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Hora Prima “Hora Prima” 2025 Italy Prog Rock

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ByJacopo Vigezzi Emerging as one of the most compelling voices in the contemporary Italian Progressive Rock landscape, Hora Prima returns after four years with their sophomore effort — a conceptual opus that builds upon and surpasses their impressive debut. Released on July 04, 2025, via Ma.Ra.Cash Records, this self-titled album features six expansive compositions plus a bonus track, weaving profound reflections on humanity’s relationship with technology, artificial intelligence, and the encroachment of machines into creative domains. As the band states, the album explores the complex intersection of human existence and technological progress, questioning our ties to religion, spirituality, and modern myths. It is a journey toward rediscovering human roots, biological truths, and the intelligence of the body — a call for conscious presence that dismantles the illusions of consumerist existence and social “assembly lines.” The album opens with its longest piece, “Uomo Ancestrale (Primordio)” (Ancestral Man – Primordium), which immediately defines the sonic and conceptual trajectory of the work. A warm and expressive vocal presence emerges within melodic contexts that evoke the early ‘70s Italian Progressive tradition, anchoring the album in a rich sense of heritage. The intricate interplay of guitars and keyboards, supported by an elaborate yet solid rhythm section, unfolds through continuous tempo changes and thematic developments in pure Italian Progressive style. The second movement of this composition highlights the band’s compositional and instrumental mastery, offering remarkable instrumental passages where guitar and keyboard lines engage in sophisticated, emotive dialogues. The journey continues with “Intelligenza Artificiale” (Artificial Intelligence), a nostalgic reflection on the analog conquests of humanity in contrast to modern technological dominance. The band builds a dense, granite-like Progressive sound, where firm guitar riffs blend with intricate keyboard arrangements. While retaining Symphonic sensibilities, the track introduces heavier, more technical elements, bringing Classic Prog complexity into a fresh, contemporary context. “Deus Ex Machina” extends beyond six minutes, opening with Experimental Electronic soundscapes reminiscent of Kosmische Musik and Krautrock’s more Ambient explorations. Through a masterful crescendo, the piece transitions toward Jazz-inflected Progressive structures, full of tempo shifts and refined phrasing. Individual and collective technical brilliance shines through elegant solos and rich arrangements. The concise “Delirium Omnibus” begins with powerful guitar work and incisive vocals over a more straightforward Rock rhythm, offering a moment of relative simplicity between the album’s more complex pieces. Even here, the band soon returns to Progressive territory, balancing accessibility with sophistication. “Diari Dalla Quarta Dimensione” (Diaries from the Fourth Dimension) immerses listeners in a lyrical and Atmospheric journey that bridges vintage Progressive sonorities with the band’s modern voice. The interplay of guitars and keyboards, expressive vocals, and dynamic rhythm work culminate in instrumental passages that will undoubtedly resonate with fans of classic Italian Prog. ....~ Line-up / Musicians - Andrea Catalano / vocal - Domenico De Zio / guitar - Roberto Di Lernia / bass, vocal - Francesco Bux / drums, synth vocal - Roberto Gomes / keyboards, vocal Songs / Tracks Listing 1. Uomo Ancestrale (Primordio) (8:34) 2. Intelligenza Artificiale (4:32) 3. Deus Ex Machina (6:16) 4. Delirium Omnibus (4:05) 5. Diari dalla IV Dimensione (4:12) 6. Al Khwarizmi (4:34) 7. Le Roi Soleil (New Trolls) (Bonus Track) (6:27) Hora Prima “Hora Prima” 2025 Italy Prog Rock

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Fantastic Negrito "The Last Days Of Oakland" 2016 + "Please Don't Be Dead" 2018 + "White Jesus Black Problems" 2022 + "Grandfather Courage" 2023 + "Son Of A Broken Man" 2024 +  "Fantastic Negrito Deluxe EP" 2015 US California Modern Electric,Blues Rock,Psych Soul,Funk

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https://open.spotify.com/album/0joZ3fA8e7Qj9W2PLExxwn

https://open.spotify.com/album/5XgUtV3205kTcgoSLNf8ix

https://open.spotify.com/album/76BB70ASc22gc7NcRTGSQl

https://open.spotify.com/album/6b96nRUJmHMTQwK1IK9tJy

https://open.spotify.com/album/4C87UAmhJ3nhATyp9nCI4i

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https://open.spotify.com/album/5jL3XdYW4DmApDB3EAdm7O

Fantastic Negrito "The Last Days Of Oakland"2016

Credits Bass Guitar – Cornelius Mims Drums – Omar Maxwell Guitar – Masa Kohama Guitar [Additional] – Tomas Salcedo "The Chilean"* Percussion [Additional] – Piwie Piano, Organ – LJ Holoman* Vocals [Additional] – Madeline Tarquin* Vocals, Piano [Additional], Guitar [Additional], Drum Programming, Handclaps – Xavier Dphrepaulezz Tracklist Intro - The Last Days Of Oakland 0:35 Working Poor 4:01 About A Bird 3:40 Scary Woman 3:10 Interlude - What Would You Do? 1:20 The Nigga Song 3:16 In The Pines 4:19 Hump Through The Winter 3:54 Lost In A Crowd 5:00 Interlude 2 - El Chileno 0:41 The Worst 3:52 Rant Rushmore 5:01 Nothing Without You 4:15

Fantastic Negrito "Please Don't Be Dead" 2018

Tracklist Plastic Hamburgers Bad Guy Necessity A Letter To Fear A Boy Named Andrew Transgender Biscuits The Suit That Won't Come Off A Cold November Street The Duffler Dark Windows Never Give Up Bullshit Anthem

Fantastic Negrito "Have You Lost Your Mind Yet?" 2020

Tracklist Chocolate Samurai I'm So Happy I Cry How Long? Shigamabu Blues Searching For A Captain Save A Hoe Your Sex Is Overrated These Are My Friends All Up In My Space Justice In America King Frustration Platypus Dipster

