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Mû Mbana on the End of Show Biz at Nuits d’Afrique

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All pictures by the author.

Between a brief dancing gorilla attack and some truly incompetent attempts at Congolese percussion by us, the crowd, it was another perfect day at the Nuits d’Afrique Festival in Montreal. Although that evening when I sat down to chat with Mû Mbana, a very philosophical musician from Guinea-Bissau, and he explained his belief that live performance was now less about showcasing the performer’s ability and more about what the performer and audience create together, I felt a little guilty that we never managed to clap in time.

It was July 20, my first full day at the Nuits d’Afrique Festival. In the early afternoon, people gathered in front of the TD-ICI stage where they were outfitted with a number of Brazilian drums and formed a little bateria under the guidance of Zuruba, a local samba school. They started with just a few “drum and response” exercises, and by the end, the group was thundering along capably.

Over at the corner of the festival, Elli Maboungou tried to teach us Congolese drumming. He explained that the tambours are called “mama and child,” in homage to the matriarchal culture they came from, and the Canadians politely cheered. We didn’t know it, but that was the last time we would clap correctly until the session ended. God bless the patient Elli, but we just weren’t getting it.

The heat of the day abated, shadows got longer and the Montrealers with 9-to-5s began showing up as the Resojets played laid-back ska-reggae fusion.

A brief technical snafu during Moto de Kapia. Photo: Ben Richmond

The local Congolese group Moto de Kapia followed with the fleet guitar work and (well-executed) rhythms characteristic of the country’s music. The seven-piece band’s colorful costumes stood out in contrast to the Resojets’ rude-boy-goes-to-college look. They danced in wigs that reached all the way to their knees and fought off the stage-stealing antics of a very gifted gorilla dancer, who spun a bike wheel over his head.

The gorilla was dispatched by the dancers after a pretty stellar routine.

The festival was really cruising when I headed up the plateau to Club Balattou. I didn’t want to miss Mû Mbana. He had come straight from the airport to the club to soundcheck and generously agreed to sit down to chat before his long, hushed set that held the room utterly transfixed. A very reflective man, he explained his mentality when approaching live performance, why he built his own instruments and where he finds strings for the bënsuni while on tour.

We were talking about Kafka when I took this. We’re both fans.

Ben Richmond: Would you please introduce yourself?

Mû Mbana: Hello, I’m Mû Mbana from Guinea Bissau. I’m going to play tonight from my new record, which is Iñén. That means hands, at the same time it means the number 10 in Brahme. It is the ethnic group that I am from, and it is an ancient language from ancient Egypt and we still speak it in Guinea Bissau.

And what instruments will you be playing tonight?

I’m going to be playing bënsuni and simbi. The bënsuni is a common instrument from West Africa, but every country has its variation and version of the instrument. Like in Mali they call it ngoni and in Senegal they call it xalam and even in Guinea we have different names for it, but the common name for it is akonting. In my language we call it bënsuni. And the simbi is typical from Guinea-Bissau. It’s like a bass. It’s bigger, has four strings or three strings. Anciently it was three strings, but now we use four strings. And it’s a typical instrument from Guinea-Bissau.

They’re ancient instruments. They have a lot of stories and a lot of voices and a lot of things to remind us. They have a lot of memory to share with us. I think in a subjective way, they always have memories to share and things to remind us.

When did you become a musician?

I don’t know if I became a musician. I mean, I’ve been always making music since I have memory of myself. I work with music but I don’t consider myself exclusively a musician. I work with music as a way of communicating with the world. But also I do other things: I’m a researcher. So I research in different areas: scientific areas, artistic areas. The fact that I play music as a job that doesn’t close me exclusively as only a musician because I study other things and I make research of other things as a source of knowledge to reach myself. Even in music I do research on the history of instruments and the changes as they pass through the centuries. And the scales, the different scales and the changes they pass through in each culture or each region. I’m in research I don’t even have enough life to cover!

What scale do you play in? Do you have one exclusively?

I’m working very widely, musically speaking. The instruments I’m using them not only in a traditional way that we know them as, or that we know that they’ve been used, I’m using them also as a form of research. With this I mean that I’m using instruments to make them close to the voice. The voice can do things that instruments cannot do. But I’m trying to make them, to bring them closer to the vocal capacity. So I’m working with instruments in order to make them almost comfortable to go wherever the voice goes through. Not in the concept of Western harmony, but in different concepts of how to back the voice with instruments. Which is a more typical way of our region in West Africa. It’s another concept of harmony.

