Long before there was Norah Jones, Madeleine Peyroux stumbled off the streets of Paris into the hearts, minds, and souls of music afficianados worldwide with Dreamland. I owe it to a surprisingly "musically taste-inclined" office mate of mine for turning me on to Peyroux. You will find yourself doing a double take on Peyroux's album pictures since her voice is way beyond her age. It is the sound of aged hard earned wisdom and smokey resonance. Peyroux was a 22-year old when she made this album. "La Vie en Rose," is a wonderful take on Edith Piaf and all that is lacking is the scratchy sound of a needle passing over ridges of vinyl. Peyroux is infinitely listenable. Her music is of the mood sweeping timeless. You wonder if she has her own voice or if the whole act isn't a send-up of Holliday imitation, but as you explore the liner notes there are some beautiful Peyroux penned acoustic blues numbers that will turn you into a believer. Even if it does sound too much like Billie Holliday...that's not a bad thing. You will find yourself not caring and just caught up in the music. Dreamland is the first album by singer, songwriter, and guitarist Madeleine Peyroux; it was released in 1996.
01- Walkin' After Midnight 02- Hey Sweet Man 03- I'm Gonna Sit Right Down And Write Myself A Letter 04- [Getting Some] Fun Out Of Life 05- La Vie En Rose 06- Always A Use 07- A Prayer 08- Muddy Water 09- Was I? 10- Dreamland 11- Reckless Blues 12- Lovesick Blues
We Are The Pipettes is the debut album from The Pipettes and is named after the group's theme song of the same title. It was released on 17 July 2006 in the UK on Memphis Industries and is available on CD, vinyl and digital download. The song "We Are the Pipettes" was featured in "Everything Changes", the first episode of the TV series Torchwood. In 2007 the entire album was remixed as part of their United States record deal with Cherrytree Records, by Greg Wells, and features two new tracks that are not included on the original release; "Dance and Boogie" and "Baby, Just Be Yourself". So it was released, with a different cover from the British release, on 2 October in North America and on 17 October in Asia.
01- We Are The Pipettes 02- Pull Shapes 03- Why Did You Stay 04- Dirty Mind 05- It Hurts To See You Dance So Well 06- Judy 07- A Winters Sky 08- Your Kisses Are Wasted On Me 09- Tell Me What You Want 10- Because It's Not Love [But It's Still A Feeling] 11- Sex 12- One Night Stand 13- ABC 14- I Love You
Pappo is the pseudonym of Argentine blues and metal/rock musician Norberto Napolitano (Buenos Aires, 10 March 1950 - Luján, Buenos Aires province, 24 February 2005). A native of the middle-class La Paternal neighborhood in Buenos Aires, Pappo started playing the guitar at the age of ten, and became active in Argentine rock since its beginnings. Here's the second and last part of a compilation featuring his best work.
01- Fiesta Cervezal 02- Gato de la Calle Negra 03- Abelardo, el Pollo 04- Con Elvira es Otra Cosa 05- Malas Compañías 06- Mírese Adentro 07- Longchamps Boogie 08- Mi Vieja 09- Blues Local 10- El Tropezón 11- Sube a Mi Voituré 12- Ruta 66 13- Perro en la Vereda 14- Rock & Roll y Fiebre 15- Juntos a la Par 16- Mejor que Vos 17- Yo te Amo Más 18- Descortés 19- Botas Sucias 20- Quizás Mañana 21- Tributo a B.B. King 22- La Voituré (versión acústica)
The 1940s were Sinatra's halcyon days. For the first time ever, thousands of screaming teenage girls converged on the Paramount Theater in Manhattan, their public display of affection for their new-found hero expressed in legendary proportions. Dramatic episodes of thunderous screaming and "swooning" on the part of Sinatra devotees heralded his arrival, and prompted newspaper columnists to nickname him "Swoonatra!" Musically, the Columbia years represent an essential period in the vocalist's amazingly versatile career. It was during his nine year association with the label, from 1943 to 1952, that Sinatra perfected the smooth, romantic styling that made him the most influential vocalist of the twentieth century, and established him as the greatest singing artist of all time. It was at Columbia that Sinatra became 'The Voice Thrilling Millions,' popularizing classics such as "Nancy (With The Laughing Face)" and "Saturday Night (Is The Loneliest Night In The Week)" (1944), "Put Your Dreams Away" (1945), All Of Me" (1946) and I've Got A Crush On You" (1947). In 1951, while in the midst of intense personal and professional woes, he entered the Columbia studios in New York, and recorded "I'm A Fool To Want You," the rendition of which is generally considered to be the single most intense, emotional performance of his entire performing career. Through his music, he made statements on social tolerance, with his poignant reading of The House I Live In," (for which he won a special Academy Award in 1946) becoming a Sinatra standard, and the anthem for a generation of loyal fans, and in 1946 recorded a swingin' jazz version of "Sweet Lorraine" with The Metronome All-Stars (featuring Nat 'King' Cole on piano). With Frank Sinatra's Columbia epoch standing firmly as the cornerstone of his career, (the foundation, in fact, of the vastly different musical styles he would later explore with the likes of Nelson Riddle, Billy May and Gordon Jenkins, among others), it has been Legacy's goal to treat each and every issue with the utmost respect. In every way, Sinatra's Columbia recordings have finally arrived in a manner befitting their importance in the realm of musical history, and this special disc features 18 spectacular examples of Sinatra's incomparable Columbia artistry. Includes special alternate takes of the Sinatra classics, "Laura" and "Body And Soul."