Fantastic Negrito "White Jesus Black Problems" 2022

Credits Backing Vocals – Laura Jane Jones (tracks: A1, A2, A4, A5, B10, B11), Miko Marks (tracks: B8, B9, B13) Banjo – Dom Flemons (tracks: A2, B13) Bass – Cornelius Mims (tracks: A1, A2, A4 to A6, B8, B9, B11, B13) Cello – Mia Pixley (tracks: A1, B8, B9, B13) Drums – James "Sticknasty" Small (tracks: A1, A2, A4 to A6, B8, B9, B11) Electric Piano – Lionel LJ Holoman* (tracks: A1, A2, A4 to A6, B8 to B11, B13), Xavier Dphrepaulezz (tracks: A3, B10 to B12) Lead Guitar – Masa Kohama (tracks: A1, A2, A4 to A6, B8 to B11) Trevor Orriss (tracks: A3, B7, B12) Organ – Lionel LJ Holoman* (tracks: A1, A2, A4, A6, B7 to B11, B13), Xavier Dphrepaulezz (tracks: A1, A2) Percussion – Javier Diaz (2) (tracks: A3, B10), Xavier Dphrepaulezz (tracks: A1 to A6, B8 to B13) Piano – Xavier Dphrepaulezz (tracks: A1, A4) Producer, Lead Vocals, Backing Vocals – Xavier Dphrepaulezz Rhythm Guitar – Masa Kohama (tracks: A1, A2, A4, A6, B8, B9, B11, B13), Xavier Dphrepaulezz (tracks: A1, A2, A4 to A6, B8 to B11, B13) Tracking By – Trevor Orriss, Zollie Fears (tracks: A3, A5, B9, B10) Tracklist Venomous Dogma Highest Bidder Mayor Of Wasteland They Go Low Nibbadip Oh Betty You Don't Belong Here Man With No Name You Better Have A Gun Trudoo In My Head Register Of Free Negroes Virginia Soil

Fantastic Negrito "Grandfather Courage" 2023

Tracklist Drifting Away (Acoustic) 3:37 Locked Down (Acoustic) 3:34 Highest Bidder (Acoustic) 4:28 They Go Low (Acoustic) 4:09 Nibbadip (Acoustic) 5:13 Oh Betty (Acoustic) 4:06 Man With No Name (Acoustic) 3:58 You Better Have A Gun (Acoustic) 4:47 Trudoo (Acoustic) 4:48 In My Head (Acoustic) 4:27 Virginia Soil (Acoustic) 3:44

Fantastic Negrito "Son Of A Broken Man" 2024

Tracklist First To Betray Me Runaway From You I Hope Somebody's Loving You Skirty Goddamn Biscuit Living With Strangers Zollifer Files Devil In My Pocket California Loner My Only Friend Is You Crooked Road The Children Are Waiting This Little Light Of Mine Son Of A Broken Man

Fantastic Negrito "Fantastic Negrito Deluxe EP" 2015

Credits Tracklist 1 Lost In A Crowd 2 She Don't Cry No More 3 An Honest Man 4 Night Has Turned to Day 5 The Time Has Come 6 A Long Road 7 A New Beginning

Fantastic Negrito "The Last Days Of Oakland" 2016 + "Please Don't Be Dead" 2018 + "White Jesus Black Problems" 2022 + "Grandfather Courage" 2023 + "Son Of A Broken Man" 2024 +  "Fantastic Negrito Deluxe EP" 2015 US California Modern Electric,Blues Rock,Psych Soul,Funk

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Christina Rosenvinge “Tu Labio Superior” 2008  Spain Alternative Pop Rock (50 Mejores Discos del Rock Español - Rolling Stone)

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Christina has found balance. He has found his niche and he has succeeded. In this album, his best work so far, he takes up each and every one of the lessons learned applying them in the most exact way. Combining a certain American rhythm with some rebellious guitars -more from his first period- and the whispers of "Frozen Pool" (Smells Like, 2001) with the narcotic squeaks of "Foreign Land" (Smells Like, 2002), he achieves the perfect mass that in "Continental 62" (Søster, 2006) did not quite gel. Choosing Spanish entirely for her personal purification this time, the Madrilenian is now at the point where the sores hardly hurt anymore and now she contemplates the pain and what happened with greater perspective. Now there is a certain anger, a certain mockery and a tremendous desire to move on, and have a good time. A beautiful version of the song "When the sun goes down (in the evening)" by Leroy Car is accompanied by ten new songs where the balance is balanced between the renewing and ascending compositions and those broken ones where the stinging returns for moments. A voice that whispers but again becomes sensual and violent. Like a tongue slowly ascending, Christina feels the power in her hands and the desire, again, to paint her lips red. Something that could only result in a great work. Fall to climb again, reaching a step or two more....la fonoteca....~ The singer from Madrid returns to the musical news with a new CD entitled "Un Hombre Rubio", the tenth in her solo career. To give life to the songs of "Un hombre rubio", Rosenvinge wanted to count on Dany Ritcher for its recording. A repertoire that he has ended up shaping thanks to the musicians who have accompanied him on his last concert tour: Juan Diego Gosálvez (Russian Red, Tuya), David T. Ginzo (Tuya) and Manuel Cabezali (Havalina). A new work with a "more classic, more band" sound, according to Christina herself, in which she moves away at least for this production from the most synthetic sounds. We have already been able to know two first cuts from him that give us a small sample of what his followers will find in "Un hombre rubio".....~ Credits Bass, Double Bass, Guitar – Jeremy Wilms Cello – Aurora Roca Drums – Steve Shelley Guitar, Bass – Chris Brokaw Guitar, Piano, Organ, Backing Vocals – Charlie Bautista Music By – C. Bautista* (tracks: A2, B2), J. Wilms* (tracks: A5, B3), S. Shelley* (tracks: A5, B3) Producer – Christina Rosenvinge Vocals, Guitar, Piano – Christina Rosenvinge Written-By – Christina Rosenvinge Tracklist Tu Labio Superior A1 La Distancia Adecuada 4:17 A2 Anoche (El Puñar Y La Memoria) 3:21 A3 Eclipse 3:38 A4 Tu Boca 3:29 A5 Las Horas 3:58 A6 Nadie Como Tú 2:55 B1 Canción Secreta B2 Negro Cinturón 3:36 B3 Tres Minutos 3:06 B4 Animales Vertebrados 2:38 B5 Por La Noche Adapted By – Christina Rosenvinge Written-By – Leroy Carr 4:13 B6 Alta Tensión 3:30 Tu Labio Inferior 1 Canción Secreta 2 A Contrapelo 3 La Muerte Sentimental 4 Nana De Agosto

Christina Rosenvinge “Tu Labio Superior” 2008  Spain Alternative Pop Rock (50 Mejores Discos del Rock Español - Rolling Stone)

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Mecano "Entre El Cielo Y El Suelo" 1986 Spain Synth Pop  (50 Mejores Discos del Rock Español - Rolling Stone)

