| | Edwin Colon Zayas Cuatro Mas Alla De Lo Imaginable CD Edwin Colon Zayas Discography of CDs
Cuatro Mas Alla De Lo Imaginable Music Edwin Colon Zayas Cuatro Mas Alla De Lo Imaginable Songs | 1. | Pajaro Campana |
| 2. | Nelly Arlene |
| 3. | Carmencita |
| 4. | Mari Gloria |
| 5. | Carla |
| 6. | Brevedad |
| 7. | Ternura |
| 8. | Sobedescarga Boricua |
| 9. | Vals No. 3 |
| 10. | Siempre Amigos |
| 11. | Fuga No. 3 |
| 12. | A Jose Antonio |
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Cuatro Mas Alla De Lo Imaginable Review
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Personnel: Eddy-K (background vocals).
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Best of da Bay: A Series of Slaps is one of those fairly common compilations where a major label attempts to cash in on a trend, in this case the 2006 explosion of Bay Area hip-hop, which happened primarily because of the Bay's hyphy movement. The word "hyphy" ...
| | Wattstax: The Living Word CDs (2003) With Book
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In 1972, Stax Records was second only to Motown as America's most successful black-owned record company, and as part of an ambitious bid to grow into a multimedia empire, the Memphis-based label had opened offices in Los Angeles and was eager to announce its presence in the community. The Watts Summer Festival was an annual celebration staged in the beleaguered Watts neighborhood of L.A., a mostly African-American community that had been scarred by race riots in the late '60s, and in 1972 Stax did something special for the occasion: it staged an all-day concert at the Los Angeles Coliseum on the final day of the Watts festival, with nearly every artist on the Stax roster appearing live on-stage and tickets priced at only a dollar. Over 110, 000 people attended the show, a camera crew was on hand to capture the proceedings for a feature film, and a mobile recording truck committed the whole show to tape. Two albums featuring material from the Wattstax festival appeared in 1972 and 1973, but both contained studio recordings along with material from the concert, and Wattstax: Music from the Wattstax Festival and Film is a three-CD set that brings together the lion's share of the previously released live material from the show along with a handful of previously unreleased performances recorded that day. This set tries to give a sense of the size, shape, and flow of the massive concert, opening with "Salvation Symphony" (a grand-scale orchestral piece written by Dale Warren, who led the big band that backed most of the performers) and an invocation by the Rev. Jesse Jackson, and closing with headliner Isaac Hayes winding up the crowd with "Theme from Shaft." Along the way, the festival attempted to showcase the breadth of both the African-American musical experience and the Stax artists, touching on gospel, blues and several flavors of rhythm & blues, though the jazz acts which appeared at the show didn't make the cut for this set. While these three discs feel a bit overstuffed, there's a wealth of memorable music here and some pleasant surprises, too.
Despite the absence of Yvonne Staples, who was sick that day, the Staple Singers turn in an engaging and deeply moving set, especially on "I Like the Things About Me," and while Lee Sain, William Bell, and Eddie Floyd only get one song each, they all make the most of their time on-stage. The Emotions offer a mesmerizing take on "Peace Be Still" in a performance recorded at an L.A. storefront church. The Bar-Kays tear into a deliriously funky set with the frantic "Son of Shaft" and "I Can't Turn You Loose," and David Porter makes a rare live appearance showing he was as strong a vocalist as he was a songwriter. The Rance Allen Group's ...
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