01- All Of Me 02- I Could Write A Book 03- I've Got A Crush On You (Duet with Bobby Hackett) 04- Night And Day 05- Saturday Night [Is The Loneliest Night In The Week] 06- The Brooklyn Bridge 07- Nancy [With The Laughing Face] 08- The House I Live In 09- The Birth Of The Blues 10. Body And Soul 11. April In Paris 12. I'm Glad There Is You 13. Sweet Lorraine (78rpm Version) 14. Time After Time 15. Laura 16. The Song Is You 17. I'm A Fool To Want You 18. Put Your Dreams Away [For Another Day]
Pappo is the pseudonym of Argentine blues and metal/rock musician Norberto Napolitano (Buenos Aires, 10 March 1950 - Luján, Buenos Aires province, 24 February 2005). A native of the middle-class La Paternal neighborhood in Buenos Aires, Pappo started playing the guitar at the age of ten, and became active in Argentine rock since its beginnings. Here's the first part of a compilation featuring his best work.
01- Mujer de Carbón (c/Los Gatos) 02- Rock de la Mujer Perdida (c/Los Gatos) 03- Nunca lo Sabrán (c/Almendra) 04- Algo Ha Cambiado 05- El Viejo 06- El Hombre Suburbano 07- ¿Adónde Está la Libertad? 08- El Tren de las 16 09- Llegará la Paz 10- Insoluble 11- Tema I 12- Desconfío 13- Solitario Juan 14- El Blues de Santa Fe 15- Stratocaster Boogie 16- Sucio y Desprolijo 17- El Sur de la Ciudad 18- Sandwiches de Miga 19- Trabajando en el Ferrocarril 20- Caras en el Parque 21- Siempre es lo Mismo, Nena
01- Canchero 02- Patadura 03- Pan Comido 04- Ventanita de Arrabal 05- Machete 06- Porque Soy Reo 07- Tu Vieja Ventana 08- Soy Una Fiera 09- En La Tranquera 10- Cuando Llora La Milonga 11- Silbando 12- ¿Te Fuiste?... Ja, Ja 13- Aquel Muchacho Triste 14- Sonia 15- Seguí Mi Consejo 16- Barrio Reo 17- Murmullos 18- Me Enamoré Una Vez 19- ¡Hágame el Favor! 20- Aquellas Cartas 21- Sueño Querido 22- Haragán 23- Viejo Smoking 24- Araca París 25- Dicen que Dicen 26- Viejo Rincón 27- La Pena del Payador 28- Taconeando 29- Una Lágrima 30- Amigazo 31- Vieja Recova 32- Uno y Uno
Silvio Rodríguez Domínguez (born November 29, 1946 in San Antonio de los Baños) is a Cuban musician-songwriter, leader of the nueva trova movement. He is known for his highly eloquent and symbolic lyrics. Many of his songs have become classics in Latin American music, such as "Ojalá", "Playa Girón", and many others. Rodríguez, musically and politically, is a symbol of the Latin American left wing. Several of his songs praise the revolutionary figure Che Guevara and he is also currently deputy in the Cuban parliament. His lyrics are notably introspective. His songs combine romanticism, love (even eroticism), revolutionary politics, and idealism. The entire work of Silvio Rodriguez offers an intimate and introspective window into the life cycle of the artist. Silvio stands out in the Spanish-speaking world for the intimacy and subtlety of his lyrics, as well as for his acoustic melodies and "chord picking." He is particularly popular amongst intellectual circles of the left in Latin America and Spain. He has also often served as Cuban cultural emissary in events of solidarity. After more than 40 years of artistic work, Rodríguez has now written a vast number of songs and poems (said to be between 500 and more than one thousand), many of which have never been set to music and probably never will be. Although his musical knowledge has been continuously increasing (counting among his teachers the famous Cuban composer Leo Brouwer), he is more widely praised for the poetry in his songs than for the accompanying music. His lyrics are a staple of leftist culture throughout the whole Spanish-speaking world, and he has been banned from the media during several of the dictatorial regimes that ruled Latin America in the late 1970s and early 1980s.