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Madridiscos is my weekly section in Madrid with all five senses. It is broadcast every Friday at 5 p.m. on M21 Radio (88.6 FM or on the web). In it I review with José Luis Casado and for half an hour an emblematic album forever linked to our city. Madri-albums that, incidentally, help us tell the story and analyse the idiosyncrasies of Madrid: music, culture, society... This week we have remembered the first album of Mecano's millionaire trilogy. Yes: the one who sold his first million, a feat until then unheard of in a Spanish group. The one who consecrated the intense songs of José María Cano against the more pop spirit of his brother Nacho Cano. And in the middle, as always, Ana Torroja balancing egos. The first one they recorded at BMG after their breakup with CBS. I think executives are still banging their heads... Well, the one that allowed them to make their way in a big way in the Latin American market and begin the conquest of Europe. His 1986 album: Entre el cielo y el suelo. The album in which a few of Nacho's targets (Ay, qué pesado, 50 palabras, 60 palabras o 100, Te busqué or Esta es la historia de un amor) are ignored by José María's poker of hits: Cruz de navajas, No es serio este cementerio (I have refused to put this gravel festival), It's so hard for me to forget you – the best, without a doubt – and, of course, Son of the Moon. I recover versions of the latter in Polish or in a Gothic metal key, I warn. I also take the opportunity to listen to Ana singing in English, French and Italian.....~ Credits Bass – Andy Pask, Manolo Aguilar Drums – Peter Barnacle*, Sergio Del Castillo* Vocals – Ana Torroja, José María Cano, Ignacio Cano* Tracklist A1 Ay, Qué Pesado 3:58 A2 Angel 4:28 A3 Hijo De La Luna 4:21 A4 50 Palabras, 60 Palabras O 100 3:57 A5 Me Cuesta Tanto Olvidarte 2:53 B1 No Tienes Nada Que Perder 3:00 B2 Las Curvas De Esa Chica 3:09 B3 No Es Serio Este Cementerio 4:25 B4 Cruz De Navajas 5:02 B5 Esta Es La Historia De Un Amor 3:59

Mecano "Entre El Cielo Y El Suelo" 1986 Spain Synth Pop  (50 Mejores Discos del Rock Español - Rolling Stone)

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Deluxe “Fin de un Viaje Infinito” 2007 Spain Indie Pop Rock  (50 Mejores Discos del Rock Español - Rolling Stone)

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"Fin de un viaje infinito", performed by Deluxe. In addition to the list of songs included on the album, other types of information will also be displayed on this page as they become available: data related to their release, credits for the recording of the songs (producer, musicians, collaborators and those responsible for recording, mixing and mastering), information about other editions in other formats, curiosities related to the album.....~ With each new album, Deluxe gets closer and closer to the flame of eternal pop wisdom and, although he never manages to fully reach it, he will keep trying. If there is something that the Galician has in abundance, it is that compositional obstinacy that is bombproof and of any kind of discouragement. The same one that, at times, must take hold of him in the face of his ambitious aspiration to become a benchmark within pop with classical overtones, bombastic arrangements and a certain emo epic in Spain. A country that does not treat pop groups too fairly who, even when switching to Spanish, see how their income statement does not grow at the rate it should. Although that is another question. The important thing here and now is that with each step he takes – and we hope there will be many – Xoel delivers more complete, unitary and better tilted works. Without so many ups and downs between the sublime and the vulgar and so much distance between excess (which still exists) and containment. You only have to pay attention to the spectacular beginning of the album, in which the melodies of timeless vocation are combined with arrangements that strengthen them more than ever. And on top of that, there is no shortage of anthemic tunes such as "Colillas en el suelo", "Hemos que esperar", "Réquiem (no fue yo)" or that fabulous finishing touch that is "Fin de un viaje infinito", combined with songs of greater delicacy such as "El amor valiente", "Rostro de actriz" or my favorite "De tanto callar". Well, it's a pleasure to listen to it from beginning to end.....mondosonoro....~ Deluxe es: Xoel López: Voz, guitarra eléctrica, guitarra acústica, clavicordio, órgano hammond, armónica, capiporla, arreglos de cuerda, percusión y bajo en "A un metro de distancia". Los músicos: Roberto Lozano "Loza": batería. Jacob Reguilón: bajo. César G. Miranda: piano. Juan de Dios: banjo, sinte, coros, piano preparado en "Gigante" y "No es mi primera vez", melotrón en "Réquiem" y "Gigante". Ignacio Villamor "Tuli": saxo y director de sección de metales. Marcos Crespo: trombón. Álvaro Pacheco: trompeta. Sam Alameda Dosoulna: trompeta en "Colillas ..." Tracklist 1 Colillas En El Suelo 2 Gigante 3 Tendremos Que Esperar 4 No Es Mi Primera Vez 5 Rostro De Actriz 6 Ver En La Oscuridad 7 Réquiem (No Fui Yo) 8 De Tanto Callar 9 Simone 10 El Amor Valiente 11 A Un Metro De Distancia 12 Fin De Un Viaje Infinito

Deluxe “Fin de un Viaje Infinito” 2007 Spain Indie Pop Rock  (50 Mejores Discos del Rock Español - Rolling Stone)

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Joaquín Sabina "19 días y 500 Νoches" 1999 Spain Pop Rock,Acoustic Soft Rock (50 Mejores Discos del Rock Español - Rolling Stone)

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https://musify.club/release/joaquin-sabina-19-dias-y-500-noches-1999-390221

In addition to this original album, one of the greatest successes in Joaquín Sabina's long career, the Special Edition offers on the CD Extra an unreleased track (Ola de frío), two songs that appeared on the album published in Argentina (Nos sobran los motivos and La Biblia y el calefón) and songs that were released in 2003 on the double CD in disc-book format Diario de un peatón with the album Dímelo en la street and songs then unreleased (Doble vida, Arenas movedizas, A vuelta de correo, Ay Calixto). The DVD offers the 19 Days and 500 Nights End-of-Tour concert of 1999 held at the Wützburg Pavilion in Salamanca in which Joaquín Sabina sings Yo me bajo en Atocha, Ganas de, Medias negras, Princesa, Barbie Superstar, Quien me ha robado el mes de abril, Así estoy yo sin ti, A mis cuarenta y diez, 19 días y 500 noches, La del pirata cojo and De purísima y oro and the video clips of 19 días y 500 noches, Dieguitos y Mafaldas and Nos sobran los motivos....~ Credits Backing Vocals – Alejo Stivel, Cristina Narea, Quique Berro*, Joaquín Sabina, Josu García, Olga Román, Penélope Solis, Verónica Pajares Bass – Marcelo Fuentes Cello – Belén Guerra Conductor [Orchestra] – Nick Ingman Drums, Bandoneon – Fernando Samalea Marcos Liviano, Nick Harris , Raquel Fernández-Asis* Guitar – Antonio Cortes Barullo, Antonio García De Diego, Brett Rader, Quique Berro*, Joaquín Sabina, Jose Antonio Romero, Josu García Keyboards – Adrián Schinoff Percussion – Efraín Toro* Saxophone – Candido Mijares* Soloist, Violin – Gavyn Wright Tres – Dayan Abad Trombone – Jim Kashisham*, Norman Hogue Trumpet – Lulo Pérez Tracklist 1 Ahora Que... 6:49 2 19 Días Y 500 Noches 4:45 3 Barbi Superestar 6:37 4 Una Canción Para La Magdalena 4:15 5 Dieguitos Y Mafaldas 5:35 6 A Mis Cuarenta Y Diez 7:11 7 El Caso De La Rubia Platino 4:50 8 Donde Habita El Olvido 3:32 9 Cerrado Por Derribo 4:37 10 Pero Qué Hermosas Eran 7:29 11 De Purísima Y Oro 4:52 12 Como Te Digo Una "Co" Te Digo La "O" 8:41 13 Noches De Boda 4:42

