Killer compilation of 14 cumbia tracks from 1963 to 1983 of South-American female singers.

Bachata Rosa (English: Rose Bachata) is the fifth studioalbum by Dominican singer-songwriter Juan Luis Guerra and hisgroup 4.40. It was released on December 11, 1990, by KarenRecords. Written and produced by Guerra, the record sold overfive million copies worldwide. It brought bachata music into themainstream in the Dominican Republic and gave the genre aninternational audience. A Portuguese version of the record wasreleased in 1992 under the title Romance Rosa ; it was certifiedgold in Brazil. The album received a Grammy Award for BestTropical Latin Album and two Lo Nuestro Awards for TropicalAlbum of the Year and Tropical Group of the Year. Seven singles were released from the record, four of whichbecame top-ten hits on the Billboard Hot Latin Songs chart. Thealbum debuted at number one on the Billboard Tropical Albums.

O título foi originado da canção homônima do cantor brasileiro Djavan. Foi o primeiro disco de uma cantora brasileira a ultrapassar a marca de 1 milhão de cópias vendidas. Considerado um dos melhores discos da carreira da cantora, o disco coleciona sucessos, como "Sonho Meu", com participação da também baiana Gal Costa, "O Meu Amor", em dueto com Alcione, "Ronda", de Paulo Vanzolini, e "Explode Coração (Não Dá Mais Pra Segurar)" (autoria de Gonzaguinha), um dos maiores, ou talvez o maior sucesso da cantora.

Universally known as the King of the Mambo, Pérez Prado was the single most important musician involved in the hugely popular Latin dance craze. Whether he actually created the rhythm is somewhat disputed, but it's abundantly clear that Prado developed it into a bright, swinging style with massive appeal for dancers of all backgrounds and classes. Prado's mambo was filled with piercing high-register trumpets, undulating saxophone counterpoint, atmospheric organ (later on), and harmonic ideas borrowed from jazz. While his tight percussion arrangements allowed for little improvisation, they were dense and sharply focused, keeping the underlying syncopations easy for dancers to follow. Prado played the piano, but was often more in his element as the focal point of the audience's excitement; he leaped, kicked, danced, shouted, grunted, and exhorted his musicians with a dynamic stage presence that put many more sedate conductors and bandleaders to shame. With this blueprint, Prado brought mambo all the way into the pop mainstream, inspiring countless imitators and scoring two number one singles on the pop charts (albeit in a smoother vein than the fare that first made his name) as the fad snowballed. He was a star throughout most of the Western Hemisphere during the '50s, and even after his popularity waned in the United States, he remained a widely respected figure in many Latin countries, especially his adopted home of Mexico.

The breakout star from the burgeoning Romanian dance scene that has also spawned the likes of Alexandra Stan and Edward Maya, permanently scantily clad Inna has been pivotal in restoring some musical pride to a country whose only previous notable contribution to the pop landscape was the Cheeky Girls. Produced by regular cohorts Play & Win, her second album, I Am the Club Rocker, picks up where her debut, Hot, left off, with 13 sun-soaked Europop tracks that appear destined to blare out of various Club 18-30 hotspots until the inevitable 6-a.m. stagger back to the hotel. As individual pieces of undemanding trance/house-lite pop, the summery flamenco-tinged "Un Momento" and "Endless," the Italo house throwbacks "No Limit" and "House Is Going On," and the dreamy chillout of "July" and "Senorita" all provide the necessary Mediterranean "booze cruise" vibes.

SONHO 70 album, it is an early 70's album, making a progressive transition bewteen Gismonti's Estreia 1969 album and all the other albums of the later 70's. The bossa-nova influences are gone in this album and we get into Gismonti's pure style: a kind of complicated mix between classical music and popular brazilian musics. This album features very creative and powerfull melodies, very spirited, that you will not find anywhere else. This is an authentic Gismonti masterpiece.

Orchestra Harlow - Heavy Smokin' (1965) {Original Fania Remasters 463 950 9052-2 rel 2010}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 299 Mb | MP3 @320 -> 102 Mb
Full Artwork @ 600 dpi (jpg) -> 51 Mb | 5% repair rar
© 1965, 2010 Fania Records / Codigo Music | 463 950 9052-2
Latin / Salsa / Guaracha / Boogaloo / Tropical

Larry Harlow's debut release in the Fania family, 1965's Heavy Smokin' helped to establish him in the New York salsa explosion as an authoritative yet non-Latino voice, very uncommon in the day. Considering the youth of the movement, there was not a long enough time line to produce informed, qualified converts; most of the music was being made by native sons. Harlow, working as a bandleader and recording for the premier salsa label in the world, and affectionately dubbed "el judío marvilloso" (the marvelous Jew), had clearly won the respect not only of fans, but also of the most important movers and shakers of the day.

Tito & Tarantula is an American chicano rock/stoner rock band formed in Hollywood California in 1992 by singer/songwriter/guitarist Tito Larriva. The band is best known for its songs, "After Dark", "Back to the House That Love Built", "Strange Face of Love", and "Angry Cockroaches", as well as for its role in Robert Rodriguez's film From Dusk till Dawn as the band performing at the "Titty Twister" nightclub. "After Dark" was the track played during Salma Hayek's iconic exotic dance scene in that film, and later became the theme for From Dusk Till Dawn: The Series. Back into the Darkness is the fifth album by Tito & Tarantula, released in 2008.

The San Francisco Bay Area rock scene of the late '60s was one that encouraged radical experimentation and discouraged the type of mindless conformity that's often plagued corporate rock. When one considers just how different Santana, Jefferson Airplane, Moby Grape, and the Grateful Dead sounded, it becomes obvious just how much it was encouraged. In the mid-'90s, an album as eclectic as Abraxas would be considered a marketing exec's worst nightmare. But at the dawn of the 1970s, this unorthodox mix of rock, jazz, salsa, and blues proved quite successful. Whether adding rock elements to salsa king Tito Puente's "Oye Como Va," embracing instrumental jazz-rock on "Incident at Neshabur" and "Samba Pa Ti," or tackling moody blues-rock on Fleetwood Mac's "Black Magic Woman," the band keeps things unpredictable yet cohesive. Many of the Santana albums that came out in the '70s are worth acquiring, but for novices, Abraxas is an excellent place to start.

The English-titled version of Shakira's seventh studio album, The Sun Comes Out/Sale el Sol, features exactly the same 15 tracks as the Spanish edition, but with a different running order, as the collaborations with Dominican rapper El Cata ("Rabiosa", "Loca") are reduced to bonus track status in favor of the more well-known hookups with Pitbull and Dizzee Rascal, respectively, while the official 2010 World Cup theme, "Waka Waka (This Time for Africa)," swaps places on the track list with the "Esto Es África" version.