01- Te Doy Una Canción 02- Canción del Elegido 03- Playa Girón 04- En Estos Días 05- Pequeña Serenata Diurna 06- Óleo de Una Mujer con Sombrero 07- Ya No Te Espero 08- Ojalá 09- ¿Qué Hago Ahora? 10- Resúmen de Noticias 11- En el Claro de la Luna 12- Río 13- Esta Canción 14- A Dónde Van 15- Días y Flores 16- La Era Está Pariendo un Corazón 17- Esto No Es Una Elegía 18- Debo Partirme En Dos 19- Madre 20- Sueño con Serpientes 21- Historia de la Silla 22- El Colibrí
Atahualpa Yupanqui (31 January 1908 - 23 May 1992) was an Argentine singer, songwriter, guitarist, and writer. He is considered the most important Argentine folk musician of the 20th century. Yupanqui was born as Héctor Roberto Chavero Aramburo in Pergamino (Buenos Aires Province), in the Argentine pampas, about 200 kilometers away from Buenos Aires. His family moved to Tucumán when he was ten. In a bow to two legendary Incan kings, he adopted the stage name Atahualpa Yupanqui, which became famous the world over. In his early years, Yupanqui travelled extensively through the northwest of Argentina and the Altiplano studying the indigenous culture. He also became radicalized and joined the Communist Party of Argentina. In 1931, he took part in the failed uprising of the Kennedy brothers in order to press the government de facto of Uriburu and to give air to the democratic radical project anti facist in support to Hipólito Yrigoyen and was forced to seek refuge in Uruguay. He returned to Argentina in 1934. In 1935, Yupanqui paid his first visit to Buenos Aires; his compositions were growing in popularity, and he was invited to perform on the radio. Shortly thereafter, he made the acquaintance of pianist Antonieta Paula Pepin Fitzpatrick, nicknamed "Nenette", who became his lifelong companion and musical collaborator under the pseudonym "Pablo Del Cerro". Because of his Communist Party affiliation (which lasted until 1952), his work suffered from censorship during Juan Perón's presidency; he was detained and incarcerated several times. He left for Europe in 1949. Édith Piaf invited him to perform in Paris on 7th July, 1950. He immediately signed contract with “Chant Du Monde”, the recording company that published his first LP in Europe, Miner I am, which obtained the first prize of Best Foreign Disc of the Charles Gross Academy, which included three hundred fifty participants of all the continents in the Contest the International of Folklore. He subsequently toured extensively throughout Europe. He returned regularly to Argentina, but these visits became less frequent when the military dictatorship of Jorge Videla came to power in 1976. In February of 1968, Yupanqui was named Gentleman of the Arts and the Letters of France by the Ministry of Culture of that country, by the work realised throughout 18 years to act and to offer its Literature to the Gallic country. Some of his songs are included in the programs of Institutes and Schools where Spanish Literature is taught. In 1989, an important cultural center of France, the University of Nanterre, asked Yupanqui to write the lyrics of a Cantata to commemorate the Bicentennial of the French Revolution. The piece, entitled “The Sacred Word” (Parole Sacree), was released before high French authorities. It was not a recollection of historical facts but rather a tribute to all the oppressed towns that freed themselves. Yupanqui died in Nimes, France in 1992 at the age of 84; his remains were cremated and dispersed on his beloved Cerro Colorado on 8th June, 1992.