Joaquín Sabina "19 días y 500 Νoches" 1999 Spain Pop Rock,Acoustic Soft Rock  (50 Mejores Discos del Rock Español - Rolling Stone)

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Jorge Drexler “12 Segundos de Oscuridad” 2007 Spain Pop Rock  (50 Mejores Discos del Rock Español - Rolling Stone)

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Jorge Drexler is a Uruguayan musician, composer and doctor who has 13 full-length studio albums to his credit. Despite having a long musical career, it was in 2004 with the release of his ninth album "Eco" and with the obtaining of an Oscar (2005) for Best Original Song with "Al otro lado del río", that this musician put himself in the auditory orbit of a greater number of listeners. mainly Hispanic Americans. It may interest you: How was "Peces" conceived?: 25 years of Lucybell's debut film After all the chaos that means being the first Latin American musician to win an Oscar and taking advantage of this, through tours and interviews, Drexler moved to Cabo Polonio, a beach located in the department of Rocha in Uruguay, which at that time did not have electricity and only had a lighthouse. which, according to its operation, caused 12 seconds of darkness towards the beach. This concept was the beginning of the creation of one of the most intimate works of the Uruguayan musician, where themes such as infidelity, love, breakup, loneliness and recomposing oneself, are what give the spirit to the album, a more personal and emotional work, as he himself describes it. In September 2006 "12 seconds of darkness" was released, an album that presents a much more elaborate production compared to most of their previous works and where several guest musicians such as Kevin Johansen, Maria Rita, Leonor Watling (Marlango) and Paulinho Moska, among others, also participate. The journey begins with the track that gives the album its name, a calm piece of music made with the total intention of transporting you to Cabo Polonio, which it somehow achieves. It all continues with "La vida es más complejo de lo que parece", a song that recalls a little the spirit of his past compositions and that is precisely what its title tells. "Transoceánica" is the name of the third track of this work, it is one of the most upbeat songs on the album, something that was not very common to find in the works presented by the Uruguayan until that moment. Excellent first single. "Disneylandia" is a cover of the Brazilian rock band Titãs, which was transformed and translated by the musician himself to give it his own personal touch. It describes globalization and free trade in a very particular way. "El otro engranaje" is one of my favorites, mainly because of its lyrics, which speak in a way, perhaps very personal, of infidelity. Credits Acoustic Guitar, Electric Guitar, Programmed By, Producer – Juan Campodónico Arranged By [Strings and brass], Piano, Electric Piano – Luciano Supervielle Bass Trombone, Trombone – Roberto Garcia Cello – Silvia Raposo Contrabass – Gabriel Casacuberta Drums – Borja Barrueta Effects [Interferencias Digitales] – Nacho Benedetti Electric Guitar, Slide Guitar, Effects – Huma* Engineer, Mixed By – Julio Berta French Horn – Jesús Sanchez Tambourine, Shaker, Goblet Drum, Guiro, Finger Cymbals, Body Percussion – César Araque Viola – Carlos Martín Moreno Violin – Diego Galaz, Javier Casalla Vocals, Backing Vocals, Classical Guitar, Acoustic Guitar, Dobro, Slide Guitar, Programmed By, Written-By – Jorge Drexler Tracklist 1 12 Segundos De Oscuridad 2 La Vida Es Más Compleja De Lo Que Parece 3 Transoceánica 4 Disneylandia 5 El Otro Engranaje 6 High And Dry 7 La Infidelidad En La Era Informática 8 Hermana Duda 9 Inoportuna 10 Quien Quiera Que Seas 11 Soledad 12 Sanar

Jorge Drexler “12 Segundos de Oscuridad” 2007 Spain Pop Rock  (50 Mejores Discos del Rock Español - Rolling Stone)

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Los Rodríguez "Sin Documentos"1993 Spain / Argentina Latin Pop Rock (50 Mejores Discos del Rock Español - Rolling Stone)

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After the debut with "Buena Suerte" (Pasión, 1991) and the recording of the live "Disco Pirata" (RNE, 1992), Los Rodríguez continued the journey with "Sin Documentos" (DRO, 1993), an album in which Nigel Walker helped them with the production and in which Daniel Zamora took the reins of the bass, after Guille Martín left the band. It was recorded in the spring of 1993 at the Eurosonic studios in Madrid. With more resources and the support of a solid firm behind them, Los Rodríguez doubled down with an unbeatable album. Each of the songs on "Sin documentos" could be a potential single: the repertoire is masterful and shows above all the torrential talent of Andrés Calamaro, who would gradually gain prominence as the leader of the band. But it would be unfair to forget the work of Ariel Rot or Julián Infante -who half-wrote "Me estás atrapando otra vez", a marvel- and the quality of the rhythm section formed by Zamora and Germán Vilella. A true dream team. The Rodriguez are essentially a huge rock and roll band. This is confirmed by the beginning, with "Pequeño salto somersault", a title tribute to the "Jumpin' Jack flash" by the Rolling Stones: "Give me to eat / give me drinks, I'm thirsty. / Give me problems / I want to feel / the wind in the sails". However, no genre escapes their talent: they filter reggae at will -"Hasta que el sueño venga", rumba -"Sin documentos"- or South American rhythms such as candombé or joropo -in "Salud (dinero y amor)"-. The feeling is that the group can set fire to an electricity stadium and earn a tavern playing acoustic music based on rancheras or tangos. From the first song the album captivates the listener. "Dulce condena" is pure pop, with a chorus that hooks: "I like problems / there is no other explanation / this is a sweet condemnation / a sweet surrender". No less successful is that of "Sin documentos", a bastard rumba by Calamaro to which Rot and Infante give luster with glorious guitars: "I want to be the only one who bites your mouth / I want to know that life with you is not going to end". In "7 seconds" the most narrative Calamaro traces a small love story, and in "Salud (dinero y amor)" he produces a tavern song that is a vital celebration: "I toast to the women who exude sympathy / I toast to those who return with the lights of another day / I toast because I remember your body on fire and your face / I toast to what I had, because I don't have anything anymore." "Na, na, na", by Rot, is another old rock & roll trademark of the house. "Mi rock perdido" is a little gem within the repertoire, sincere and direct: "I don't like songs because they lie / because everything is resolved in three minutes / they are soldiers of an invisible army / they are mirrors of a mirror never broken". The tour continues with "Me estás atrapando otra vez", a huge ballad about drug addiction in which Rot and Infante claim their place as excellent composers. "Mala suerte" and "Algo se está rompiendo" seem to take up the Stonian vein of "Pequeño salto mortal", and "Especies que desaparecidon" puts the finishing touch to a memorable album: "We are of a species that disappears / even our differences are similar / we are like lost time / like words spoken in no one's ear". With "Sin Documentos", Los Rodríguez announced to those who had not yet learned that something great had been born, a rock & roll band that could hardly be improved, perfectly oiled and with fresh ideas. A reason for rupture was also beginning to be glimpsed: the always restless Calamaro was beginning to be recognized in Spain, and his name associated with great songs.....la fonoteca.....~

