| | Chalino Sanchez Historia Musical CD Chalino Sanchez Discography of CDs
Chalino Sanchez Historia Musical Songs | 1. | Mi General Zapata |
| 2. | El General y el Sargento |
| 3. | La Tumba de Villa |
| 4. | Cabo Sauceda |
| 5. | Hermanos Quintana |
| 6. | Oscar Barraza |
| 7. | Jose Silva Sanchez |
| 8. | El Contrabandista |
| 9. | Raymundo Chaidez |
| 10. | Lucio Villareal |
| 11. | Chuy Luna |
| 12. | Fierro Bazan |
| 13. | Amador Garcia |
| 14. | Virgen Figueroa |
| 15. | Eleodoro Elenes |
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Historia Musical Review
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Purchase Historia Musical CD To buy, Click on price to add to cart | Las Jilguerillas Mexicanisimo CD (1992) Remastered
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| | Martha & the Vandellas Dance Party CD (1965)
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One of the great party albums of the 1960s, DANCE PARTY was, oddly enough, the work of a Motown act that wasn't known for delivering great albums. Martha & the Vandellas had enjoyed some serious hits from 1964 onward, but hadn't quite measured up in the LP department until the release of DANCE PARTY in the spring of 1965. Made up of material from singles that went back to the previous summer, the album benefited from the presence of the group's biggest single, "Dancing in the Street," its follow-up, the hypnotically pounding, driving, soaring "Wild One," and the classic "Nowhere to Run," surrounded by a trio of well-above-average B-sides and covers of such Motown dance standards as "Mickey's Monkey" and "Hitch Hike." The rest was hardly filler, however, with Martha Reeves turning in a gloriously impassioned performance on the ballad "There He Is (At My Door)" and the group acquitting itself beautifully on "Motoring." Each side was always good for at least two plays at any self-respecting teen party of the '60s, and it all still holds up today.
One of the great party albums of the 1960s, Dance Party was, oddly enough, the work of a Motown act that wasn't known for delivering great albums. Martha & the Vandellas had enjoyed some serious hits from 1964 onward, but hadn't quite measured up in the LP department until the release of Dance Party in the spring of 1965. Made up of material from singles that went back to the previous summer, the album benefited from the presence of the group's biggest single, "Dancing in the Street," its follow-up, the hypnotically pounding, driving, soaring "Wild One," and the classic "Nowhere to Run," surrounded by a trio of well-above-average B-sides and covers of such Motown dance standards as "Mickey's Monkey" and "Hitch Hike." Even the rest was hardly filler, however, with Martha Reeves turning in a gloriously impassioned performance on the ballad "There He Is (At My Door)" and the group acquitting itself beautifully on "Motoring." Each side was always good for at least two plays at any self-respecting teen party of the '60s, and it all still holds up today. [Lilith released the CD in 2008.] ~ Bruce Eder
One of the top "girl groups" of all ...
| | Mark O'Leary St. Fin Barre's CD (2009)
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St. Fin Barre's is the cathedral of Cork City, guitarist Mark O'Leary's hometown. From the start, the title of this album -- his tenth release and tenth different trio lineup on Leo Records -- sets the stage for something different. Yes, St. Fin Barre's was recorded inside the cathedral. And yes, the recording venue had a huge influence on the music. Accompanying O'Leary are Supersilent keyboardist Ståle Storlokken at the church organ and percussionist Stein Inge Braekhus. The album opens with the ringing of the church bells signaling the beginning of the proceedings and Braekhus answering its call with thundering rolls, before O'Leary steps in with one of his most tender and introspective instant melodies, punctuated by delicate organ inserts and voicings. That four-minute piece sets the tone for the album, which will unfold over two extremes: meditation ("Evensong") and turmoil ("Epilogue"). Storlokken employs all the resources of the church organ, although he focuses more on its aerial textures than its bombast. And, while previous albums seemed built on a principle of equality between improvisers, as a whole this trio session leaves the spotlight more squarely on the guitarist, whose melodic volume-pedaled soloing is the main feature throughout. And in this particular ...
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