01- Los Ejes de Mi Carreta 02- El Arriero 03- El Vendedor de Yuyos 04- Chacarera de las Piedras 05- Tierra Querida 06- Zamba del Grillo 07- Milonga del Peón de Campo 08- Duerme Negrito 09- El Alazán 10- Canción de los Horneros 11- Tú que Puedes, Vuélvete 12- Vidala Para mi Sombra 13- Caminito Español 14- Luna Tucumana 15- Guitarra Dímelo Tú 16- Le Tengo Rabia al Silencio 17- La Vuelta al Pago 18- Zambita del Buen Amor 19- El Aromo 20- A Qué le Llaman Distancia 21- Ave que Pasas Cantando 22- Cencerro 23- Las Cruces 24- Leña Verde
01- Barrio de Tango 02- Con Toda la Voz que Tengo 03- Malena 04- Papá Baltasar 05- Pa' Que Bailen Los Muchachos 06- Fueye 07- Colorao, Colorao 08- Suerte Loca 09- Los Mareados 10- Pedacito de Cielo 11- Buenos Aires 12- Gricel 13- Percal 14- Garúa 15- Temblando
Audiences will embrace Henri Salvador like he's a Grandpa Moses of bossa nova. It's not every day that an eightysomething crooner steps out of the obscurity with an album of warm-as-fresh-pastry cabaret music. Of course, Salvador is no Henri-come-lately. He's famous in France and francophone former colonies (like his native Cayenne, French Guiana) and has decades of television and recording work to his credit. Now, it's time for worldwide listeners to play catch-up. This album was reportedly recorded on the verge of Salvador's retirement, and though the sound is classique, many of the songs are of recent vintage. Salvador's charming, half-spoken vocals will resound with listeners familiar with the suave stylings of cabaret practitioners such as Charles Trenet and Walter Hyatt. There's also a bit of Danny Kaye in his phrasing on the album's lighter fare, like the brass-band-flavored "Mademoiselle"--no surprise given Salvador's extensive comedic résumé. Younger audiences primed by the ironic, sophisticated grooves of Dimitiri from Paris and Money Mark will delight in much of the instrumentation here. The album is, in fact, a triumph of production and arranging. Full orchestras are cued, at times, at the same volume as a single instrument, reduced to the level of pure atmosphere. One track, "Il fait Dimanche," has a funky vamp that demands to be sampled for the contemporary dance floor. Another, "Faire des ronds dans l'eau," subsists on strummed guitar and a trap set, with the occasional gypsy-style, savory violin part added for spice. Throughout, Salvador presents himself as an astute, sympathetic performer. On "Je sais que tu sais" it's hard to tell where his whispered voice ends and the drummer's light brushes begin. Apparently, swingers--in the jazz sense of the word--get better with age.
01- Jardin D'hiver 02- Chambre Avec Vue 03- J'ai Vu 04- Il Fait Dimanche 05- La Muraille De Chine 06- Jazz Méditerranée 07- Un Tour De Manège (En Duo Avec Toots Thielemans) 08- Vagabond 09- Je Sais Ce Que Tu Sais 10- Mademoiselle 11- Le Fou De La Reine (En Duo Avec Françoise Hardy) 12- Faire Des Ronds Dans L'eau 13- Aime-moi
Carlos Gardel (Charles Romuald Gardes, 11 December 1890 Toulouse, France - 24 June 1935 Medellín, Colombia) is perhaps the most prominent figure in the history of tango. Although his birthplace is disputed between Uruguay and France, he lived and grown up in Argentina since the age of two and acquired Argentine citizenship in 1923. When asked about his nationality, Gardel would answer, “I was born in Buenos Aires, Argentina, at the age of two years and a half...” It is thought that Gardel used to give evasive answers in order to hide the circumstances of his birth to a single mother, Berthe Gardes, since apparently he was son of an illegitimate father who belonged to a healthy French family from Toulouse. Gardel grew up in the Abasto neighbourhood of Buenos Aires, located near the Central Market of Fruit and Vegetables, an enormous art-deco styled building which today is a shopping mall. Gardel created the tango-canción in 1917 with his rendition of Pascual Contursi and Samuel Castriotta’s "Mi Noche Triste". The recording sold 10,000 copies (In 1917!!!)and was a hit all throughout Latin America. Gardel went on tour through Argentina, Uruguay, Chile, Brazil, Puerto Rico, Venezuela, Colombia, and also made several appearances in Paris, Nice, Barcelona, Madrid and New York. He sold 70,000 records in the first three months of his 1928 visit to Paris. As his popularity grew, he made a number of films for Paramount, first in France and then in the U.S. While sentimental films such as El día que me quieras or Cuesta abajo lack lasting dramatic value, they were outstanding showcases of his tremendous singing talents and moviestar looks. He died in an airplane crash at the height of his career, becoming an archetypal tragic hero mourned throughout Latin America. The unerring musicality of Gardel’s baritone voice and the dramatic phrasing of his lyrics made miniature masterpieces of his hundreds of three-minute tango recordings. For many, Gardel embodies the soul of the tango style that originated in the barrios of Buenos Aires at the end of the 19th century. He is commonly referred to as “Carlitos” (Charly), “The King of Tango”, “El Mago” (The Magician) and, ironically “El Mudo” (The Mute).