While it can be argued that Palabras más, palabras menos is a more complete album, and that it brings some of the best lyrics by Andrés Calamaro ("Para no olvidar"), it is with the band's second album, and their singles "Dulce condena" and the classic song of the same name, with which they explode in Latin America. Produced by the Welshman Nigel Walker, this album catapults Los Rodríguez to be one of the most popular bands of the nineties, in Latin America and Spain, and marks the return of Andrés Calamaro to success (ten of the twelve songs are composed by Calamaro, three with Ariel Rot), after the poor sales in Argentina of his solo albums that, however, they have been vindicated over time. With direct rock and ballads, they move naturally between different styles, as evidenced by the other hits on this album: "Salud (dinero y amor)" and "Me estás atrapando otra vez"....~

Credits Bass – Daniel Zamora Drums, Backing Vocals, Percussion [Palmas] – Germán Vilella Executive-Producer – RUMOR* Guitar, Backing Vocals, Percussion [Palmas] – Julián Infante Guitar, Voice, Backing Vocals – Ariel Rot Organ, Voice, Backing Vocals, Piano, Accordion, Clavinet, Synthesizer, Tambourine, Guiro – Andrés Calamaro Percussion, Congas – Fernando Pirri Saxophone – William Gibbs Trombone – Ove Larsson Trumpet – Francisco Ibáñez* Written-By – A. Calamaro* (tracks: 1 to 4, 6 to 8, 10 to 12), A. Rot* (tracks: 1, 3, 5, 9, 12), J. Infante* (tracks: 9) Tracklist 1 Pequeño Salto Mortal 2 Hasta Que El Sueño Venga 3 Dulce Condena 4 Sin Documentos 5 Na, Na, Na 6 7 Segundos 7 Salud (Dinero Y Amor) 8 Mi Rock Perdido 9 Me Estás Atrapando Otra Vez 10 Mala Suerte... 11 Algo Se Está Rompiendo 12 Especies Que Desaparecen

Los Rodríguez "Sin Documentos"1993 Spain / Argentina Latin Pop Rock (50 Mejores Discos del Rock Español - Rolling Stone)

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Fito & Fitipaldis "Lo Mas Lejos, A Tu Lado" 2003 Spain Pop Rock,Pub Rock,Blues Rock (50 Mejores Discos del Rock Español - Rolling Stone)

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Third album by Fito & Fitipaldis, and the third time it sounds exactly what you expect. You may not discover anything, but it is also true that you do not disappoint. The soul of Platero y Tú once again engenders an album of songs in which he mixes different styles but with the same personal lyrics that are the hallmark of the house. Anyone who has listened to the two previous albums already knows what is here, however you can see the maturity of the group and the inspiration when it comes to composing. The lyrics revolve around personal experiences of love and heartbreak, indecisions and feelings that can be transferred to anyone who listens to them, with a musical background that varies between semi-acoustic rock and roll, country and other styles already played on other occasions, reminiscent of Dire Straits or even Police ("The Eye That Looks at Me"). There is also a very good version of Los Rebeldes ("Quiero ser una estrella"), the instrumental "Vámono", scratch and wind arrangements with Iñaki "Uoho" Antón himself playing the trombone ("Corazón oxidado"), a dedication to Roberto Iniesta from Extremoduro ("Las flores de tu pelo") and luxury collaborations such as 'Lichis' by La Cabra Mecánica ("La casa por el tejado"). All this -and more- makes this album anything but boring. The musicians who accompany Fito on this occasion are J. Alberto Batiz (guitar), Roberto Caballero (bass), Chema Pérez "Animal" (drums, ex-Los Enemigos) and a lot more collaborations in winds, piano, percussion, choirs, etc. and the presentation is in digipack with a booklet of illustrative illustrations and handwritten lyrics. It also brings an accompanying DVD of a concert in San Sebastian of the tour of "Los sueños locos" and the video-clip of "La casa por el tejado", all for the same price. That's a pleasure. Good buy, yes sir.....~ Fito and Fitipaldis' third album was their absolute crown. Twelve songs recorded in "La Casa de Iñaki", the studio of Iñaki "Uoho" Antón, who was the producer of the album. The album includes 12 songs including "La casa por el tejado" (first single with the collaboration of Lichis), "Feo", "Un buen castigo", "El ojo que me mira" and the version of the song "Quiero ser una estrella", by Los Rebeldes. But above all this album will be remembered for "Soldadito marinero", a great song and an iconic video aboard a barge along the Bilbao estuary, and which became an instant classic......~ Tracklist A1 La Casa Por El Tejado A2 Un Buen Castigo A3 Feo A4 El Ojo Que Me Mira A5 Soldadito Marinero A6 Corazón Oxidado B1 Quiero Ser Una Estrella B2 Nada Que Decir B3 Vamonó B4 Las Nubes De Tu Pelo B5 Whisky Barato B6 Siempre Estoy Soñando

Fito & Fitipaldis "Lo Mas Lejos A Tu Lado" 2003 Spain Pop Rock,Pub Rock,Blues Rock (50 Mejores Discos del Rock Español - Rolling Stone)

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Calibro 35 "Exploration" 2025 Italy Jazz Funk, Fusion

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“Italian cinematic funk legends Calibro 35 continue their journey into the world of cinematic jazz-funk with their new album Exploration.

