Santana, which was renowned for its concert work dating back to Woodstock, did not release a live album in the U.S. until this one, and it's only partially live, with studio tracks added, notably a cover of the Zombies' "She's Not There" (number 27) that became Santana's first Top 40 hit in five years. The usual comings and goings in band membership had taken place since last time; the track listing was a good mixture of the old – "Black Magic Woman," "Soul Sacrifice" – and the recent, and with the added radio play of a hit single, Moonflower went Top Ten and sold a million copies, the first new Santana album to do that since 1972 and the last until Supernatural in 1999.

November 21 and 22, 1975. It was Isabelita's time in government, a few months after the last military coup. But they were also times of Spinetta-Machi-Pomo in power… Invisible presented "Peach bleeding" for two days, at the Teatro Coliseo. And now, that gem is officially available.

A very rare Argentinian garage outfit with snaky fuzz guitar, wah-wah guitar and swirling farfisa organ but sung in native tongue. Some have compared it to British North American Act or New Dawn. The killer cut is the just under eight minute Viste?, which reputedly contains some stunning acid guitar work. All eleven cuts were written by Zaguri (although some were co-written) and ranged from beat to psychedelia. His real name was Alberto Garcia and he'd previously recorded a very rare single as El Cuarto Pajarito, Navidad Espcial / Un Diablito En El Cielo (Microfón 3622) with assistance from Litto Nebbia and others.

Héctor Lavoe was born to sing. As Latin music evolved from the boogaloo of the late '60s to the salsa boom of the '70s, Lavoe was at its forefront and "El Cantante" (the singer) of some of its most representative songs. Born Héctor Juan Perez in Ponce, Puerto Rico, on September 30, 1946, he was influenced by the Latin singers he heard on the radio, Daniel Santos and Chuito el de Bayamon, just to name a couple. As he grew more involved in music, he drew his inspiration from Puerto Rico's great sonero Ismael Rivera, as well as Cheo Feliciano. These influences are obvious in Lavoe's singing style: he attacks the son and montuno like the masters Rivera and Beny Moré, but Lavoe's natural talent for improvosation made him unique and very popular with salsa fans.

Unbearably handsome opera-pop quartet Il Divo deliver another amorous collection of European housecleaning ballads with Ancora, an album so riddled with Cupid's arrows that it requires its own storage unit. Once again, David Miller, Sébastien Izambard, Urs Buhler, and Carlos Marin bring the love in Spanish, English, and Italian, emoting over classical and opera standards, as well as some notable contemporary compositions. They fawn over Celine Dion – who can barely contain her own affections – on "Isabel," and make Mariah Carey's "Hero" sound like the rolling of credits over a Jerry Bruckheimer action/tragedy blockbuster, all the while maintaining the perfect pitch and impeccable showmanship that are their stock-in-trade.

While the music that came to be termed "salsa" originated in Cuba, Puerto Ricans have been among its strongest supporters. One New York-reared puertoriqueno who soared to the top of the salsa world in the 1950s was timbale player/vibist Tito Puente. Boasting such early Puente gems as "Cual Es La Idea," "Oye Mi Guanguanco" and "Yambecua," the exuberant, infectious Cuban Carnival is essential listening for anyone with even a casual interest in Afro-Cuban music. Many of the players Puente employs in his driving orchestra - including Mongo Santamaria, Willie Bobo and Carlos "Patato" Valdez - would become among the most celebrated percussionists in Latin music. Whether the style is mambo, son, cha-cha or rhumba, Cuban Carnival is outstanding from start to finish.

After two critically acclaimed but only moderately selling albums, los Lobos were hired to record songs for the film biography of Hispanic '50s rocker Ritchie Valens, resulting in this soundtrack album, which, in addition to eight los Lobos recordings, features tracks by Marshall Crenshaw, Brian Setzer, and others. los Lobos' remake of the title song topped the charts, as did this album, which went on to sell two million copies. The result has been something of a career dilemma for the band, who went back to being a critically acclaimed, modest seller afterward.

The album "El Paradís de les Paraules" of the musician and Valencian singer Carles Denia, has been considered by the magazine "Sons" as the best album of Catalan folk music in 2011. The work itself has been to put music to the Arab-Valencian poets between the tenth and thirteenth centuries. The translation of texts from Arabic into Catalan has been the work of the prestigious Valencian poet Josep Piera, with the help of the philologist Joseph Gregori.