On the bënsuni

Do you play in a traditional way, from Guinea-Bissau?

Yes, I’m playing in a specifically classical way. For us that is how these instruments have been played for centuries, millenniums. They’re really really old, ancient instruments. So I’m playing according to this classical tradition of West African music. In Guinea-Bissau we had a very strong old musical tradition in the old days of Malian empire. The place now called Guinea-Bissau had a great cultural center called Cabo. There are others, but Cabo was most important. And during those times, there were very great concentration of poets and instrument builders and they cultivated the art of building instruments and composing music. Most of the music of that brilliant historical, cultural moment are still the standards that we sing and play in many countries of West Africa. That’s why I refer it as our classical music, because it’s even older than European classical music.

How did you study this traditional music?

In the real African school, the master teaches you first to listen, and after that he teaches you the philosophy of the music and the musical way of life. And after that he teaches you to build your instrument. And after that, he teaches you to play the instrument. Playing the instrument is the last part.

And that’s what gives us freedom, because we know how our instrument works. Whenever we have a problem with it, we know how to fix it. That’s a lot of freedom for a musician.

I was thinking about people on tour with, say, the simbi. If you break a guitar string it’s easy to replace. If you break a string on one of those…

It’s not so easy as a guitar. So you have to make art. You have to make art to replace the string. It takes a bit more time. But nowadays we are using nylon strings, because it’s easier and quicker, especially when you’re on tour, nylon is very practical.

…And the simbi.

Do you always play solo?

I’ve been working for the last 20 years in music as a professional, and I’ve passed through different stages. I’ve worked with bands, big bands. I’ve worked with trios. This time I’m working alone, because I’m in deep meditation of live music playing. Because now we are working under a philosophy which is: We now have finished the era of show business. By that I mean, we are not doing shows. We are not in a demonstration of what we can do in the music and with instruments. We now are working under a philosophy of collective instruction and using music as medicine consciously. So we bring music and we ask people to get involved in that construction and not only to admire, see and listen, but to get involved energetically in the construction of that sound that’s happening right here, right now. So we all are together in that musical construction and we make it happen and we use it as medicine in that moment. So for this I need to work alone in this meditation until I get results from this and then start working with more people. That’s why I went to the solo performance, to develop and get into the deepness of this philosophy. Because it’s easier alone.

Why is it the end of the show-business era? What do you think has changed?

I think now, right now, humanity needs a kind of integrity. We as musicians have responsibilities to humanity to be true and to be conscious of what music means. There’s a healing power in music and we must use it consciously to cure ourselves and cure people and cure our planet. Because right now, this moment in history, humanity needs more of this element with a medicine consciousness. So that’s where we want to start from. And not only use it as a performing art where you go and perform and make people have fun. But also, to cure, energetically, the planet and mankind and stop with the lies.

Our worries right now are this: to be true in the music and to reach people through the motion and not through the visual impression and lights and all the paraphernalia of the stage. This is the most important change we’re going through right now. This movement from the ’40s up to now has ended. This era of “show” is in the end. We must get it from another branch now and try to do something constructive to the collective and to think in collective. How can music be useful to the collective health?

***

I left him to prepare for the show. He played for over 90 minutes, keeping the room enthralled. I don’t know if there was healing, but I think everyone left felt like they had witnessed something special. When Mû Mbana plays, we are in a sacred space.

Stay tuned for more coverage from Nuits d’Afrique, and get on-the-ground updates via our Twitter.


Danny & The Champions Of The World – Brilliant Light (2017)

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320 kbps | 180 MB | LINKS

The latest studio album from Danny & The Champions of the World is a bumper bundle, Brilliant Light clocks up 18 tracks. It’s testament to the strength of their writing and playing that the quality never dips throughout. As long-time admirers will know, the seven-piece straddle genres, variously drawing on country, folk, rock and soul, though this time round, it’s fair to say that it’s their Atlantic soul influences that, with Siobhan Parr and the Bennett brothers from the Dreaming Spires contributing to the backups, are mostly to the fore.

That said, however, the collection opens with Waiting For The Right Time (the video recently premiered on Folk Radio UK), an upbeat alt-country rock number that, streaked by Henry Senior Jr.’s pedal-steel, has strong shades of both The Band and Ronnie Lane. The only number to be solely written by Wilson, it’s a terrific way to get things going, and the roll continues with the equally musically upbeat rolling rhythm country of Bring Me To My Knees, one of two co-written with James Yorkston, piano barrelling away in the background.

