| | Salsa Magic CD
Live Recording
Personnel: Albita Rodriguez (vocals); Willie Colón (trombone).
Arrangers: Ernesto Sanchez; Julito Alvarado; Ramón Sánchez; Tommy Villarini.
Salsa Magic Songs | | Salsa Magic CD DISC 1: |
| 1. | Que Hay de Malo - Jerry Rivera |
| 2. | Duele Mas - Grupo Niche |
| 3. | Ti Volvere, A - Tito Rojas |
| 4. | No Tuve a Nadie - Lalo Rodriguez |
| 5. | Atraccion Fatal - Anthony Cruz |
| 6. | Que Manera de Quererte - Gilberto Santa Rosa |
| 7. | Soy Guajiro - Willy Chirino |
| 8. | Antidoto y Veneno - Eddie Santiago |
| 9. | Te Quiero Amor - Pedro Conga |
| 10. | Tania II - Joe Arroyo |
| | Salsa Magic Songs DISC 2: |
| 1. | Mi Media Mitad - Rey Ruiz |
| 2. | Atrapado - Willie Colon |
| 3. | Larga Distancia - Andy Montanez |
| 4. | Nuestro Amor - Tito Gomez |
| 5. | Me Dara el Consentimiento - Victor Manuelle |
| 6. | Bailando - Frankie Ruiz |
| 7. | Muerto de Amor - Luis Enrique |
| 8. | Y Me Pregunto - Alex d'Castro |
| 9. | Por Quererte - Tito Allen |
| 10. | Centro de Mi Corazon, El - Giro |
|
Salsa Magic Review
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"Imagine you need to buy a meaty riff. Well of course you'd pay a call at the offices of the power-pop trio The Riffbrokers.....these folks are a no bones about it straightforward riffing group, with loud but not too heavy guitars....Nick Millward writes snappy tunes and snarls them just right, in an Elvis Costello kind of way(only his voice is darker)....-Jack Rabid, The Big Takeover #52 southofmainstream.com Your Superhero In That Bar THE RIFFBROKERSreviewed by finThe Riffbrokers' record Your Superhero in That Bar takes a refreshing approach to power pop. Their sound is decidedly infused with a southern twang, not country, but humidity and Budweiser in a bar at 2 am. Nick Millward, the Riffbrokers' chief broker, sells sass and defeat like self-esteem interest rates are at an all time low. His Mason-Dixie grit drys up the vocals and guitars alike, yet he wisely recognizes the need to offset the sour with plenty of pop sweet. "Remind Me To" exemplifies a concoction of over-driven, searing guitars, Elvis (Costello, not Presley) vocals with smooth bass lines, chime-y organs, and enough pop sensibilities to take the 'Brokers to the bank. "Hatchet Heart" and "Parking Fine" are immediately listenable, four-on-the-dirty-floor, power chord masterpieces. Hidden in the mix are ooo-aaa's, tambourines, and female back-up vocals that further build on the Riffbrokers' auditory dichotomy.At first listen the music feels a bit dumb in an underachiever sort of way, as if Millward were a PhD working at a drive thru. But Millward knows the trick is that although the best power pop sounds as if it were built on a foundation of dumb-guy guitar and predictably solid rhythm, constructing a memorable power pop song requires an innovative ear for what shouldn't work. "Eighty-sixed" is an example of the Riffbrokers attempting to slip one by the listener. Nearly the entire song is built around a few chords, up-tempo and jangly until the last 20 seconds when the song suddenly shifts into a waltz beat with a forlorn cello moving like an ocean swell across acoustic guitars. It's a barely noticeable shift that works perfectly as a divider between songs that might bleed together otherwise and serves as evidence that much more is going on with the Riffbrokers that mere riffs."Stockton Gala Days" ends on an awkward ...
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For the past 20 years, Bob DiPiero has helped define the best that is Music Row. A legendarily funny and compelling performer, he is one of a handful setting the bar for present-day songwriter/entertainers. He is also a key part of the city's new leadership, a board member of the Country Music Association, a Leadership Nashville alumnus and former Nashville Songwriters Association, Inc., president who brings the creative and business communities together as few can.

As a raconteur, he may have no equal among his peers, and as a musical ambassador and bridge-builder, he has helped make Nashville a port of call for legendary performers from all genres, writing with Neil Diamond, Carole King, Johnny Van Zant and Delbert McClinton, among many others.

He is one of Nashville's most consistent and prolific writers of hits, and he remains at the top of his profession more than two decades after hitting #1 on the charts for the first time in 1983. The reason is a pure love of the creative process.

"What comes out of me is totally passion-based and led by my intuition. I'm still a fan. I'm still amazed by the process and I'm still a student. That's what keeps it alive for me. That's what keeps the process of writing new and fresh."

He is just as passionate about that point at which song, performance and audience intersect.

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He has inspired among a wide cross-section of industry people and fans equal measures of affection and respect.

"Bob is the dean of country writers at this point," says radio legend Bob Kingsley. "He has stepped into Harlan Howard's shoes as far as I'm concerned. He is just a great ambassador for country music, someone who really generates a lot of respect for the genre and who is always willing to share himself with would-be and upcoming songwriters. He is one of those writers who's also a really good singer, so that you're thinking sometimes when you hear him sing one of his hits, 'Oh, so that's how it's supposed to sound.' He's a wonderful asset for country music."

DiPiero's list of songs cuts a varied and impressive swath through modern country and speaks volumes about his versatility and vision. Although his first cut, Reba McEntire's "I Can See Forever In Your Eyes," climbed into the country Top 20, the Oak Ridge Boys' "American Made" put his name on the music map. The song won numerous awards and was used in major ad campaigns for Miller Beer and the Baby Ruth candy bar. Through the years, DiPiero has given the industry some of its most memorable moments, crafting 14 No. 1 hits recorded by country music giants including Montgomery Gentry ("If You Ever Stop Loving Me"), Vince Gill ("Worlds Apart"), Reba McEntire ...
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