01- La Canción de Buenos Aires 02- Chorra 03- Compadrón 04- Che Papusa, oí 05- Tarde Gris 06- Che Bartolo 07- Callejera 08- Muñeca Brava 09- Leguisamo Solo 10- Almagro 11- Cruz de Palo 12- Dos en Uno 13- Mala Entraña 14- Farabute 15- Fondín de Pedro Mendoza 16- Ausencia 17- Victoria 18- Barrio Viejo 19- Amurado 20- Al Mundo le Falta un Tornillo 21- La Novia Ausente 22- El que Atrasó el Reloj 23- Madame Ivonne 24- Anclao en París 25- Lloró como una Mujer 26- Alma en Pena 27- Tengo Miedo 28- Desdén 29- Milonga Sentimental 30- Colorao, Colorao 31- Por Qué Me Das Dique 32- Enfundá la Mandolina
Blackmore's Night is a Renaissance-inspired folk rock band led by Ritchie Blackmore (electric and acoustic guitar) and Candice Night (lyricist and lead vocals). Their debut album Shadow of the Moon was a success, particularly in Europe. In subsequent albums, particularly Fires at Midnight, there was an increased incorporation of rock guitar into the music, whilst maintaining a folk rock direction. Over time, Candice Night has increasingly participated instrumentally as well as singing the vocals, and is competent in a wide variety of Renaissance instruments. The group performs at Renaissance fairs and Renaissance Festivals, as well as in stand-alone concert tours in appropriate venues including 'castle tours' of Europe, where they perform in historic surroundings for an audience dressed largely in period costume. The band has been successful enough to inspire a number of international tribute bands including: Renaissance Night and the Italian Morning Star.
01- Shadow of the Moon 02- The Clock Ticks on 03- Be Mine Tonight 04- Play Minstrel Play 05- Ocean Gypsy 06- Minstrel Hall 07- Magical World 08- Writing on the Wall 09- Renaissance Faire 10- Memmingen 11- No second Chance 12- Mond Tanz 13- Spirit of the Sea 14- Greensleeves 15- Wish You Were Here
Joan Manuel Serrat's first LP sung in Spanish (1968). He's been recording since 1965 but only in Catalan. This album was originally a compilation of different singles plus a couple of songs recorded specifically for this release. This is the super-rare stereo master unreleased on CD until this day. Also, here it features some singles from 1969 and alternate takes as bonus, plus the controversial Eurovision single "La La La" which was retired in 1968 due to Serrat's decision to sing in Catalan instead of Spanish in Eurovision (in fact he was vetoed from Spanish radio and TV) also remaining unreleased since 1968.
01- La Paloma 02- El Titiritero 03- Poco Antes de que Den las Diez 04- En Nuestra Casa 05- Manuel 06- Tu Nombre Me Sabe a Hierba 07- Poema de Amor 08- Balada de Otoño 09- En Cualquier Lugar 10- Mis Gaviotas
Contemporary Single:
11- Penélope 12- Tiempo de Lluvia
Bonus Tracks:
13- Manuel (versión 2) 14- Poco Antes de que Den las Diez (versión 2) 15- Manuel (versión 3)
01- Y si Amanece Por Fin 02- Y sin Embargo 03- Vámonos Pa'l Sur 04- Siete Crisantemos 05- Por el Boulevard de los Sueños Rotos 06- Peor Para el Sol 07- Mentiras Piadosas 08- La del Pirata Cojo 09- La Canción Más Hermosa del Mundo 10- Jugar Por Jugar 11- Inlcuso en Estos Tiempos 12- Eclipse de Mar 13- El Blues de lo que Pasa en Mi Escalera 14- Contigo 15- Con la Frente Marchita 16- Como un Explarador 17- Camas Vacías 18- A la Orilla de la Chimenea 19- Aves de Paso 20- Amor se Llama el Juego
Progressive rock band from Argentina formed in the late '70s by keyboardist Charly García, guitarist David Lebón, bassist Pedro Aznar, and drummer Oscar Moro. After leading a group called "La Máquina de Hacer Pájaros", García moved to Brazil to start his new project. In 1978 Serú Girán's forst LP was released after recording sessions in São Paulo and Los Angeles, U.S., having Daniel Goldberg in charge of its orchestral arrangements. That album was presented first to music journalists and later at Buenos Aires' Luna Park. The press was pleased, but music fans weren't prepared for the experimental style played by the band. The mixed response drove Serú Girán to release a less complicated album in 1979 called "La Grasa De Las Capitales", presented live at the Buenos Aires' Auditorium. "Bicicleta", their best work, came in 1980 followed by a show at the Monterrey Jazz Festival in Rio de Janeiro. Finally "Peperina" was released in 1981. The band decided to break up after two shows at Obras Sanitarias in March 1982. Drummer Oscar Moro died in Buenos Aires on July 11th, 2006.
