UPC · Release
La edad de oro del pop español, Volumen 2
Various Artists
Last verified:
809274770226 is the Universal Product Code (UPC barcode) for the release “La edad de oro del pop español, Volumen 2” by Various Artists, released 2002-01-01 on BMG Music Spain. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 104 tracks, each with its own ISRC. Tracks include ES5028800026, ES5018660004, ES5089604464.
Format
- Number system:
- Identifies the product category (0/1/6/7/8 = general retail, 2 = variable measure, etc.).
- Manufacturer:
- 5-digit code identifying the label or distributor that owns the release.
- Product:
- 5-digit code identifying this specific release within the manufacturer's catalog.
- Check digit:
- Modulo-10 check digit that validates the rest of the barcode.
Credit Chain
Track List (104)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | No hay marcha en Nueva York | Mecano | T-041.225.559-4 | |
| 2 | Paseo con la negra flor | — | ||
| 3 | Jardín de rosas | Duncan Dhu | T-911.509.965-5 | |
| 4 | No mires a los ojos de la gente | — | ||
| 5 | Más y más | — | ||
| 6 | Adiós papá | Los Ronaldos | T-041.216.950-6 | |
| 7 | La calle del olvido | — | ||
| 8 | Santa Lucía | — | ||
| 9 | Manuel Raquel | — | ||
| 10 | Me das el mar | — | ||
| 11 | Los tejados | — | ||
| 12 | Las 7 menos cuarto | — | ||
| 13 | Balas de tranquilidad | — | ||
| 14 | Un error de apreciación | — | ||
| 15 | Por amor al comercio | — | ||
| 16 | Un hombre solo | — | ||
| 17 | Por ti | — | ||
| 18 | Dime dónde | — | ||
| 19 | Cuando pierdo el equilibrio | — | ||
| 20 | Viva Corrales | — | ||
| 2-1 | La rebelión de los electrodomésticos | — | ||
| 2-2 | Caperucita feroz | — | ||
| 2-3 | Marta tiene un marcapasos | Hombres G | T-041.237.293-0 | |
| 2-4 | No me beses en los labios | Aerolíneas Federales | T-041.236.437-4 | |
| 2-5 | Qué dificil es hacer el amor en un Simca mil | — | ||
| 2-6 | Me pica un huevo | Siniestro Total | T-041.209.265-9 | |
| 2-7 | Yo no me llamo Javier | — | ||
| 2-8 | Aquí no hay playa | — | ||
| 2-9 | Todos los paletos fuera de Madrid | — | ||
| 2-10 | Atrapados en el ascensor | — | ||
| 2-11 | Bourbon' | — | ||
| 2-12 | Quiero ser como tú | — | ||
| 2-13 | Corazón loco | — | ||
| 2-14 | El vinilo | — | ||
| 2-15 | Con los dedos de una mano | — | ||
| 2-16 | No controles | — | ||
| 2-17 | Baila para mí | — | ||
| 2-18 | Galicia sitio distinto | — | ||
| 2-19 | Bendita seas | — | ||
| 2-20 | Un caramelo | — | ||
| 2-21 | Magia en tus ojos (She's Got a New Spell) | — | ||
| 3-1 | Semilla negra | Radio Futura | T-041.221.415-3 | |
| 3-2 | Princesa | Joaquín Sabina, Viceversa | T-041.059.876-3 | |
| 3-3 | Nena | Miguel Bosé | T-902.090.703-3 | |
| 3-4 | Salida de emergencia | Celtas Cortos | — | |
| 3-5 | Un español en Nueva York | — | ||
| 3-6 | Sabor de amor | — | ||
| 3-7 | Cuando brille el sol | La Guardia | T-041.271.560-6 | |
| 3-8 | Volver a casa | — | ||
| 3-9 | Mangas cortas | — | ||
| 3-10 | Salta!!! | Tequila | T-041.076.277-4 | |
| 3-11 | Esta noche me voy a bailar | — | ||
| 3-12 | Pulseras | — | ||
| 3-13 | Enfermera de noche | — | ||
| 3-14 | Amor en frío | — | ||
| 3-15 | La costa oeste | — | ||
| 3-16 | Que Dios reparta suerte | Gabinete Caligari | T-042.169.329-9 | |
| 3-17 | Enganchado a una señal de bus | — | ||
| 3-18 | Debajo del puente | — | ||
| 3-19 | Saltos del tiempo | — | ||
| 3-20 | Nelly, eres mi camarera | — | ||
| 3-21 | De máscaras y enigmas | — | ||
| 4-1 | Mueve tus caderas | — | ||
| 4-2 | Quiero bailar Rock & Roll | — | ||
| 4-3 | Dame la botella | — | ||
| 4-4 | El rey del pollo frito | — | ||
| 4-5 | Zapatos de gamuza azul | — | ||
| 4-6 | ¡Que tire la toalla! | Leño | T-041.082.706-3 | |
| 4-7 | Marilyn | — | ||
| 4-8 | Regresas a casa a las 10 | — | ||
| 4-9 | Cadillac solitario | Loquillo, Trogloditas | T-041.220.828-6 | |
| 4-10 | Mi novia se llamaba Ramón | Los Burros | T-304.532.581-9 | |
| 4-11 | ¿Quiénes somos? ¿De dónde venimos? ¿A dónde vamos? | Siniestro Total | T-041.224.697-9 | |
| 4-12 | Judas el miserable | — | ||
| 4-13 | Loco por incordiar | Rosendo | T-041.226.141-6 | |
| 4-14 | Gran vía | — | ||
| 4-15 | Soldadito español | — | ||
| 4-16 | Boquerón | Los Enemigos | T-041.266.820-2 | |
| 4-17 | Que te voy a dar | — | ||
| 4-18 | La casa de la bomba | — | ||
| 4-19 | Viaje por países pequeños | — | ||
| 4-20 | Viviendo en la era pop | — | ||
| 4-21 | Sha la la | — | ||
| 5-1 | Ni tú ni nadie | Alaska y Dinarama | T-041.224.665-1 | |
| 5-2 | Eloise | — | ||
| 5-3 | Voy a ser mamá | — | ||
| 5-4 | Fiesta de los maniquíes | — | ||
| 5-5 | Programa en espiral | — | ||
| 5-6 | Olaf el vikingo | — | ||
| 5-7 | La pluma eléctrica | — | ||
| 5-8 | Autosuficiencia | Parálisis Permanente | T-041.059.064-5 | |
| 5-9 | Dios salve al lendakari | — | ||
| 5-10 | Stereo | — | ||
| 5-11 | Estrella de la radio | — | ||
| 5-12 | Extraños juegos | — | ||
| 5-13 | Sólo por robar | — | ||
| 5-14 | Contacto en Saigón | — | ||
| 5-15 | Chantaje emocional | — | ||
| 5-16 | Muñeca | — | ||
| 5-17 | Ser un Rolling Stone | Vainica Doble | T-041.072.810-7 | |
| 5-18 | Estoy mala | — | ||
| 5-19 | Pasa la vida | — | ||
| 5-20 | Palabras para Julia | — | ||
| 5-21 | Vente pa Madrid | Ketama, Toumani Diabaté, Danny Thompson | T-041.222.805-7 |
What other identifiers does this connect to?
Musical Works (ISWC)
+23 more
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
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People also ask
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What is UPC 809274770226?
809274770226 is a Universal Product Code (UPC) assigned to La edad de oro del pop español, Volumen 2 by Various Artists. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 104 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
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