| | Diez Anoz De Rock En Tu Idioma CD
2 CD's;Caifanes,Fobia,Git,Neon Virus,Radio Futura,Maldita V.
Directors: Pablo Novoa; Javier López De Guereña; Andreas Prittwitz; Gustavo Santaolalla; Daniel Freiberg; Marteen; Alejo Stivel; Oscar Lopez; Alejandro Giacomán; Cachorro López; Caifanes.
Unknown Contributor Role: Alejandro Mateos.
Arrangers: Fobia; Radio Futura. Diez Anoz De Rock En Tu Idioma Music Diez Anoz De Rock En Tu Idioma Songs | | Diez Anoz De Rock En Tu Idioma CD DISC 1: |
| 1. | Celula Que Explota, La - Caifanes |
| 2. | Es Tan Facil Romper un Corazon - Miguel Mateos/ZAS |
| 3. | Kumbala - Maldita Vecindad |
| 4. | Cara O Cruz, A - Radio Futura |
| 5. | Microbito, El - Fobia |
| 6. | Viento Loco - GIT |
| 7. | Mama - Los Amantes de Lola |
| 8. | Bailando en Las Veredas - Raul Porchetto |
| 9. | Matenme Porque Me Muero - Caifanes |
| 10. | Mi Aguita Amarilla - Los Toreros Muertos |
| 11. | Juegos de Amor - Neon |
| 12. | Negra Flor, La - Radio Futura |
| 13. | Camila - Fobia |
| 14. | Quiero Una Novia Pechugona - La Trinca |
| 15. | Maria Rosario - Los Amantes de Lola |
| | Diez Anoz De Rock En Tu Idioma Songs DISC 2: |
| 1. | Cuando Seas Grande - Miguel Mateos/ZAS |
| 2. | Negra Tomasa, La - Caifanes (mix) |
| 3. | Es Por Amor - GIT |
| 4. | Pachuco - Maldita Vecindad |
| 5. | Veneno en la Piel - Radio Futura |
| 6. | Diablo, El - Fobia |
| 7. | Tratame Suavemente - Los Encargados |
| 8. | Beber de Tu Sangre - Los Amantes de Lola |
| 9. | Atado a un Sentimiento - Miguel Mateos/ZAS |
| 10. | Viento - Caifanes |
| 11. | Yo No Me Llamo Javier - Los Toreros Muertos |
| 12. | Morenaza - Maldita Vecindad |
| 13. | Escuela de Calor - Radio Futura |
| 14. | No Hay Nada Eterno - Neon |
| 15. | Encuentro en el Rio Musical - Virus |
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Diez Anoz De Rock En Tu Idioma Review
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Snarkily titled after Eric Carmen's '70s solo hit but thankfully not featuring a cover of that song, Agnew's solo debut actually lives up to its title completely, as he plays every instrument on the record, creating a great one-man band sound (with the help of Adolescents producer Thom Wilson) as a result. Possessed of a good mid-range punk voice -- no sneering or bellowing, not really singing but not just talking over the songs either -- he creates the same basic rush he brought to his early stints in the Adolescents and the faster Christian Death songs he worked on, but with a slightly poppier bent at points that perfectly balances sass and strength, while not being afraid to experiment from time to time either (as the lengthy album closer "Section 8" shows). "Everyday," the one track Agnew cowrote with someone else (his brother and fellow Adolescents veteran ...
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All tracks have been digitally mastered using HDCD technology.
"Key West Intermezzo (I Saw You First)" was nominated for a 1997 Grammy Award for Best Male Pop Vocal Performance. "Just Another Day" was nominated for a 1998 Grammy for Best Male Rock Vocal Performance.
Rave and roll? Rave rock? For MR. HAPPY GO LUCKY, this stalwart songwriting talent has come up with another batch of soulful, bucolic rock songs. But this time--surprise--he has added some cutting-edge trip-hop drum loops and samples to his signature heartland rock.
The urban rhythms somehow sound natural in the context of Mellencamp's seasoned roots rock. He could have easily left his songs in the electric folk-rock format on which he made his name, but the experimentation here proves he's not ready to sit back on his laurels. He really seems interested in exploring new musical territory. And it's only right that the man who could be the godfather of today's alternative roots rock (i.e. without whom there could be no Hootie) is the one hammering the genre into exciting new shapes.
John Mellencamp responded to his massive heart attack and close call with death with Mr. Happy Go Lucky, the most overtly ambitious album in his career. Mellencamp has always been a bit of a fatalist, so it isn't any great surprise that there is an undercurrent of dark mortality running through most of his songs. What is a surprise is his musical approach. Although he hasn't abandoned the essential elements of his music -- the rootsy instrumentation, the violins, the simple song structures, the gritty folk-rock -- he has augmented them with the help of Junior Vasquez, a noted dance producer. Vasquez doesn't push Mellencamp into dance, but he adds certain dynamics and techniques from club music to Mr. Happy Go Lucky, which occasionally gives the album a greater depth. It's a gentle change, not a forceful one -- nothing sounds like dance music, but there are deeper rhythms and bass throughout the album, which breathes life into well-crafted songs like "Key West ...
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