The first of the soul moments comes with the organ-led It Hit Me, which, written by bassist Chris Clarke and John Wheatley, might be described as being built upon a reggae rhythm, but, with those doo-wop female backing vocals and horns, it more accurately warrants comparison to Sam Cook. The same could be said of Danny Wilson’s vocals and the country-soul groove that stretches out across the balladeering You’ll Remember Me and which also mixes in a dash of mellow Morrison. The first ‘side’ culminates with the swelling, Andy Fairclough’s organ driving Swift Street, a highly personal reflective number which, co-written with Polly Paulusma and Carra Bacon, was inspired by three family photographs from the street in Melbourne where his mother grew up and where he spent time with his grandparents.

It’s a full brass ride for the full-sounding southern cooked Consider Me with Paul Lush’s fierce electric guitar run out, the mid-tempo momentum maintained with Coley Point, Wilson’s setting of words by Will Burns, poet-in-residence for nature-themed online literary website and publishers Caught By The River.

It’s 60s soul-time again with the keys and sax-embellished It’s Just A Game (That We Were Playing) and the Lush-penned Staples-soul Never In The Moment, the second leg closing with Gotta Get Things Right In My Life conjuring thoughts of early Neil Young had he immersed himself in a Memphis sound.

Things get southern funky for the horns parping, chugging groove of the lyrically down Waiting For The Wheels To Come Off while the slightly slower Don’t Walk Away (another Paulusma/Bacon co-write) charts a similarly bruised heart mood, throatily sung with echoes of Dylan. The seven-minute Hey Don’t Lose Your Nerve touches on southern country gospel with its backing vocals, Wilson flirting with falsetto flourishes, and again conjuring shades of Van the Man, not least in its sha-la-la refrain. Loose-limbed and counted in, Everything We Need is a shift, introducing a church revival meeting handclapping swing along rhythm, Jerry Lee Lewis boogie piano pumping complementing the organ swirls, while the final stretch opens up a rootsy blues rock seam with Let The Water Wash Over You (Don’t You Know), a jamming feel very much in evidence with the rumbling bass, steel, guitars and organ.

Again evoking The Band in its steady rhythmic drive, there’s more itchy wah-wah funk on the punchy keys and horns-propelled Long Distance Tears, the 80 minutes coming to a close with the second Yorkston co-write, the melancholically reflective pedal-steel coated Dylanesque ballad The Circus Made This Town and, sustaining the musical mood, the soaringly anthemic Flying By The Seat of Our Pants, surely one born to be heard as the sun sets on a festival field with the crowd’s arms swaying and cell phone lights illuminating the night. Deservedly likened to All Things Must Pass in its scope and ambition, this is assuredly their masterpiece, an aural aurora borealis that will illuminate your musical life.

Duran Duran – Big Bang Concert Series – Live (2017)

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320 kbps | 204 MB | LINKS

Tracklist:

01. Be My Icon
02. Big Bang Generation
03. Buried in the Sand
04. Come Undone
05. Electric Barbarella
06. Ordinary World
07. Out of My Mind
08. View to a Kill
09. Who Do You Think You Are

Stephan Micus – Inland Sea (2017)

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Stephan Micus – Inland Sea (2017)

  • Artist: Stephan Micus
  • Album: Inland Sea
  • Genre: Jazz, World Music
  • Released: 2017
  • Format: MP3 / FLAC
  • Quality: 320Kbps / Lossless
  • Size: 123 MB / 230 MB

Tracklist:
01 – Haze
02 – Sowing Wind
03 – Dawn
04 – Flor Del Sur
05 – Reaping Storm
06 – Dancing Clouds
07 – Virgen De La Mar
08 – For Shirin And Koshru
09 – Dusk
10 – Nuria
Download Links:
rapidgator: Download

FLAC:
rapidgator: Download

The post Stephan Micus – Inland Sea (2017) appeared first on intmusic.net.

