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Conjunto Primavera - Algo De Mi CD Cover Art
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Conjunto Primavera Algo De Mi CD

 Conjunto Primavera Discography of CDs
5 stars (1 Customer Review)

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 Our Price: $12.49  CD
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The tremendously long-lived norteno outfit Conjunto Primavera (they've been making music since 1978) were still going strong in 2006. As per tradition, accordion and bajosexto still drive the music, but it's Conjunto Primavera's distinctive vocal harmonies and mix of rollicking, uptempo dance numbers and cry-in-your-cerveza ballads that have made them such a success. Thankfully, ALGO DE MI does not falter in the face of the group's own consistently high standards, making it a sure-fire bet for anyone's norteno needs.

This set gathers 10 incredible tarcks on CD, plus a DVD including 2 music videos, behind-the-scenes footage of the video shoot, special interview, and photo gallery.
Algo De Mi Music


Detailed Algo De Mi Music Information



List Price $16.98 (You save $4.49)
Category International Albums, Regional Mexican CDs, Norteno, Latin, Mexican
Label Fonovisa
Orig Year 2006
All Time Sales Rank   70295  
CD Universe Part number 7011222
Catalog number 352251
Discs 1
Release Date Feb 28, 2006
Studio/Live Studio
Mono/Stereo Stereo
Additional Info With DVD
Conjunto Primavera Algo De Mi Songs


Conjunto Primavera Algo De Mi Album Track Listing



1.Dejame Decirte$0.99
2.Algo de Mi$0.99
3.Diganle$0.99
4.Si Vuelve Ya$0.99
5.Con la Mitad$0.99
6.Ni, Asi Me Rajo
7.Solo$0.99
8.Te Necesito$0.99
9.No Se Decirte Adios$0.99
10.Gracias Por Estar Conmigo$0.99
Algo De Mi Music


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Algo De Mi Music Review


Customer Algo De Mi Reviews 




Average Rating: (5 out of 5 stars) 5 stars

5 stars the best
number one and and right for my soul.
Submitted by mygstrait1 (Forney texas)
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LO QUE TE CONTE MIENTRAS TE HACIAS LA DORMIDA was nominated for the 2004 Grammy Award for Best Latin Pop Album. Although at first listen La Oreja de Van Gogh's third release might sound like a slick rehashing of the same pop formula that had brought the group consistent commercial success, Lo Que Te Conté Mientras Te Hacías la Dormida (What I Told You While You Pretended to Be Asleep) merits closer attention. Beyond some similarities to their earlier work -- nostalgic lyrics, ridiculously catchy choruses, and lead singer Amaia Montero's seemingly fragile delivery -- this album displays far greater emotional and musical range than do their earlier efforts. Montero and keyboard player Xabi San Martín continue to write most of the music, and guitar player Pablo Benegas most of the lyrics, but there are some notable exceptions, like album opener and first single "Puedes Contar Conmigo" (You Can Count on Me), written entirely by Montero. Here she abandons any former posturing as a helpless little girl and sings not about a fairy tale, but about love that's flawed and recognizable; when the final chorus slows, the spare outline of Montero's voice shapes a real and exquisite moment of heartbreak. ...
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Originally released on Kama Sutra (8054). Includes liner notes by Dennis Diken. Having recorded four albums (one of which was the soundtrack WHAT'S UP TIGER LILY?) in slightly over a year, the band was on a shockingly strong roll here (which began to unravel after the release of HUMS, when Zal Yanovsky left). Then all of 22-years old, John Sebastian penned all the songs for HUMS. The album opens with "Lovin' You," a perfect confluence of pop and jugband music, and it closes with their biggest hit, "Summer In the City." In between are the classics "Rain On The Roof" and "Nashville Cats," along with a host of lesser-known, but no less ingratiating numbers from the short-lived but prolific Lovin' Spoonful. Having released two previous albums and a soundtrack, along with a stream of singles, over the previous 12 and a half months, the Lovin' Spoonful assembled their third regular studio LP, Hums of the Lovin' Spoonful, for release around Thanksgiving 1966. It contained the group's chart-topping single from the previous June, "Summer in the City," along with September's Top Ten hit "Rain on the Roof" (curiously titled "You and Me and Rain on the Roof" on the LP). Released simultaneously with the album and included on it were the two songs from the next single, "Nashville Cats," which became the band's seventh consecutive Top Ten entry, and "Full Measure," a B-side featuring drummer Joe Butler on lead vocals that scraped into the singles chart. Those were the money songs, although Bobby Darin discovered the leadoff track, "Lovin' You," and quickly covered it for a Top 40 hit, and the moody "Coconut Grove," a tribute to Fred Neil, would become a permanent part of Spoonful leader John Sebastian's repertoire in his solo career. An emphasis on the parts of the album is a way of describing it as more a loose collection of disparate tracks than a unified effort, despite Sebastian's hand in all the compositions and his lead vocals on most of them. This was by necessity, but also by design, since Sebastian and co. went into the studio trying to sound completely different each time. They often succeeded: Except for the vocal similarity, the rock band playing "Summer in the City" and the caustic, autobiographical "4 Eyes" doesn't sound much like the country unit picking its way through "Lovin' You" and "Nashville ...
Live At The Grand Olympic Auditorium
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Before vocalist Chris Cornell (ex-Soundgarden) joined forces with the displaced instrumentalists of Rage Against the Machine to form Audioslave, RATM were among the most revered acts in heavy rock. The band has since faded into the annals of rock history, having left an indelible mark, and their unmistakable sound has often been copied but never duplicated. This live album (originally planned as a two-disc set with the cover album RENEGADES), harnesses the energy and raw emotion that was an RATM concert, centered around Zach de la Rocha's unabashed social commentary, via stylish and often poetic rhyming. On these 2000 performances, classic tracks were imbued with Zach's timely worldview, as "Killing in the Name" has its famous mantra morphed to "some of those that burn crosses/are the same that hold office," while the band precisely pummels its instruments. On "Freedom" (originally written to champion the cause of Leonard Peltier), de la Rocha chants "Free Mumia," in reference to his support of Mumia Abu-Jamal. LIVE is a final testament to the greatness of this groundbreaking group, having special significance as the final performances of RATM, recorded in the band's hometown of Los Angeles. Live at the Grand Olympic Auditorium documents the last two shows from Rage Against the Machine, recorded in September 2000 for a planned November release, but canceled when the band broke up, and postponed for the second time one year later after three-fourths of the band formed Audioslave with Chris Cornell. The finished product isn't a very good look at one of the finest metal bands of the '90s, not because the performance quality is lacking but because of mixing problems and the simple problems inherent in transferring the energy of a live concert to record. Featuring highlights from the two shows, recorded September 12th and 13th, this delayed version of Live at the Grand Olympic Auditorium also downplays the cover material that comprised the band's last studio album, Renegades, which is a good thing for the fans who agree that Rage performed better with originals than covers. Early on, the band storms through three of its career highlights -- "Killing in the Name," "Bulls on Parade," and "Bullet in the Head" -- with intense performances that capture its combination of heavy metal strut and punk rock disdain. ...
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