Viva Tirado es una formación mixta en la que predomina la fusión de músicas de muy diverso índole. En el álbum 'La Indecente' se pueden encontrar desde temas reggae hasta rumbas, flamenco y
tangos, pasando por el inigualable son cubano. Canciones de sexo, amor y otros menesteres son las que abundan en este disco lleno de ritmo y sobre todo de buen rollo.



Actualmente se encuentran preparando lo que será su próximo disco 'Rodando las calles' en el que prometen mantener su inconfundible fusión de estilos añadiendo toques funk, ska ó jazz. Gracias a
la familia de Renombra2 por este disco (incluido arte + letras).



by Liberando Musica

permalink

Tracklist :

01 - Me voy de barras

02 - María Ladrón

03 - Masturbación

04 - Rodando las calles

05 - La Pepi

06 - Droga dura

07 - Que no

08 - La indecente

09 - Tengo el corazón

10 - Mercado negro

11 - Loca

12 - WC

the Brunettes: More guilty of wanton clique infiltration than Ronald Miller, the geek-turned-chic from the campy ‘80s masterstroke Can’t Buy Me Love. With enough Spector pop instrumentation and
lyrical bullcrap (“I wanna be Jimmy Dean / ‘Cause he was bad / A human ashtray in a Jag”) to dry out and fertilize the Tucson lawns our hero Ronald power-mowed, the Brunettes weren’t content with
merely crashing the E6 / Ann Arbor-Detroit indie party—they wanted to filch the scene’s socialites and host next weekend’s gala at their place.



But here’s the rub: It worked. Partly because the Auckland, New Zealand duo are quite adroit at emulating the sonic approach of said peers, bands like Apples in Stereo and Saturday Looks Good to
Me. And partly because the Brunettes are self-aware of their fetish for U.S. pop culture (“It’s no secret that when I sing,” chief songwriter Jonathan Bree confesses in “The Moon in June Stuff,
“I like to sound American”). In “Summer Love,” Heather Mansfield croons, “And when it hits December / I want a love to remember,” leaving one to scratch their head over an apparent seasonal
mix-up before realizing, well, they are from New Zealand.



The husband / wife team of Bree and Mansfield finally penetrated indie’s inner sanctum in 2005, nabbing tour dates with the Shins and inking a deal with U.S. independent giant Sub Pop. A
recording stint at the most faddish of indie haunts then followed (Portland, Oregon), resulting in the twosome’s third LP, Structure & Cosmetics.



Desperate quests for upper crust acceptance are only absolved by what the individual finally does with their newfound rank. If you’re Ronald Miller, you lob shitbombs at best bud Kenneth Wurman’s
house. If you’re the Brunettes, you deem the classic, three-minute, get-in / state-your-peace / get-out pop gem—a staple on your two previous releases—too confining (seven of nine tracks check in
at four minutes plus), trading in your lo-fi leanings for woah!-fi puffery. I’m still trying to decide which is the more egregious of the two.



The overwrought, choir-like vocals on “Brunettes Against Bubblegum Youth” is nothing more than Polyphonic Spree apery. The approach is repeated at the onset of “Stereo (Mono Mono)” before
withdrawing quickly, allowing for other recording mishaps to take the fore: Mansfield and Bree’s cringey, we-just-discovered-stereophonic-sound! exchanges and a rather drawn-out, sodden coda.



Bree’s compositions are always heavy with texture, but the high points on Structure & Cosmetics emerge when the song’s thick fabric doesn’t fully swaddle its brio: “Small Town Crew,” the
guitar picking and Mansfield’s poignant vocals calling to mind vast swaths of the Sarah Records catalogue, and “Obligatory Road Song,” where the layers of multi-tracking never sap the track’s
roseate energy.



There’s also less pop culture moseying: fewer mentions of Gidget, the fun-fun-fun Brian Wilson, ‘57 Chevys, and Rebel Without a Cause-inspired jaunts to the planetarium. On previous efforts,
“Wall Poster Star” would be treated as a honeyed hosanna to the day’s American idols; on Structure & Cosmetics, it’s noticeably darker: over a reverb-drenched melody, Mansfield touches upon
stardom’s frailties with a chorus of, “Down, down they come / Wall poster star.” And “Credit Card Mail Order” finds Bree covering rather doleful themes in his customary throaty manner: “You
bought in / And you sold out / But girl you need love.”



Structure & Cosmetics is the sound of an act attaining in-crowd status, and then quickly illustrating both sonic and lyrical maturity to justify the open-arms acceptance. We don’t expect the
Brunettes to be retreating to Ronald Miller-like obscurity any time soon, but a slight return would be welcome.



by Ryan Foley

permalink

Avalon Blues est un album hommage à la musique de Mississippi John Hurt, le célèbre bluesman.