(Bluegrass, Contemporary Folk, Jazz) Tony Rice (& J.D. Crowe & The New South, Ricky Scaggs, Norman Blake, David Grisman, Peter Rowan, The Tony Rice Unit, The Rice Brothers) - Коллекция 1973-2016 (35 релизов), MP3, 128-320 kbps

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Tony Rice (David Anthony Rice) Жанр : Bluegrass, Contemporary Folk, Jazz Год выпуска диска : 1973-2016 Страна : June 8, 1951-, Danville, Virginia, United States Аудио кодек : MP3 Тип рипа : tracks Битрейт аудио : 128-320 kbps Продолжительность : 1:04:38:59 Albums: 01.

Тема на форуме


325 Música sin usura 18-07-2016 Dioses de la recreación II (covers II)

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Segundo viaje por el mundo covers. Recorremos la geografía y sus músicas. Para más detalles: https://slumdar2.wordpress.com/ TIME AND TRACK LIST 01.-00:00:00 sleeping at last - chasing cars 02.-00:06:13 waterdeep - in the air tonight 03.-00:10:47 david starr - california dreamin (feat john oates) 04.-00:15:47 charlie haden & pat metheny - cinema paradiso (main theme) 05.-00:20:02 eva cassidy - fields of gold 06.-00:26:17 bizimkiler layihesi - the wall 07.-00:31:19 alaa wardi - aicha 08.-00:37:41 michael brook & djivan gasparian - adagio in g minor 09.-00:42:15 béla & the flecktones - j.s. bach's christmas oratio ich will nur zu ehren leben 10.-00:47:56 emilina torrini - if you go away 11.-00:52:20 flearoy - believe 12.-00:57:11 ladysmith black mambazo - knocking on heavens door (with dolly parton) 13.-01:02:47 johnny cash - one 14.-01:07:55 johnny cash - for the good times 15.-01:11:09 ganavya - summertime in tamil (dedication to prashant bhargava) 16.-01:17:26 eumir deodato - nights in white satin 17.-01:23:21 paula fernandes - dust in the wind 18.-01:26:58 the new victorians - somebody to love 19.-01:32:42 eva cassidy - over the rainbow .. ::

Bokanté serves up songs in the key of Creole

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The fusion of West African music, Mississippi Delta blues and Caribbean rhythms are what the band Bokanté is all about.

AnAcRóNiCo - La Arena Después Del Viento (Edición Especial)

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Muchas gracias a César Coronado por compartirnos el siguiente disco "Edición Especial" de su proyecto denominado "AnAcRóNiCo" del que ya nos había presentado una primera maqueta ("La Arena Después Del Viento"), sólo que ahora incluye algunos "Bonus Tracks".
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Artista: AnAcRóNiCo
Álbum: La Arena Después Del Viento (Edición Especial)
Año: 2017
Género: Indie Rock, Pop, Alternative Rock, Electronica
País: México

Lista de canciones:
  1. El Origen 02:13
  2. Ella Es 02:51
  3. Al Frio 03:57
  4. Chocante 02:33
  5. Notable Absurdo 03:22
  6. Un Cometa Estancado En El Mar 05:24
  7. Hospitales 04:12
  8. Sisetnis 04:46
  9. Secreto-Tomando un clonazepam- 07:17
  10. A Iza... 04:08
  11. Funerales 03:51
  12. Ven 04:39
  13. Estas Mas Alla Que Todo{Cancion A Iza] 04:27
  14. Exequia 06:32
  15. Melodia De Cuna A Un Muerto 05:12
  16. Occiso(Muerte Violenta) 06:23
  17. Canto Lunatico 03:52
  18. No 114(Rey Pila Cover) 04:07
  19. Simultaneo 04:32
  20. Terminacion 04:10
  21. Terminacion II 05:02
  22. Jugando Con Munecas Bonus Track 04:15
  23. El Cantinero 04:23
  24. Trauma Adolecente 04:47
  25. Lo Siento Pero Es La Verdad 03:04
  26. Yo Ya Puedo Ver 05:14
  27. Niña Roja 04:47

Ángel Cervantes - Lo Inédito De Chava Flores Vol. I

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Muchas gracias a Raúl Guerrero por compartirnos el siguiente disco.
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Artista: Ángel Cervantes
Álbum: Lo Inédito De Chava Flores Vol. I
Año: 1999
Género: Folk
País: México

Lista de canciones:
  1. Pobre Jilguero 02:45
  2. Pomposita 02:36
  3. Manito 02:49
  4. La Creminosa 03:32
  5. La Tienda de mi Pueblo 05:05
  6. Mi Linda Hortensia 04:16
  7. La Puerca 02:51
  8. Calendario de Amor 02:54
  9. Muñeco Tonto 02:52
  10. El Aguacate de Hueso Café 02:09