The 11-track affair marks their return to an independent label after the major-label release if their last studio album Nouvelle Aventures in 2023. The band pick up where they left off on their latest EP Jazzploitation, released last October. Exploration is a deep dive into their sonic universe, showcasing both the band’s reinterpretations of timeless classics such as Roy Ayers’ Coffy or Bob James’ Nautilus and original compositions like the lead single Reptile Strut, the jazz-funk stormer The Twang and the soulful Pied De Poule. For the Milanese combo, it is an exploratory new journey that pays homage to artists such as Lalo Schifrin (Mission: Impossible), Italian maestro Piero Umiliani (Discomania and Gassman Blues) and Herbie Hancock (Chamelon). Calibro 35 enjoy a worldwide reputation as one of the coolest independent bands around. Active since 2007, during their long career, they have been sampled by Dr. Dre on Compton (One Shot One Kill ft. Snoop Dogg), Jay-Z (Picasso Baby), The Child of Lov & Damon Albarn (One Day), and Demigodz (The Summer Of Sam). They have played major venues and festivals all over Europe, and as unique musicians, they have collaborated with, among others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré.”....~ Tracklist Reptile Strut Discomania Nautilus Jazz Carnival Gassman Blues Pied De Poule Chameleon Mission Impossible The Twang Coffy Is The color Lunedì Cinema

Calibro 35 "Exploration" 2025 Italy Jazz Funk, Fusion

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Surfin’ Bichos “Hermanos Carnales” 1992 Spain Alternative,Indie Pop Rock,Noise Pop (50 Mejores Discos del Rock Español - Rolling Stone)

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Two events mark the gestation of "Hermanos Carnales" (RCA, 1992), the masterpiece considered by the Surfin': the departure from the group of José Manuel Ponce, Fernando Alfaro's cousin, and that of his manager due to health problems. Precisely, those difficult moments made the Surfin' Bichos, now three, throw the remains. So much so, that the third album of the band from Albacete was conceived as a double album, in which the most direct songs would be distributed in the first, and the most experimental in the second. RCA did not approve this proposal, of course, although the title and the conceptual idea remained intact. The two central axes, that of the group always linked to the road, and the film "Inseparables" (1988) by David Cronenberg, would serve to give the album its name. Alfaro's fierce style does not cease in "Hermanos Carnales", and even reaches the unusual lucidity both musically and lyrically in many moments of it. Although the sound is more refined than in "Photographer of the Sky" (Virus / RCA, 1991) thanks to the production of Steve Gwynn and his assistant Matt Kemp, who recorded the final whistle of "The Rainy Season" and in 1997 would be the producer of Chucho's "78" (Virgin, 1997). The album is full of religious images, incestuous relationships, and at the end of the day, love, intensity, desire... a theme already addressed in his previous work, although here somewhat sweeter. "Mi hermano carnal" begins with a bass line that makes us look back at what was happening on the other side of the Atlantic, with lyrics with clear allusions to drugs ("the great provider") and incest, which begins with a resounding first verse ("I will warm your cold soul in the bowels of an animal, I know it hurts, it's life, only death doesn't cause pain"). The perfect definition of what one finds throughout the album, both for Alfaro's pop sensibility in "Efervescente", with the first choruses of Isabel León, and the bossa of "Abrazo en un terremoto". On the other side of the soul, there are the introspective "Humo azul" and the brutal confession of "Mis huesos son para tí". It was the first album with which Surfin' Bichos would come close to radio formulas. The single "Strong!" It came to have a certain media resonance, despite the unmistakable sexual references, but of course, there was a refrain of taking away the hiccups that went very well on commercial radio. And of course, there is no shortage of biblical metaphors, which can be traced both in "San José Experience" (although the lyrics are by Carlos Cuevas) and in "Hey, Lázaro" with music by Joaquín Pascual. In the latter it is also clear that when Alfaro plays with religious elements he can say many other things, and here in particular it seems that he is talking about a more than probable sexual impotence of his character. The most eclectic set of songs the group has ever signed also results in an almost unreleased pop friendliness on "Ella y yo." The same as the melancholy of "En otoño" with some string arrangements that could well have been stolen from the R.E.M of "Out of Time" (Warner, 1991). The album considered to be the most rounded by Surfin' Bichos may be among the best that have been published in the 90s in Spain, for three reasons: it has addictive songs, of emotional depth, and it is an album that opens new perspectives for Spanish indie groups, who were already warming up their engines in 1992.....la fonoteca.......~

Credits FERNANDO ALFARO: voz, guitarra eléctrica y acústica, coros. JOAQUÍN PASCUAL: guitarra, hammond, piano, teclados, mandolina, bajo. CARLOS CUEVAS: batería, percusión, voz intro en "Mi hermano carnal". Colaboraron: MIGUEL GUARDIA: bajo (cortesía de DRO). ISABEL LEÓN: coros. RICK WOOLGAW: saxo. DAVID GWYNN: guitarras. MATTHEW KEMP: percusión, silbido. Tracklist Mi hermano carnal Viaje de redención Humo azul Efervescente Hey, Lázaro Ángel transparente Mis huesos son para ti Fuerte! Abrazo en un terremoto San José experience No puedes imaginarte En otoño Harto de tu amor Ella y yo La estación de las lluvias

Surfin’ Bichos “Hermanos Carnales” 1992 Spain Alternative,Indie Pop Rock,Noise Pop (50 Mejores Discos del Rock Español - Rolling Stone)

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091 "Tormentas imaginarias 1993 Spain Alternative Rock (50 Mejores Discos del Rock Español - Rolling Stone)

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Originally released in 1993, in "Imaginary Storms" we find ourselves in front of the best Cero, the most inspired and stubborn in the faith that sustained their musical formula and everything on the album rolls in a fluid and vertiginous way. The voice of 'Pitos' is as always in tune and is powerful and brilliant, the guitars, the rhythmic base... everything is blessed and boosted by some of the best songs that José Ignacio Lapido wrote during his time with 091. Perhaps the most complete and rounded album of the band, where they reach total balance and leave us with a good number of mythical songs.....~ Original edition with insert, in excellent condition. 091's sixth album and the only one the band recorded for Polydor. This original 1993 copy contains two songs that are not found on the reissue, "Cayendo" and "Es hora de enloquecer". The photography of the cover was in charge of ARTEFACTO, two students of Fine Arts from Granada at that time, Ana Hinojosa and Paco Vico. Paco Vico, two years later, would also be the author of the group's next cover, that of the last studio album "Todo lo que viene después" (1995)....~ Credits • José Ignacio García Lapido - songwriter, guitar • José Antonio García (aka, El pitos) - vocals, harmonica • Antonio Arias - bass • Tacho González - drums Tracklist A1 Otros Como Yo A2 Zapatos De Piel De Caimán A3 Huellas A4 Todo Comienza A Girar A5 El Fantasma De La Soledad A6 Para Impresionarte B1 La Calle Del Viento B2 Tormentas Imaginarias B3 Mi Sombra Y Yo B4 Sin Raíces B5 Un Cielo Color Vino

091 "Tormentas imaginarias" 1993 Spain Alternative Rock (50 Mejores Discos del Rock Español - Rolling Stone)

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Ouzo Bazooka "Kapaim" 2025 Israel  Middle Eastern Psych Rock