Ben Harper y interprète Sliding Delta à la guitare. Pour lui, sans Mississippi John Hurt, il n'aura jamais fait de musique, son influence est très importante chez Ben Harper.

Dans cet album on peut retrouver également Taj Mahal ou encore Beck.



par Les collaborations

permalink

Tracklist :

1. Frankie &  Albert - Chirs Smither

2. Avalon, My Home Town - Bruce Cockburn

3. Angels Laid Him Away - Lucinda Williams

4. Here Am I, Oh Lord, Send Me - Alvin Youngblood Hart

5. Candy Man - Steve & Justin Earle

6. Monday Morning Blues - Peter Case & Dave Alvin

7. Sliding Delta - Ben Harper

8. Chicken - Geoff Muldaur (with Jenni & Claire Muldaur)

9. Make Me A Pallet On Your Floor - Mark Selby

10. Stagolee - Beck

11. Since I've Laid My Burden Down - Victoria Williams

12. Pay Day - Bill Morrissey

13. My Creole Belle - Taj Mahal

14. Beulah Land - Gillian Welch

15. I'm Satisfied - John Hiatt

This concert was recorded May 24, 1990 at Nightstage in Cambridge, Massachusetts for an evening of extraordinary acoustic music. Special guest guitarist featured is Chris Carrington.



Songs include: P.S.P., Mediterranean Sundance, Tango Suite For Two Guitars and more.



Al Dimeola, Larry Coryell and Bireli Lagrene perform many selections including "P.S.P.," "Mediterranean Sundance," and "Tango Suite for Two Guitars."



permalink



I love these types of DVDs. A few years back I saw a concert that was similar to this: "Friday Night In San Francisco" It was amazing live. This DVD brought back memories of the show and CD I
bought. Of course this was a different line up, I saw Paco De Lucia, Al Di Meola, and John McLaughin oh and a little known axe player at the time Steve Morse I guess it was more than a few years
ago. Anyway I digress back to this lineup, great sound, all acoustic mic,and furiously fast. This frentic trio had me hypnotized from the opening salvo of guitar splendor. This lineup included Al
Di Meola, Larry Coryell, and Bireli Lagrene. If you love Guitar fireworks at blazing speed, but always in key and in time you will love this accoustic masterpiece. They cover Coryell, Return to
Forever, Chick Corea, and Astor Piazzolla tunes and a few Di Meola classics. Its short, sweet, blazing, hypnotic and totally worth the price. If you have any interest in classical guitar, or
acoustic speedstering this the DVD for you. I wish more stuff like this were available.



by GLENN LEVY "DVD collector" 

permalink

Line up :

Al Di Meola

Larry Coryell

Bereli Lagrene

From Official Myspace :

Tomando prestado el titulo de un poema de Walt Whitman como nombre de la banda, Hola a todo el mundo nace en la primavera del año 2006. Ensayando en casa, rodeados de instrumentos, dan forma a
sus primeras composiciones. Canciones largas, llenas de diferentes pasajes, que como un viaje progresan de forma cambiante para nunca volver atrás. "Un luz que nos guía para encontrar la única
verdad del espíritu", como ellos mismos explican en sus letras, un tanto proféticas, mezcla de fabulas o cuentos agoreros. En el año 2007 graban su primera maqueta en los estudios Heatroom de
Madrid. Y un año mas tarde debutan en la Sala Sol como teloneros del grupo sueco Club 8. Comienza así su andadura en directo, tocando, con tal solo un puñado de canciones en myspace, en el
Festival de Otoño de la Comunidad de Madrid, en el Wintercase 2008, o en el Primavera Sound 2009, entre otros. En abril de 2009 fueron elegidos por la revista Mondo Sonoro como una de las tres
mejores bandas madrileñas debutantes. Ese mismo año fueron galardonados por los premios Pop-Eye 2009 como mejor grupo Folk del año. Desde Noviembre 2009, Hola a todo el mundo cuentan con oficina
propia, Producciones Disonantes, con quien han cerrado acuerdos de representación, contratación, y producción de conciertos. El 8 de Marzo de este año saldrá a la venta su esperado primer disco,
producido por Luca Petricca en Reno Studios (Madrid). Autoeditado en su propio sello, HATEM Prayer Team, y distribuido por Popstock.