01- A los Jóvenes de Ayer 02- Cuánto Tiempo Más Llevará 03- Canción de Alicia en el País 04- La Luna de Marzo 05- Mientras Miro las Nuevas Olas 06- Desarma y Sangra 07- Tema de Nayla 08- Encuentro Con el Diablo
Alberto Castillo (December 7, 1914 – July 23, 2002) was a prominent Argentine tango singer and actor. He was born Alberto Salvador De Lucca in the Buenos Aires barrio of Mataderos as the son of Italian immigrants Salvador De Lucca and Lucia Di Paola, made his professional debut in the 1930s and began a successful recording career in 1941. Soon afterwards he had a hit with his interpretation of the tune “Recuerdo”. With his keen sense of rhythm and his tendency to go hoarse, Castillo made a name for himself as the main interpreter of the black-oriented genres of candombe and milonga. One of his most successful recordings was "Cien Barrios Porteńos" (The hundred barrios of Buenos Aires), to the point that presenters would announce him as "the singer of the 100 barrios". Beginning in 1946, Castillo appeared in a number of Argentine films. Castillo was also a physician by training. This fact famously convinced his fiancee's parents to let her marry Alberto (being "just a tango singer" would not have been enough), and was dramaticised in the Argentine movie "Luna de Avellaneda", when Castillo volunteers to deliver a baby at a carnival fair right after finishing his set. Among his later releases was a cover of his candombe hit “Siga el Baile”, recorded with Argentine band Los Auténticos Decadentes in the late 90's.
01- Recuerdo Malevo 02- Madame Ivonne 03- La Copa del Olvido 04- Esta Noche Me Emborracho 05- Cómo Se Pianta la Vida 06- Muñeca Brava 07- Cuatro Compases 08- Así se Baila el Tango 09- Moneda de Cobre 10- Con los Amigos 11- Nubes de Humo 12- La Cumparsita 13- El Choclo 14- Mentira 15- La Pulpera de Santa Lucía 16- Silbando 17- Los Cien Barrios Porteños 18- Adiós Pampa Mía 19- Un Tropezón 20- La Última Copa 21- Mi Noche Triste 22- Las Violetas 23- Petitero 24- ¿Dónde Estás Corazón? 25- Garufa 26- Ninguna 27- Barrio Pobre 28- Por Cuatro Días Locos 29- Siga el Baile
Eydie Gorme (alternative spelling Eydie Gormé); born Edith Gormezano, August 16, 1931) is an American singer credited heavily, along with husband Steve Lawrence, with helping to keep the classic Traditional pop music repertoire alive and well. Throughout her long career she has been the recipient of numerous awards, including the Grammy Award and the Emmy Award. Gormé also gained crossover success in the Latin music market through two albums she made in Spanish with the famed Trio Los Panchos. In 1964, the two acts joined forces for a collection of Spanish-language standards called "Amor". Their recording of the song "Sabor a Mi" became closely identified with Gormé and has emerged as one of her signature tunes. The disc was later reissued as "Canta en Español". In 1965, a sequel appeared called "More Amor" (later reissued as "Cuatro Vidas"). Her last album with Los Panchos was a 1966 Christmas collection, Navidad Means Christmas, later reissued as Blanca Navidad. Gormé also recorded other Spanish albums in her career, including the Grammy-nominated "La Gormé" (1976), a contemporary outing. The 1977 release Muy Amigos/Close Friends, a duet collection with Puerto Rican singer Danny Rivera, also received a Grammy nomination. Los Panchos were first formed in 1944 in New York City by Alfredo Gil (Mexican), Chucho Navarro (Mexican) and Hernando Aviles (from Puerto Rico). Each member of Los Panchos played a guitar and sang with unequalled harmony. Los Panchos reached fame internationally with their romantic songs (boleros), especially in Latin America, where sold millions of album copies within a few years of being founded. Between 1946 to 1948, Los Panchos performed in the United States, including a performance at Radio City Music Hall in New York City. Los Panchos first began touring internationally in 1946. Later that year, Los Panchos moved to Mexico, considered the capital of Spanish-language music where many Latin and Iberian artists have jumped to international fame. In 1951, Los Panchos launched another international tour across Latin America. Singers were Johnny Albino & Chucho Navarro, and alos famously worked with singer Eydie Gorme on a series of bestselling albums in the 60's. Alfredo Gil played with Los Panchos until his retirement in 1981 and Chucho Navarro played with the group until his death in 1993.
