| | Reggaetonhits 2007 CD
Reggaetonhits 2007 Songs | 1. | Dame una Noche - Don Miguelo/Monchy & Alexandra |
| 2. | La Mangulina - El Rubiote/Jesika Noel |
| 3. | Pakity - Papi Sanchez/Shabakan |
| 4. | Gatita Atrevida - Indio Pancho/David Deambulante/Polaco |
| 5. | Se Comenta Por Ahi - Zion & Lennox |
| 6. | El Toca Toca - Darwin & Cirilo - (featuring Eric Johns) |
| 7. | Aunque Se Tiren - La Hill/Luny Tunes |
| 8. | Eso Ehh - Alexis & Fido |
| 9. | Bumper - Julio Voltio (Clean Version) |
| 10. | Ella y Yo - Aventura/Don Omar |
| 11. | Llame Pa' Verte - Wisin y Yandel |
| 12. | Capturo - Baby Rasta |
| 13. | Desahogo - Vico C |
| 14. | Pluma, Pluma Gay - Mala Fe (Reggaeton) |
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Reggaetonhits 2007 Review
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Purchase Reggaetonhits 2007 CD To buy, Click on price to add to cart | Lara Fabian CD (2000)
Reggaetonhits 2007
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Industry bigwig Tommy Mottola's discovery, French-language chanteuse Lara Fabian hits it big with her self-titled English solo debut. Packed with passionate love songs in the Barbara Streisand and Celine Dion vein, Fabian takes the power ballad one step further. Her voice and music are best described as dramatic, the songs here ranging from catchy tailor-made Top-40 dance tracks such as "Till I Get Over You," and "I Will Love Again," to power ballads such as "Adagio," which appears here both in English and Italian.
Fabian's voice is clear and amazingly strong, ranging from a near-whisper to a powerful belt. The lyrics are non-offensive and inspirational in a broken-hearted sort of way. Fans of Celine Dion and Mariah Carey will find Lara Fabian the ideal addition to their record collections.
Engineers include: Dave Reitzas, Ross Hogarth, Jay Healy.
Personnel: Bruce Gaitsch (acoustic guitar); Steve Lukather (electric guitar); Dave Pickell (piano, keyboards, programming); Rick Allison (keyboards, programming); Mickey Curry, Steve Smith (drums).
Audio Mixers: Jay Healy; Ross Hogarth.
Recording ...
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State of the Ark, the Swedish band's third full-length and their first to receive U.S. distribution, is aptly named, as it both summarizes the strengths of their career to date and constitutes a new departure, an innovative technological development for their music and for guitar-based, pop-inclined rock in general. Perhaps the most conspicuous change from their earlier work is the virtual absence of extravagant symphonic and choral bombast, and a corresponding scaling-back of their overt, glam-infused theatricality. In the few instances when an orchestral element is introduced, as with the unison string section on the strutting schaffel opener, "This Piece of Poetry Is Meant to Do Harm," it's understated and playful, rather than melodramatically overblown. There's still plenty of flamboyance to go around -- the guitars gleam and crunch, lead singer Ola Salo swoons and soars in his glorious falsetto (more resplendent than ever, thanks to doubling and choral multi-tracking), and he still has plenty of anthemic rabble-rousing on his lyrical agenda -- check the pansexual rallying cry "The Others" or the free-agent hedonism of "Deliver Us from Free Will," a delirious, dadaist fusion of rock and disco that's not above indulging in some absurdly operatic backup vocals. (Less coherence equals less didacticism.) At its essence, though, State presents the Ark as a lean, mean, spit-polished rock & roll machine, sounding more than ever like an honest-to-goodness band, albeit a band inclining as close as ever toward their proclivity for pop, with a battery of inexorably danceable beats and a fully-stocked arsenal of synthesizers gilding their meticulously tooled melodic machinations. It feels markedly more electronic than previous Ark albums, and to some extent it is, not just because it swaps synths for symphonics but because of how decidedly processed everything sounds, from the vocals on down (not in an obtrusive or cloyingly "overproduced" way; just enough to create an ultra-modern, slightly otherworldly sheen.) But that's partially just an effect of the band's uncannily crisp delivery -- immaculately clean-toned (or fussily fuzzed-up) guitars, deployed with ...
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Along with Willie Colon, brother Charlie Palmieri, and other Fania and Tico label artists, Eddie Palmieri helped forged the innovative mix of salsa, boogaloo, jazz, soul, and rock that helped define the New York-Latin sound of the '70s and '80s. The '60s, though, found Palmieri mostly focused on Cuban and Puerto Rican music and jazz. A high point for Palmieri during this fruitful period certainly must be his Tico release Molasses: a fine record that has salsa both frenetic ("Campesino (El Pregon de la Montana)") and even keeled ("Tiradote Flores"), as well as percussion-heavy descargas ("Bombonsito de Pozo"). The set also includes evocations of important figures like Palmieri's former boss and smooth, Latin-big band leader Tito Rodriguez (the mid-tempo mambo "Traguito") and salsa pioneer Arsenio Rodriguez (the raw, Afro-Cuban vocal and percussion attack of "Carnival en Camaguey"). ...
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