| | El Gato de Chihuaahua Olvidado De Dios CD El Gato de Chihuaahua Discography of CDs
Recording information: Colorado Sound, Westminster, CO.
Photographer: Ben Wright. Olvidado De Dios Music | List Price | $11.97 (You save $1.98) | | Category | International Albums, Latin CDs, Regional Mexican, Mexican | | Label | Pego | | Orig Year | 2008 | | CD Universe Part number | 7792702 | | Discs | 1 | | Release Date | Nov 25, 2008 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Engineer | Jose Samaniego; Tom Germain; Steve Avedis; Jose Samaniego; Tom Germain; Steve Avedis |
El Gato de Chihuaahua Olvidado De Dios Songs Olvidado De Dios Review
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Astonishingly, this is ranchera superstar Vicente Fernandez's 81st album, following on the success of 2008's Grammy-winning PARA SIEMPRE. The title track, composed by Grammy nominee Manuel Toscano, is of particular interest in that Fernandez chose to release ...
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Laura Pausini, a multilingual Italian pop singer who won a Latin Grammy in 2005 for Best Female Pop Vocal Album, decided to record an album of cover songs when she returned to the studio to record her follow-up effort. This is a fairly standard practice for pop/rock artists, of course, especially in the wake of a mammoth success like the one Pausini experienced with Resta in Ascolto (released concurrently in Spanish as Escucha in the Americas). Yo Canto (likewise released concurrently in Spanish) is a somewhat unusual covers album, however, for it's comprised of Italian pop/rock songs from the 1970s, '80s, and '90s -- few, if any, of which will be familiar to listeners across the Atlantic. Pausini performs the songs in a manner similar to that of Resta ...
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For collectors and fans alike, DO THE BOP is the original unreleased version of the classic 50's hit, AT THE HOP, featuring Philadelphia's own, Johnny Madara, with Danny and The Juniors singing back-up. DO THE BOP was written by John and Dave White. It includes the doo-wop hit, SOMETIMES (WHEN I'M ALL ALONE), also written by Dave White with Danny and The Juniors singing back-up.This historical CD is presented by songwriter/record producer, John Madara, through THAT PHILLY SOUND, which is dedicated to the music that came out of Philadelphia during the 50's and 60's. Before becoming a songwriter/record producer, John "Johnny" Madara was an artist with his first record reaching the national charts, "Be My Girl." But fate would step in when John heard a group, The Juvenaires, singing on the street corner. The group was headed by Dave White and John and Dave soon formed a partnership. At the time, John had a record contract with Capitol Records. Dave and John wrote a song, DO THE BOP. They went in and recorded it with the B-side, SOMETIMES (WHEN I'M ALL ALONE). John sang the lead, and the Juvenaires sang the background. Capitol Records didn't like it. They didn't understand early rock and roll. John knew Dick Clark from American Bandstand. Dick really liked the song, but suggested that the title and lyrics be changed to reflect the record hops, which were really taking off. The Bop was a dance that was on the way out. They followed Dick's advice. DO THE BOP became AT THE HOP. The lyrics were changed but the music was the same. The Juvenaires, which had renamed themselves Danny And The Juniors, recorded the song, along with Sometimes (When I'm All Alone). Through ABC Paramount, who had acquired the master, AT THE HOP reached the top of the charts worldwide, and remained #1 for an astounding ...
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Songwriters will maintain that sad songs are the easiest to write. This may be true, but it's not the whole truth. Profoundly sad songs - those that climb up into your chest and make it hard to breathe for loneliness, and make your whole body ache like a fleshy, living and hurting and dying thing - these songs are one in a million. Richmond, Virginia's Liza Kate writes songs like this, but they are unassuming and deceptively brief, existing as a quick-lit candle and then gone, epigrammatic crystals of scene, of situation. Like the best writers of Southern literature, Liza Kate finds power in restraint, saying only what's necessary but meaning more than she says. "I feel like I'm overstaying my welcome all the time," she suggests, before silencing her audience with seemingly effortless music that may be devastating, or beautiful, or both. Her geographical history reads like a well-worn map: Texas, Florida, New York, Indiana, Kentucky, Maryland, Back to Florida, Richmond. She spent her childhood in constant migration and relocation, following ...
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