| | El Tri Indocumentado CD El Tri Discography of CDs
Recording information: Indigo Ranch Studios, Malibu, CA (07/1991); Los Estudios, Indigo Ranch, Malibu, CA (07/1991).
Photographer: Pancho Gilardi.
Unknown Contributor Roles: Michael Hoffman; Victor Anderson; Alejandro Lora; Victor Cisneros.
Arrangers: Ruben Soriano; Felipe Souza; Alejandro Lora; Alex Lora.
Personnel: Alejandro Lora, Alex Lora (vocals, guitar); Eduardo Chico, Felipe Souza (guitar); Carolyn Asplin (violin); Rafael Salgado (harmonica); Victor Anderson, Victor Cisneros (brass); Pedro Martinez (drums, percussion, background vocals); Chela DeLora (background vocals).
Audio Mixers: Chuck Johnson ; Alejandro Lora; Alex Lora; Richard Kaplan.
Indocumentado Music | List Price | $8.97 (You save $1.48) | | Category | International Albums, Pop CDs, Latin, Spanish, Latin Pop, Rock En Espanol, Rock | | Label | Weasel Disc | | Orig Year | 1993 | | All Time Sales Rank | 378371  | | CD Universe Part number | 1274486 | | Catalog number | 90906 | | Discs | 1 | | Release Date | Feb 23, 1993 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Alejandro Lora; Alex Lora | | Engineer | Richard Kaplan | | Recording Time | 37 minutes | | Personnel | Pedro Martinez - drums, percussion, background vocals Felipe Souza - guitar Alejandro Lora Eduardo Chico Rafael Salgado - harmonica Victor Cisneros - brass Alex Lora - vocals, guitar Carolyn Asplin - violin Chela DeLora - background vocals Victor Anderson
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El Tri Indocumentado Songs Indocumentado Review
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Purchase Indocumentado CD To buy, Click on price to add to cart | Tom Waits Glitter And Doom Live CDs (2009) Digipak
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$14.38 Glitter and Doom Live, a double-disc set, marks Tom Waits' third live effort in his nearly 40-year career, each one summing up his career to the point of its release. The first, Nighthawks at the Diner issued in 1975 on Asylum, is regarded by many as one of the greatest live albums of all time. The second was Big Time, released during his tenure at Island in 1986. The musical performances on disc one of Glitter and Doom Live were culled from Waits' historic sold-out tour of the U.S. and Europe. He compiled and sequenced the set himself, intending to make them sound like a single show. The material leans, understandably, on his recordings with the Anti label. There are stellar performances here, such as "Get Behind the Mule" from The Mule Variations, "Trampled Rose" from Real Gone, and a haunting version of Leadbelly's "Fannin Street" from Orphans: Brawlers, Bawlers & Bastards, to mention just ...
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$14.45 Al Stewart has always had a distinctive vocal style -- making his radio hits like "Year of the Cat" immediately recognizable -- while also possessing a knack for writing tuneful pop songs. A Beach Full of Shells qualifies as his first U.S. release since 1995, and while it's been some time since the singer conquered the pop charts, both his vocal style and craftsmanship remains intact. It would be a mistake, however, to view Stewart as no more than the maker of pop confections specially designed for a mass radio audience. The cover of A Beach Full of Shells offers the first clue of a playful mind that enjoys the weight of words: there are two types of shells on the beach, one from the sea, the other for use in a gun. The complexity of his approach is best experienced on "Somewhere in England 1915," a lengthy song (nearly seven minutes) with shifting dream imagery. Weaving fantasy with brief references to World War I, the narrator eventually wakes up 90 years later to find himself on the edge -- the song seems to suggest -- of yet another war. Stewart accomplishes all of this without ever being obvious, giving the song a subtle quality as it reveals its surprises to the listener. This, however, is only one of many moods on A Beach Full of Shells. "Katherine of Oregon" is as light as air, a pleasant, flowing ballad with nice acoustic guitar and light percussion, while "Mona Lisa Talking" shifts through a number of intriguing chord changes to offer a little common sense advice. A Beach Full of Shells probably doesn't spell Stewart's return to the Top 40, but it is a solid effort that will certainly please fans. ~ Ronnie D. Lankford, Jr.
For a singer and songwriter whose work is suffused with history and detail, Al Stewart follows no creative timetable. It's been 10 years since his last US CD of new material, almost 30 years since his "Year of the Cat" single and album became unforgettable international hits, almost 40 years since his first album was released. Al Stewart is not afraid of time and its passages."A Beach Full of Shells," Al's Appleseed debut and first new US release since 1995's "Between the Wars," finds Stewart in timeless form, presenting a baker's dozen new songs that span centuries and continents, autobiography and fiction. As he nears the 20-album mark, Stewart remains a distinctively literate and vivid storyteller, time-traveling and teleporting himself and his listeners from World War I battlefields to Sixties bedrooms, from ships to airplanes to ice floes, from the specific to the mysterious. Musical settings that encompass electric folk-rock and ...
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