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With Kapaim, Ouzo Bazooka confirms his status as a central figure in the Middle Eastern psychedelic revival, blending haunting grooves, cosmic textures and swirling guitar riffs. The group boldly merges traditional folk sounds, soul, funk and psychedelic rock to create a musical universe that is both mystical and grounded. With five albums and a decade of international touring, Ouzo Bazooka has established itself as a must-see live band, known for its stage energy and unique sonic approach. Their EP Songs From 1001 Nights was praised for its psychedelic richness and exotic arrangements. At the helm of the project, Uri Brauner Kinrot, a seasoned multi-instrumentalist and producer, brings two decades of experience gained in iconic bands such as Balkan Beat Box or Boom Pam. His singular artistic vision, comparable to that of figures such as Kutiman or Shawn Lee, gives Kapaim a cinematographic dimension reminiscent of David Axelrod, tinged with a distinctive Mediterranean signature....~ Tracklist A1 Asia 4:38 A2 Home 3:19 A3 Kapaim 3:58 A4 Layla 3:57 A5 Seeds 3:58 B1 Sufa 4:45 B2 Abbatoda 3:05 B3 Maagalim 3:25 B4 Sof 4:15

Ouzo Bazooka "Kapaim" 2025 Israel  Middle Eastern Psych Rock

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Baba Zula "Tabutta Rövaşata" (Orijinal Film Müziği) 1996 Turkey Psych,Alternative,Anatolian Folk Rock,Experimental (Soundrack)

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BaBa ZuLa is a band formed in 1996 by Levent Akman, Murat Ertel and Emre Onel. Group parts; While using traditional Turkish musical instruments, he creates with his own melody, rhythm and lyrics by making use of Turkish folk music methods and the possibilities of electronic music. The band touts their music as 'Star Trek oriental music'. Musicians wear colorful costumes during the concert; It makes use of theatrical and ceremonial elements. In this context, the group, which is also influenced by the Alevi and Bektashi beliefs, which are the leading Anatolian ideas and views, adds the idea of Anatolia to the universal musical will. Formation According to Ertel, BaBa ZuLa was formed in 1996 after Derviş Zaim asked Zen, who can be considered the band's predecessor, for new music for his newly completed film Tabutta Revaşata. The group chose the name BaBa ZuLa with this project. The band, who did not plan to continue with the same name (keep the name) after their work for the film, started to work with names such as William MacBeeth and Ralph Carney with the success and concert requests, and thus the formula of the group working with guest artists was formed. Albums, tours and concerts BaBa ZuLa's debut album consists of original music recorded by the band in 1996 for Tabutta Rövaşata. Four tracks from the album of the same name also feature the voices of Ahmet Uğurlu, Tuncel Kurtiz and Ayşen Aydemir, who starred in the film. In the 1999 album Three Games of Seventeen Music, the music prepared for the staging of the theater plays Little Prince, Frog Stories and Kitchen Accidents was brought together. Ralph Carney, Brenna MacCrimmon and Selim Sesler are some of the guest artists who contributed to the album. In 2001, the band made an album of the music of Colorful Turkish, directed by Ahmet Çadırcı. In May 2003, the album Spiritual Play Airs featured Canadian folk singer and musicologist Brenna MacCrimmon and was mixed by Neil Fraser (Mad Professor). In 2004, he gave concerts at the Roskilde Festival, Printemps de Bourges in France and the Now Festival in Berlin. Some of the band members starred in Crossing The Bridge – The Sound of Istanbul, directed by Fatih Akın, who won the Golden Bear award, and two parts of the band were used in the film. In 2005, their album Duble Oriental was released. Guest musicians include Sly & Robbie, Alexander Hacke, Neil Fraser, Özkan Uğur, Mehmet Güreli, Hüsnü Şenlendirici and Brenna MacCrimmon. In July of the same year, the band performed at La Mar de Musica in Spain. Members * Murat Ertel – lead vocals, saz, other strings, theremin (1996- ) * Levent Akman – percussion, drum machine (1996- ) * Çoşar Kamçı – goblet drum (2003- ) * Ceren Oykut – live video (2004- ) Former members * Emre Onel– goblet drum, sampler (1996-2003) Guest musicians - International guests: * Sly Dunbar and Robbie Shakespeare * Alexander Hacke, bass guitarist of Einstürzende Neubauten * Canadian vocalist Brenna MacCrimmon - Turkish guests: * clarinetist Hüsnü Şenlendirici from Laço Tayfa * Turkish rock and pop Özkan Uğur from MFÖ * writer-painter-musician Mehmet Güreli Discography * 1996 - Tabutta Rövaşata - soundtrack for Tabutta Rövaşata ("Somersault in the Coffin") by Derviş Zaim (Ada Music) * 1999 - Üç Oyundan Onyedi Müzik (Doublemoon) * 2003 - Psychebelly Dance Music (Ruhani Oyun Havaları)(Doublemoon, mixed by Mad Professor) * 2005 - Duble Oryantal (Doublemoon, mixed by Mad Professor) * 2006 - Dondurmam Gaymak - soundtrack for Dondurmam Gaymak ("Ice Cream, I Scream") by Yüksel Aksu (Rh Pozitif) * 2007 - Roots (Doublemoon) Tracklist Tavus Havası 1:45 Arkadaşlar İyidir 4:14 Tabut Havasi 1:37 Siyah Araba Çalarım 0:57 Esrar 0:19 Beni Taksim'e Götür 2:21 Rumeli Hisarinda Rüzgarlar Eserken Sen Ve Ben 1:15 Otobüs Çalarım 1:51 Reis 5:01 Tavus Kuşu Çalarım 1:21 Pınar Başı Uzun Havası 4:51 Tavus Kuşu Çalarım II 1:19 Reisin İntikamı 4:52 Gariban 1:07 Rövaşata 4:54 Baba Zula "Tabutta Rövaşata" (Orijinal Film Müziği) 1996 Turkey Psych,Alternative,Anatolian Folk Rock,Experimental (Soundrack)

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Witch "Sogolo" 2025 Zambia Psych Funk Soul Rock new album

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Zamrock legends WITCH return with their new single Queenless King alongside the announcement of their UK/EU/North American tour dates and new album, SOGOLO, out June 13th 2025. Following their remarkable global rediscovery and subsequent critical acclaim around 2023’s reunion album Zango, WITCH (We Intend To Cause Havoc) return with an even more ambitious creative statement, SOGOLO. Its name derived from the word in Zambian dialect for “future,” the album is a sonic victory lap for a band who once seemed lost to history. SOGOLO takes strains of the garage-infused psych, funk, and Zamrock that the band quite literally helped invent back in their 70s heyday and reflects the experimental spirit of the moment, driven as always by the magnetic energy of frontman Emmanuel ‘Jagari’ Chanda. A standout track, the single Queenless King is funky and urgent, driven by the magnetic energy of Jagari. The song explores the perils of marrying badly. The demo was brought to the band by the singer, with the verse bass-line written by producer Jacco Gardner. Synth overdubs were added by other original member Patrick Mwondela. The single and SOGOLO were recorded in Berlin, during a 10-day break in the band’s 2024 whirlwind tour schedule. Helmed in the studio again by Gardner, the songs on SOGOLO brim with urgency, excitement, and discovery. Sogolo - future - echoes a longstanding ethic of the band, going back to their 1980 disco album, Moving On.....~ Tracklist 01. Kamusale (03:51) 02. Nadi (03:07) 03. Queenless King (03:56) 04. Tiponde Madzi (03:26) 05. Bang Bang (02:59) 06. Set Free (02:53) 07. Mbangula Sesa (01:35) 08. (In Memory Of) John (02:11) 09. Dancer on a Trip (03:57) 10. Nibani (02:39) 11. Totally Devoted (02:56) 12. Machiriso (06:03)

