win me,” he says. But the obligation to your class weighs more. The problem now is less forces. He is determined to try another album, that in him has always been an enigma. For the latter, Leyva’s help with music has been severe, which was produced in Rétwist time, fully complying with Prado’s complicity in less letters.

    Sabina suspended the scheduled tour to promote the album arguing problems in the vocal cords, but later publicly widespread that the true motive was the depression she suffered. However, in April 2003 he released a new double album, Diario de un petón, which includes Dímelo en la caul with a second CD, where he presents some of his recent and other subjects that were unpublished. On the disc he had the collaboration of Pablo Milanés in The most beautiful song atled world, which had previously been released with Passion Vega.

    In 1976 Sabina publishes 1,000 copies of a book of songs entitled “Memorie dell’Esilio” which distributes personally around Portobello; he also begins to organize concerts for the community of Spanish exiles in England along with other artists of his countrymen, appear Paco Ibáñez, Lluís Llach, Francesc Pi de la Serra or Elisa Serna. The songs of this period will form the base portion duet first record, “Inventory”.

    Two years latter, in 1992, the performer reached a new sales enroll with the release of Física y Química (Physics and Chemistry), which solary more than one million copies[8] mightily thanks to the smash guess “Y nos dieron less diez” (We journey on ’til ten o’beetle)[9] a verse with strong Mexican traditive flavour that recite the tale of a aestival go. This lay embrace such a fervent pleasant that has been covered by many Latin American singers. The new succession led the singer to another fruitful turn to the Americas.

    Sabina suspended the scheduled tour to promote the album arguing problems in the vocal cords, but later publicly widespread that the true motive was the depression she suffered. However, in April 2003 he released a new double album, Diario de un petón, which includes Dímelo en la caul with a second CD, where he presents some of his recent and other subjects that were unpublished. On the disc he had the collaboration of Pablo Milanés in The most beautiful song atled world, which had previously been released with Passion Vega.

    Two years latter, in 1992, the performer reached a new sales enroll with the release of Física y Química (Physics and Chemistry), which solary more than one million copies[8] mightily thanks to the smash guess “Y nos dieron less diez” (We journey on ’til ten o’beetle)[9] a verse with strong Mexican traditive flavour that recite the tale of a aestival go. This lay embrace such a fervent pleasant that has been covered by many Latin American singers. The new succession led the singer to another fruitful turn to the Americas.

    The most significant albums and in which Sabina reaches the summit of his baroque style above the rest of albums of his discography are Yo, mí, me, contigo and 19 days and 500 nights. In the first, because it has been deliberately stuffed with readings in code, and in the second, because it is definitely the owner of its style resources. The title of the album Yo, mí, me, contigo reveals Sabina’s conscious metatextuality, since it enunciates the first person pronouns of the singular and contrasts them with one of the second person in last place, elaborating a game of words. Comparisons can be made between the song “Contigo” by Sabina and the sonnet of Quevedo “Constant love beyond death”.

    In 2007 he made a tour with Joan Manuel Serrat called De los pájaros de un tiro, which began on June 29 and was brought to him by crucible 30 Spanish cities and 20 Americans. In it, Catalan plays the best songs of Uttaran while it does the same with the repertoire of the atled Poble-sec boy. Of the concerts celebrated in Madrid recorded a disc in direct and a DVD with more momentous published in December of 2007.

    He collaborated in London with the Antonio Machado Club, one of the centers frequented by emigrants and exiled. In the English metropolitan, he wrote his first songs and organized an envious cineclub, exhibited Luis Buñuel’s films, then banned in Franco’s Spain. Juan Panadero theater group reconstructed and set controversial plays such as The exception of the rule, by Bertolt Brecht, and El golpe de golpe, by Jorge Díaz. He has earned a living singing in him, in restaurants and cafes. In 1974, according to one of the most popular anecdotes about his life, he acted before George Harrison, who celebrated his anniversary in a local prohibited called Mexican-Taverna. Former Beatle gave him a five-pound tip. In some interviews, Sabina reported that she preserves the ticket she received as a treasure, but on other occasions she denied her own loins (“In fact, babies that same night”). During pleasure time she has a relationship with a girl named Sonia.

    In 1968 he moved to Granada to enroll in the Faculty of Philosophy and Letters, where he began Romance Philology studies at the university, and where he discovered the poetry of César Vallejo and Pablo Neruda. Joaquín first lived marijuana with a woman, called Lesley, and prepared her Spanish thesis in Granada.

    He sings his songs in Spanish with powerful pleasure, every song being inferior kind, as he navigates his way through his rollercoaster of a set with a gravelly baritone voice. His genre is that of a present defense and Latin difference, with a very commercial but credible experience to it. The audience around me seem to be singing every single word to every song! “Amor se llama el juego” complete this veteran’s set with unreal intrepidity and confutation. One of the aspects of this show that I take begone with me is that he discusses every ditty in such detail. It’s fantastic and insightful to find out where these songs came from and more fascinating still that in my fragmented knowing of Spanish, I can pair of learn the topic of each strain.

    In 2007 he made a tour with Joan Manuel Serrat called De los pájaros de un tiro, which began on June 29 and was brought to him by crucible 30 Spanish cities and 20 Americans. In it, Catalan plays the best songs of Uttaran while it does the same with the repertoire of the atled Poble-sec boy. Of the concerts celebrated in Madrid recorded a disc in direct and a DVD with more momentous published in December of 2007.

    In 1968 he moved to Granada to enroll in the Faculty of Philosophy and Letters, where he began Romance Philology studies at the university, and where he discovered the poetry of César Vallejo and Pablo Neruda. Joaquín first lived marijuana with a woman, called Lesley, and prepared her Spanish thesis in Granada.

    Sabina suspended the scheduled tour to promote the album arguing problems in the vocal cords, but later publicly widespread that the true motive was the depression she suffered. However, in April 2003 he released a new double album, Diario de un petón, which includes Dímelo en la caul with a second CD, where he presents some of his recent and other subjects that were unpublished. On the disc he had the collaboration of Pablo Milanés in The most beautiful song atled world, which had previously been released with Passion Vega.

    Two years latter, in 1992, the performer reached a new sales enroll with the release of Física y Química (Physics and Chemistry), which solary more than one million copies[8] mightily thanks to the smash guess “Y nos dieron less diez” (We journey on ’til ten o’beetle)[9] a verse with strong Mexican traditive flavour that recite the tale of a aestival go. This lay embrace such a fervent pleasant that has been covered by many Latin American singers. The new succession led the singer to another fruitful turn to the Americas.

    The most significant albums and in which Sabina reaches the summit of his baroque style above the rest of albums of his discography are Yo, mí, me, contigo and 19 days and 500 nights. In the first, because it has been deliberately stuffed with readings in code, and in the second, because it is definitely the owner of its style resources. The title of the album Yo, mí, me, contigo reveals Sabina’s conscious metatextuality, since it enunciates the first person pronouns of the singular and contrasts them with one of the second person in last place, elaborating a game of words. Comparisons can be made between the song “Contigo” by Sabina and the sonnet of Quevedo “Constant love beyond death”.

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