01- Nosotros 02- Piel Canela 03- Y... 04- Sabor a Mí 05- Noche de Ronda 06- Caminito 07- Cuando Vuelva a tu Lado 08- Di Que No Es Verdad 09- La Última Noche 10- Historia de un Amor 11- Media Vuelta 12- Amor 13- Vereda Tropical 14- No Te Vayas Sin Mí 15- Desesperadamente 16- Oración Caribe 17- Flores Negras 18- Mala Noche 19- Cuatro Vidas 20- Nochecita 21- Guitarra Romana 22- Fuego Bajo Tu Piel 23- Más Amor 24- Luna Lunera
Jorge Drexler (born Jorge Abner Drexler Prada on September 21, 1964) is an Uruguayan singer and songwriter. In 2004 Drexler won wide acclaim after becoming the first Uruguayan ever to win an Academy Award. He won for composing the song "Al Otro Lado del Río" from The Motorcycle Diaries film about Che Guevera's early days. Drexler was born in Montevideo to a Jewish family. His German parents migrated to Uruguay to escape German persecution. After they faced criticism in Uruguay they moved to Israel for a year. From this Drexler is fluent in Hebrew. Like much of his family, he studied medicine and became an otolaryngologist ear, nose and throat specialist. He also studied music and recorded two albums, which were only released in Uruguay. In 1995 he was invited to Madrid by well-known Spanish songwriter Joaquín Sabina, who introduced him to other important Spanish singers. Drexler went to Spain to record the album Vaivén in 1996 with Spanish musicians. "Vaivén" included some old songs from his previous releases mixed with new compositions. He moved to Spain and recorded another four albums: "Llueve (1998)", "Frontera" (1999), "Sea" (2001) and "Eco" (2004). Although he lives most of the year in Spain, his latest three albums were partially recorded in Uruguay with Uruguayan musicians. Juan Campodónico and Carlos Casacuberta have produced Drexler's albums since "Frontera". His music is a combination of Uruguayan traditional music (candombe, murga, milonga), bossa nova, pop, jazz and electronic music, which results in very personal compositions with original arrangements. The words also play an important role in his songs. Apart from love, reflections about identity, race and religions are a constant in his work. In my honest opinion this album (first released in 2004 as "Eco", and re-released in 2005 as "Eco2" which was exactly the same album but with 3 added bonus tracks) is his best work until today.
01- Eco 02- Deseo 03- Todo Se Transforma 04.- Guitarra y Vos 05- Transporte 06- Milonga Del Moro Judío 07- Polvo De Estrellas 08- Se Va, Se Va, Se Fue 09- Don De Fluir 10- Fusión 11- Salvapantallas
Bonus Tracks:
12- Al Otro Lado Del Río 13- Oda Al Tomate 14- El Monte Y el Río
Pappo is the pseudonym of Argentine blues and rock & roll musician Norberto Napolitano (Buenos Aires, 10 March 1950 - Luján, Buenos Aires province, 24 February 2005). A native of the middle-class La Paternal neighborhood in Buenos Aires, Pappo started playing the guitar at the age of ten, and became active in Argentine rock since its beginnings; Pappo was a force in its transition from English to Spanish as guitarist of Los Gatos, the first rock band to enter the mainstream charts in Argentina. He also played in the first incarnation of cult band Los Abuelos de la Nada and in the quasi-psychedelic La Pesada del Rock and Roll. With his own band, Pappo's Blues, he recorded and toured extensively. He became an underground working-class hero, but received no radio airplay. In the mid-1970s, Pappo spent some time in England, playing alongside Peter Green (formerly of Fleetwood Mac), Lemmy (who later achieved fame with Motörhead), and other rock and blues greats. By the time in which they recorded the third album (“Pappo's Blues Vol 3”), there had been two changes in his group: David Lebón (bass) left, and his place was taken by C.A Machi Rufino and Black Amaya (drums) also left, beibng his place taken by Pomo. The recording of “Pappo's Blues Vol 4” was marked by the return of David Lebón and Black Amaya and the incorporation of Alejandro Medina. On the same year they released the album "Triángulo", and in 1975 “Pappo's Blues Vol 6”, in which Pappo played with Eduardo Barbagnatti and Eduardo Beaudoux. In 1978 Pappo, this time with Alejandro Medina playing bass again and Darío Fernandez with the drums, recorded the last album called “Pappo's Blues Vol 7”. On November 14th 1980 the band officially dissolved, but Pappo kept playing as a soloist. In 1981, he formed Riff, a heavy metal band. During the 1982 Riff became very popular with rockers in South America. In the late 1980s, when Riff disbanded, Pappo spent some time in the United States and formed a new group, Pappo and the Widowmakers in 1989. The band was based in the Los Angeles / Hollywood California area, and the members were as follows: Pappo (lead gutar), Dave Hatlee (bass), Rick Ness (rythm guitar) and Saint Bongosto (drums). Pappo and the Widowmakers recorded a two-song EP in October 1989 and then embarked on tour back to South America in December 1989. They performed several successful shows in venues such as Club Satisfaction in Buenos Aires and The Superdomo in Mar del Plata in 1990, but by the following year the project aborted and Pappo went back to live in Argentina. By that time (early '90s) with the advent of popular blues bands such as Memphis, La Blusera, Pappo was recognized as the godfather of Argentine blues. As such, he enjoyed the appreciation of B. B. King who admitted cherishing many of Pappo's records, and with whom he played at the Madison Square Garden in 1993 and 1994. BB King said in one occasíon "I've travelled 67 countries around the world and Pappo is the only true bluesman I've found. He'sone of the best guitar players I've ever known, not only in Argentina but in the whole world". With Pappo’s Blues he will record three more albums: “Hombre Suburbano” in 1994; “Caso Cerrado” in 1995 and “Auto Rojo” in 1998. Pappo's other love was car racing. He raced in Argentina's top stock-car category, TC, and in motorcycle races, with limited success. Sadly, Pappo died in a road accident in Luján, Buenos Aires province, on 24 February 2005. At route 5, km 71, Pappo's Harley-Davidson lost control, fell to the ground, and a car traveling in the opposite direction hit him, causing his death. The songs featured here are 6 songs extracted from his last album “Buscando un Amor” (2003), on which he homaged BB King, plus 12 other tracks which were recorded live in Buenos Aires on November 6, 2004, at a “BB King Tribute Concert” starred by Pappo himself and BB’s drummer Tony Coleman.