Ángel Cervantes - Lo Inédito De Chava Flores Vol. I

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Artista: Ángel Cervantes
Álbum: Lo Inédito De Chava Flores Vol. II
Año: 1999
Género: Folk
País: México

Lista de canciones:
  1. Los Frijoles de Anastacia 03:06
  2. El Hijo del Granadero 04:01
  3. Cachito de Retrato 02:12
  4. Hoy si se me hizo 02:53
  5. El Chico Temido de la Vecindad 02:56
  6. El Apartamento 02:40
  7. La Boda de Vecindad 02:36
  8. La Ignacia 02:43
  9. Ése soy yo 02:19
  10. El Baile de Tejeringo 03:58

Forseps - 06:00 p. m.

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Muchas gracias a ivanzv y Fernando Rivera por compartirnos el siguiente disco.
Forseps%2B-%2B6%2Bpm.jpg

Artista: Forseps
Álbum: 06:00 p. m.
Año: 2013
Género: Rock
País: México

Lista de canciones:
  1. Ámame O Mátame 03:45
  2. Cero (Featuring Juan Perro) 03:14
  3. Yo Te Quiero 03:54
  4. Mi Debilidad 04:16
  5. Comiendo Hueso (Featuring Ugo Rodríguez) 03:17
  6. Dulces Dagas 03:12
  7. Menos Es Más 04:32
  8. Mírame (Featuring Joan Vinyals) 05:27
  9. Dios Moderno 03:51
  10. En Agonía 03:41
  11. Sal A Jugar 03:37
  12. Sr. Jack 03:06

Haragán Y Compañía - Ánimas

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Muchas gracias a Mario Hernández por compartirnos el siguiente disco.
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Artista: Haragán Y Compañía
Álbum: Ánimas
Año: 2003
Género: Rock
País: México

Lista de canciones:
  1. El Globito 03:41
  2. Ánimas 06:36
  3. Te Acuerdas De Dios 06:00
  4. Loco Soñador 04:53
  5. Una Oportunidad 03:26
  6. Extraña Sensación 08:40
  7. La Cita 02:55
  8. Hasta Lo Más Que Aguantes 03:43
  9. Feita Pero Sincera 04:03
  10. Raro Animal 03:28
  11. Tu Rostro 06:13
  12. Feita Pero Sincera ( Dueto Con Johnny Laboriel ) 04:14

Banda Macho - Tributo A Elvis

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Artista: Banda Macho
Álbum: Tributo A Elvis
Año: 1975
Género: Rock
País: México

Lista de canciones:
  1. Es Más 02:33
  2. Rey Criollo 02:06
  3. Trátame Bien 02:03
  4. No Seas Cruel 02:02
  5. Ahora O Nunca 03:08
  6. Perro Callejero 02:18
  7. Mente Suspicaz 03:19
  8. El Rock De La Cárcel 02:40
  9. Buen Rock Esta Noche 02:09
  10. Hotel De Corazones Rotos 02:12

El Personal - Melodías Inmortales

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Muchas gracias a Fernando Rivera y Mario Hernández por compartirnos el siguiente disco.
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Artista: El Personal
Álbum: Melodías Inmortales
Año: 1996
Género: Rock
País: México

Lista de canciones:
  1. Mandanos La Lluvia Papá 03:09
  2. Centerfold Blues 04:48
  3. El Electricista 02:28
  4. Rica Y Famosa 03:30
  5. Eres Super 03:39
  6. Paratrás 02:27
  7. Mala Mujer 04:19
  8. Desde Que Te Vi 04:08
  9. El Muso 05:08
  10. Rumba Sin Rumbo 03:17
  11. Te Sabes y Te Gozas 03:11
  12. Que Mas Te Da 05:04
  13. La Espacial 05:13

Bla Bla Bla - Cada Quién Con Su Cada Cual

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Muchas gracias a Mario Pérez por compartirnos el siguiente disco.
Bla%2BBla%2BBla%2B-%2BCada%2BQui%25C3%25

Artista: Bla Bla Bla
Álbum: Cada Quién Con Su Cada Cual
Año: 1989
Género: Pop Rock
País: México