Witch "Sogolo" 2025 Zambia Psych Funk Soul Rock new album

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Quique González Y La Aristocracia Del Barrio "Avería Y Redención #7" 2007 Spain,Indie Rock,double LP  (50 Mejores Discos del Rock Español - Rolling Stone)

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This album was Quique González's double somersault. After the success of his live album, "Ajuste de cuentas", Quique took refuge in the IZ studios in Guipúzcoa with his band and they gave shape to this double album, full of memorable songs, from the "Avería y redención" with Leiva, to "Doble fila", "Hay partida" or the magnificent version by Diego Vasallo "La vida te lleva por caminos raros". An album that is like the soundtrack of a journey through a year of his life.....~ If this music betting thing will work like investment funds and I, instead of a well-known and sad pen, were a well-known and sad executive, I would strongly advise you to invest your savings in Quique González. There are many indicators that indicate that it is a rising value in the strange state rock park. To begin with, he has the support of the same booking office as Fito Cabrales and in addition to playing at the Azkena he has already been included as a guest artist in the endless Fitipaldis tour. In addition, Quique González already has enough songs and tables (as he demonstrated in his recent live show "Ajuste de Cuentas") to be an artist who transcends and reaches that type of audience that will flock to see Bruce Springsteen, but Wilco still sounds like a detergent name to them. Of course, the album he has just delivered must be up to the task, and in fact it is. Surrounded by a new band, La aristocracia del barrio, González delves into the American side of his previous studio album, the one that artists such as Steve Earle, Ry Cooder or Lucinda Williams represent so well (a stellar moment on the DVD that accompanies the CD and which is essential to better understand the reason for all this). to deliver no less than seventeen songs in which there are moments for everything (although mid-tempos predominate) and give a good example of their ideology. To highlight the delicacy of "Doble Fila", "Backliners" or "La cajita de música", the melodic power of "Avería y redención" and "La casa está vacía", or the powerful beauty of "Hay partida"....mondosonoro.....~ Tracklist CD-1 Pequeñas Monedas Y Grandes Mentiras CD-2 Doble Fila CD-3 Avería Y Redención CD-4 Betty CD-5 Hay Partida CD-6 Backliners CD-7 Ladydrama CD-8 La Vida Te Lleva Por Caminos Raros CD-9 La Cajita De Música CD-10 La Casa Está Vacía CD-11 Nos Invaden Los Rusos CD-12 Trabajan En Escenas De Acción CD-13 Número 7 CD-14 Trucos Fáciles Para Días Duros CD-15 Las Gafas De Mike CD-16 Los Desperfectos CD-17 Vete Con Cuidado DVD-1 Dónde Están Las Gafas de Mike

Quique González Y La Aristocracia Del Barrio "Avería Y Redención #7" 2007 Spain,Indie Rock,double LP  (50 Mejores Discos del Rock Español - Rolling Stone)

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Kiko Veneno "Échate Un Cantecito" 1992 Seville,Spain Flamenco Nuevo,Flamenco Fusion,Rumba,Pop Rock  (50 Mejores Discos del Rock Español - Rolling Stone)

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Special reissue that celebrates the twentieth anniversary of the release of one of the essential albums of Kiko Veneno's career, "Échate un Cantecito" (BMG Ariola, 1992). For this purpose, a truly deluxe edition is made in which we find a double CD+DVD. The first of them includes the original LP, while in the second we can find five unreleased home demos recorded in Seville between 1991 and 1992, the B-sides of his singles -in which the "Volando voy" that he gave to Camarón de la Isla for his enormous "La Leyenda del Tiempo" (Polygram, 1979) – and three duets with Martirio, Albert Pla, and Andrés Calamaro taken from his album "Puro Veneno" (BMG, 1998). On the DVD we can find Kiko's performances for the television programs El Peor Programa de la Semana or Área Reservada, his live show at the Benicássim International Festival in 2007 and the video clip of "En un mercedes blanco". In addition to all this, it also contains a hundred-page book that is a facsimile of the diary that Kiko wrote in London between May and June 1992 during the recording of said LP.....la fonoteca.....~ Red vinyl reissue of "Échate un Cantecito", the third studio work by the Spanish musician and composer from Figueras Kiko Veneno. In 1992, Kiko published "Échate un Cantecito". It was his third solo album (with three more signed by Veneno) and from the first moment a major work was glimpsed, capital in Spanish pop. Almost 30 years have passed and now it is released in a red vinyl version to celebrate an impeccable album, with ten excellent songs, from the first (Lobo López) to the last (En un Mercedes blanco). Reissued by Legacy Records on October 8, 2021....~ Kiko Veneno's album "Échate un cantecito" recorded in 1992 has been reissued this year and listening to his songs again brings back memories of those times at the Faculty of Journalism, where Kiko Veneno performed with Raimundo Amador, the two only accompanied only by their street rock, flamenco and Catalan rumba guitars. The album was recorded in London thanks to the unconditional support of Santiago Auserón and then the album was produced by Jo Dworniak, giving the "magical" and limpid touch to the notes of the electric guitar and the album made Kiko reborn and everyone liked his new melodies. A popular quality album that I will have listened to a zillion times and that I will continue to listen to over time. By the way, Kiko Veneno's real name is José María López Sanfeliu....~ Credits Bass Guitar – Jo Dworniak* Drums – Frank Tontoh Keyboards – Nigel Roberts Percussion – Karl Vanden Bosch* Saxophone – Phil Smith Trombone – Pete Thoms* Trumpet – John Thirkell Tracklist A1 Lobo Lopez 4:53 A2 El Mensajero 3:16 A3 Echo De Menos 3:48 A4 Superheroes De Barrio 3:07 A5 Me Siento En La Cama 3:35 B1 Fuego 3:07 B2 Salta La Rana 3:48 B3 Joselito 3:36 B4 Reir Y Llorar 4:59 B5 En Un Mercedes Blanco 4:20

Kiko Veneno "Échate Un Cantecito" 1992 Seville,Spain Flamenco Nuevo,Flamenco Fusion,Rumba,Pop Rock  (50 Mejores Discos del Rock Español - Rolling Stone)

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