01- Tribute to BB King 02- Rock Me, Baby 03- Thrill is Gone 04- Killin' Floor 05- Trouble No More 06- Little Red Rooster
Recorded Live with Tony Coleman:
07- Tribute to BB King 08- I ain't Drunk 09- All Your Love 10- How blue Can You Get 11- Rock Me, Baby 12- Thrill is Gone 13- Master Charge 14- Everyday I Have the Blues 15- Chop This & Solo 16- Sweet Little Angel 17- Killin' Floor 18- Let the Good Times Roll
After Almendra broke up, Luis Alberto Spinetta (main composer of the group) released a lo-fi solo album called "Spinettalandia y sus amigos" and then visited Europe, where he saw first hand groups like Led Zeppelin and Deep Purple. Back in Buenos Aires, he decided to form a group where he could recreate the heavy rock sound he had seen and liked so much. And so, Pescado Rabioso was born. The group was originally a trio: Spinetta (vocals and guitars), David Lebón (vocals and bass guitar) and Black Amaya (drums). While recording their first album ("Desatormentándonos", released in 1971) they were joined by Carlos Cutaia (organ). In 1972 they released a double LP (simply called "2"), and then they disbanded. Spinetta recorded and released in 1973 another album under the Pescado Rabioso moniker, but in fact it was a solo album: "Artaud". Although "Artaud" was officially billed as the third Pescado Rabioso album, the Argentinean group had actually broken up by the time it was recorded. It's essentially a solo effort by singer-guitarist-songwriter Luis Alberto Spinetta, with contributions from his brother, drummer Carlos Gustavo Spinetta, bassist Emilio Del Guercio, and drummer Rodolfo García, the latter two of whom had played with Spinetta back in the pre-Pescado Rabioso band called Almendra. "Artaud", dedicated to the french surrealist poet Antonin Artaud, is a milestone in argentine rock. It’s considered by many not only Spinetta's masterpiece, but also the best album ever released in Argentina. If it's something of a progressive/psychedelic record, it has more to do with the juxtaposition of late-'60s and early-'70s styles on display than it has to do with the music itself. On various different tracks, Spinetta offers accomplished, sentimental acoustic-based folk-rock balladry ("Todas las Hojas Son del Viento"); languid jazzy San Francisco-styled mild psych ("Cementerio Club," "Bajan") with quavering guitar; folk-rock with a touch of late-'60s Lennon-McCartney at their most romantic ("La Sed Verdadera"); a piano-backed piece that recalls early Todd Rundgren at his softest ("A Starosta, El Idiota"); and a taut Latin-flavored rocker vaguely reminiscent of early Santana ("Las Habladurias del Mundo"). There's a little weirdness here, but it's limited to just a few spots, like the gradual submersion of "La Sed Verdadera" under ambient restaurant-like white noise and howling wind, and the sudden detour of "A Starosta, El Idiota" into gloomy dissonant piano rumbles, weeping, along with a far-off snatch of the Beatles' "She Loves You" single. The incredible intimacy of the accoustic pieces have earned comparisons to Nick Drake, though I’m not entirely convinced: Spinetta’s performances hint instead at dark neuroses and strange obsessive urges lurking just beneath the deceptively calm surface of the songs. The argentine edition of Rolling Stone magazine voted this album as no. 1 in the "Top 100 best argentine rock albums".
01- Todas Las Hojas Son Del Viento 02- Cementerio Club 03- Por 04- Superchería 05- La Sed Verdadera 06- Cantata De Puentes Amarillos 07- Bajan 08- A Starosta, El Idiota 09- Las Habladurías Del Mundo