Lista de canciones:
  1. Cada Quién Con Su Cada Cual 02:57
  2. Corazón 03:05
  3. Girarás 03:18
  4. Dímelo Tu 03:57
  5. El Blues De Bla Bla Bla 03:00
  6. Soy Bien Fresa 03:11
  7. Para Tí 03:24
  8. Para Tí - 03:24
  9. Así Te Amaré (Primavera) 03:24
  10. Ayer 02:56
  11. No Le Muevas 03:43

Dug Dug's - Brinca Brinca [EP]

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Muchas gracias a Edgar Alcaudón por compartirnos el siguiente disco.
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Artista: Dug Dug's
Álbum: Brinca Brinca [EP]
Año: 1966
Género: Rock
País: México

Lista de canciones:
  1. Brinca Brinca (Ain't That Just Like Me) 02:04
  2. La Forma De Los Cosas (Shapes Of Things) 02:32
  3. A-Go-Go (Ooh My Soul) 01:25
  4. California En Sueños (California Dreaming) 02:46

Jef-T - Colapsing Stars

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Muchas gracias a Jorge Jacinto Ruiz Álvarez por compartirnos el siguiente disco.
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Artista: Jef-T
Álbum: Colapsing Stars
Año: 1997
Género: Electronic
País: México

Lista de canciones:
  1. Aire 02:31
  2. Estado de Acidez 06:08
  3. Fly High 05:59
  4. Plasmaship 06:30
  5. Instinct of Sound 06:54
  6. Colapsing Stars [Star Mix] 07:00
  7. Angel 07:37
  8. Brain Expanded 06:44
  9. Splash 06:37
  10. MD 2000 [Media Dosmil] 06:51
  11. Suave [Soft Sex] 04:09

Eugenia León - Norteño

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Muchas gracias a Julio Bello Morales por compartirnos el siguiente disco.
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Artista: Eugenia León
Álbum: Norteño
Año: 1998
Género: Norteño
País: México

Lista de canciones:
  1. La Mesera 03:13
  2. Me Caí De La Nube 03:03
  3. Tres Veces Te Engañé 02:54
  4. El Canto Del Bracero 04:27
  5. La Entalladita 02:49
  6. La Mancha 02:51
  7. Paloma Sin Nido 03:11
  8. El Otro México 03:29
  9. La Venganza De María 03:28
  10. Delgadina 03:44
  11. Corrido a Francisco Villa 03:16
  12. Sin Esperanza 02:59
  13. La Puerta Negra 03:21
  14. Solicitando Parcela 03:45
  15. Ramona 04:03
  16. Paso Del Norte 04:12
  17. La Pasión 03:36
  18. Cuando Sale La Luna 03:51

Eulalio González "El Piporro" - La Nave De Los Monstruos (EP)

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Muchas gracias a Edgar Alcaudón por compartirnos el siguiente disco.
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Artista: Eulalio González "El Piporro"
Álbum: La Nave De Los Monstruos (EP)
Año: 1960
Género: Soundtrack
País: México

Lista de canciones:
  1. Estrella del Desello 02:08
  2. Nace el Amor 02:17
  3. Levantando Polvaderas 02:06
  4. Eso es el Amor 02:51
  5. La Embarcaciòn 01:30

Cast - Legacy

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Muchas gracias a Luis Fernando Perea y Kamaji Foo por compartirnos el siguiente disco.
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Artista: Cast
Álbum: Legacy
Año: 2000
Género: Progressive Rock
País: México

Lista de canciones:
  1. Proemio 02:25
  2. Legacy's Executor 09:20
  3. Key Of Life 09:32
  4. Celestial Garden 04:05
  5. Magic Of Love 06:58
  6. Personal Status 04:33
  7. We Are The Ones 05:56
  8. Take A Look Back 07:39
  9. Beneficiaries 04:24
  10. Living Dreams 01:28
  11. Before Me 04:07
  12. The Will 04:42
  13. Conclution 07:39

Humus - The Beauty Of Wood

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Muchas gracias a Joseman Ortuño por compartirnos el siguiente disco.
Humus%2B-%2BThe%2BBeauty%2BOf%2BWood.jpg

Artista: Humus
Álbum: The Beauty Of Wood
Año: 1991
Género: Dark Ambient
País: México

Lista de canciones:
  1. El Esqueleto De La Hoja 04:02
  2. Feeding With Death 07:20
  3. Ext-D-Ext (El Extasis De Mi Extincion) 06:34
  4. Romantic Fears 08:45
  5. Baba 07:40
  6. Senul Vu (The Beauty Of Wood) 05:37
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