Tracklist :

01 - Choose your own Adventure Part 1

02 - A movement between these two

03 - Hatem prayer team

04 - Making your num your best friend

05 - Choose your own Adventure Part 2

06 - Amor fati

07 - Current road

08 - Inuit

09 - The past and the son

10 - Golden sound

Despite their watery name, the Aqua Velvets don't spend the bulk of this album riding the waves. In fact, the title and desert cover art seem to point in the opposite direction. And although they
still obviously love reverb and twang, the band, led by guitarist Miles Corbin, proves it is more diverse than previous albums might indicate. Sure, there's plenty of Duane Eddy/Ventures licks,
but the Aqua Velvets introduce them to a world music palette. This is surf-influenced music that transcends its previous limitations. To emphasize that, the disc kicks off with the spaghetti
Western atmospherics of the title track before the group gets its collective feet wet in "Surf Nouveau"'s more straightforward, Shadows-style approach. But they really wander off the beach on the
bongo-infused slow burn of "Snorkle Mask Replica," where backwards tapes provide an eerie backing for the multiple, overdubbed guitar solos. Ennio Morricone is referenced often here, especially
in the dusty "Return to Paia," a high, lonesome mood piece. "In a Spanish Mood" is just that, with a vague flamenco groove that snakes through drum-less percussion with Corbin's echo-heavy solo.
With one foot on an American surfboard and the other on foreign soil, the Aqua Velvets show they are ready to push the envelope of their often constricting field without abandoning it. The
closing tracks tread water, swimming in calm seas, yet not really going anywhere, although the reggae rhythm of "Shrunken Head" is a calm coda. But Nomad is an eye-opening, if not quite
groundbreaking album in a genre that has far too few of them.



by Hal Horowitz

permalink

Tracklist :

1 Nomad

2 Surf Nouveau

3 Smoking Panatelas on the Blue Mediterranean Sea

4 Holly Tiki

5 Snorkel Mask Replica

6 Return to Paia

7 Ho'okipa

8 In a Spanish Mood

9 Nervous on Neptune

10 Summer at Dreampoint

11 Shakahoochie

12 Shrunken Head

Holly Golightly has enough experience not to draw from it. She released her first solo album in 1995, after spending a few years in Thee Headcoatees; since then, she has kept up a steady pace of
new material, at least one of these per year: singles comps, odd and ends packages, live shows, and (oh yeah) traditional albums. That rate of production often seems crucial to the palatability
of her new old-timey music, preventing her from overthinking her songs or her performances while keeping everything loose and tossed off. As a result, she sounds a lot less manicured and a lot
more convincing than upstarts like Langhorne Slim or Scott H. Biram.



In fact, writing on her web site, she sounds almost apologetic explaining that it took five days to record Dirt Don't Hurt, her second collaboration with the Brokeoffs. Their previous effort, You
Can't Buy a Gun When You're Crying (which, you have to admit, is useful advice), was wrapped up in four days. And while she does admit "it may seem a little over-produced to some!" Golightly
hasn't gone all Dave Fridmann on us: That extra day doesn't ruin the antique luster of her songs, but just focuses the collection considerably. It's still a heartily ramshackle affair, with pots
and pans for percussion, rudimentary banjo picking, and what sound like first take on every track. The album's clattery rawness is its chief appeal.



Some explanation may be required: The Brokeoffs isn't a real backing band, as the pluralized name might suggest. Instead, it's just some dude named Lawyer Dave, who has been playing upright bass
for Golightly for about a decade now. He provides the clatter, even sings in a cough on menacing opener "Bottom Below". Their sandpaper and satin voices blend nicely on the country lament "Up Off
the Floor" and they imbue "Indeed You Do" and "Slow Road" with a folksy eeriness that lurches and claws at the recriminating lyrics. The slapdash "Gettin' High for Jesus" puts the pot in
pots-and-pans. A Holly/Lawyer original, it could be a cover of some late-60s hippie novelty hit by, say, Country Joe & the Fish.



At times Dirt Don't Hurt gets away from them: The clamor becomes grating (the demonstrative metal smacks that kick off ("Three Times Under"), the murder-and-mayhem storytelling sounds like
dress-up ("My 45"), and the duo risk the sort of preciousness that sinks some of their sepia-toned peers (the clucks and bocks on "Cluck Old Hen"). But more often than not, they make virtues of
these shortcomings, as on the closer "I Wanna Hug Ya, Kiss Ya, Squeeze Ya". This Claudia Swann cover ought to sound unbearably saccharine, but thanks to the rumbling electric guitar and Holly and
Lawyer's Mickey & Sylvia vocal trade-offs, it's the album's highlight-- the reconciliation after all the bickering-- underscoring how well the duo play old songs as if they wrote them and
write new songs that sound decades old.



by Stephen M. Deusner

permalink

Tracklist :

01.Bottom Below

02.Up Off The Floor

03.Burn Your Fun

04.Slow Road

05.My .45

06.Cluck Old Hen

07.Indeed You Do

08.Gettin' High For Jesus

09.Three Times Under

10.Accuse Me

11.Boat's Up The River

12.For All This

13.Cora

14.Hug You, Kiss You, Squeeze You