| | Astor Piazzolla Maria De Buenos Aires, Primera Parte CD Astor Piazzolla Discography of CDs
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Personnel: Astor Piazzolla (bandoneon); Amelita Baltar (vocals); Cacho Tirao (guitar); Hugo Baralis, Antonio Agri (violin); Victor Pontino (cello); Jaime Gosis (piano); Tito Bisio (vibraphone, xylophone, bells); Kicho Díaz (double bass); José Corriale (percussion). Maria De Buenos Aires, Primera Parte Music Astor Piazzolla Maria De Buenos Aires, Primera Parte Songs | 1. | Maria de Buenos Aires, operetta: Primera Parte. Alevare |
| 2. | Maria de Buenos Aires, operetta: Primera Parte. Tema de Maria |
| 3. | Maria de Buenos Aires, operetta: Primera Parte. Balada para un organito loco |
| 4. | Maria de Buenos Aires, operetta: Primera Parte. Milonga carrieguera |
| 5. | Maria de Buenos Aires, operetta: Primera Parte. Fuga y misterio (instrumental) |
| 6. | Maria de Buenos Aires, operetta: Primera Parte. Poema valseado |
| 7. | Maria de Buenos Aires, operetta: Primera Parte. Tocatta rea |
| 8. | Maria de Buenos Aires, operetta: Primera Parte. Miserere canyengue |
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Maria De Buenos Aires, Primera Parte Review
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Purchase Maria De Buenos Aires, Primera Parte CD To buy, Click on price to add to cart | Armik Gypsy Flame CD (1995)
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| | Best Of The Guess Who CD (1977) Bonus Tracks
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The Guess Who always seemed a bit like the Canadian predecessor/counterpart to Grand Funk Railroad, but they typically fared far better with the critics because of the versatility that they possessed. That trait is very evident on this collection of hits and great songs. From the opening "These Eyes," with its orchestral strings and Zombies-like baroque pop feel to the classic ...
| | Ireland's Greatest Hits CD (1996)
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| | Italian Hits La Piu Bella Musica Italian Hits: La Piu Bella Musica CD (2007) (Import)
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Recording information: Radio Veritas.
| | Celtic Thunder The Show CD (2008)
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CELTIC THUNDER THE SHOW, the audio companion for the popular PBS television special, showcases the five Irish vocalists in their ideal setting, a stage in Dublin. Celtic Thunder thrives on the contrast of its various voices (four tenors and a baritone) creating a surreal musical landscape. Paul Byrum's assured operatic tones on "Remember Me (Recuerdeme)" crest against the doleful pop of Ryan Kelly's "Desperado" ...
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Performers include: P.C. Johnson & His Singers, ...
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| | Measure For Measure: The John Carter Anthology CD (2003) (Import) United Kingdom
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As a songwriter, performer, and producer, John Carter's resume is so extensive that it's difficult to summarize in anything less than a box set. This 55-song, two-CD compilation, however, is the best stab yet at packaging his most notable work, though a true appreciation of Carter's accomplishments would also have to take in more hit covers of songs he wrote or co-wrote, such as the Music Explosion's "A Little Bit O'Soul," and Herman's Hermits' "Can't You Hear My Heartbeat." Whether for licensing reasons or because this anthology seems conceived to spotlight records he was directly involved with as performer and/or producer, those songs and others of that ilk aren't here. Still, the scope of this package is pretty damned impressive, starting with his pre-British Invasion early-'60s pop/rock group Carter Lewis and the Southerners, taking in his stints with the Ivy League and the Flower Pot Men (who landed big-'60s British hits with "Tossing and Turning" and "Let's Go to San Francisco" respectively, both included here), and going all the way up to the First Class' mid-'70s pseudo-Beach Boys smash "Beach Baby" (and even a little beyond). Plenty more is thrown in as well: 1966-1969 demos that are about as fully produced as proper records; late-'60s projects credited to Friends, Haystack, and Dawn Chorus; 1970s sides by Scarecrow, Stamford Bridge, Stormy Petrel, Kincade, and Starbreaker; and even four of his advertising jingles. There's even the rare (and not particularly good) 1966 instrumental single by ex-Pretty Things drummer Viv Prince, "Light of the Charge Brigade." The name of the artist (usually a front for studio projects) might have changed, but actually the sound is fairly consistent pop/rock that most often is a British equivalent of American '60s sunshine pop, with a heavy Beach Boys influence (though often tempered by a strong British pop sensibility as well). And like American sunshine pop, there are good and not-so-good things about Carter's approach. His craft (as both songwriter and producer) is impeccable, the Beach Boys-soaked harmonies polished, and the melodies upbeat and pleasant. But the sunniness of the mood can get so unrelenting that it falls into a rut, and the tunes are not on par with, for example, Brian Wilson, to use an unavoidable comparison. There are, however, some quite good cuts here, like the pseudo-Merseybeat of Carter Lewis and the Southerners' 1963-1964 singles; the wistful Four Seasons-like upper-register harmonies of the Ivy League's Top Ten British hit "Funny How Love Can Be"; the original version of "My World Fell Down," covered (and done better, actually) for a Pet Sounds-like mini-masterpiece in the U.S. by Sagittarius; the pained fragility of Carter's 1967 demo "Am I Losing You" (again clearly inspired by Pet Sounds, particularly "Caroline No"); and Friends' "Mythological Sunday," a pretty impressive piece of Mellotron-dipped pop psychedelia that is rather like the Easybeats' most ambitious late-'60s productions. For those who care, there are also Carter demos of "Winchester Cathedral," the New Vaudeville ...
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| | Snatam Kaur Live In Concert CD (2007) With DVD
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