Y YO SIN PODERTE HABLAR DOWNLOAD FREE
However, his third composition, “Mi Cumbia Bomba,” comes off like a calculated attempt to create a hit, with a stale synth groove and excessive nationality-dropping. A groundbreaking record, though he would later assimilate these different styles more successfully. After , Blades wanted out of his contract with the exploitative Fania label, but was contractually obligated to record several more albums; these were generally toss- offs and Blades himself tells his fans to avoid them. As usual for Fania CD releases, there are no liner notes and no listing of composers or musicians, but I assume that’s Yomo Toro playing all those cuatro solos. The hit single here was “Sin Poderte Hablar. I bought it hoping to hear some of the lyrical and musical brilliance of Siembra , and from that perspective it’s a total letdown: I regret to say that I haven’t yet developed an appreciation for cumbias, so if you have a taste for that genre you may want to add another star to the rating.
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Not a high point in either artist’s career, but an podrte sidetrip. There are also several weak tracks: The Podderte Karaoke team wants to thank you very much for the more than 14 million people who at some point registered to sing and enjoy with usand the hundreds of millions who visited our website in these years. I’ve never seen this on CD, but it’s worth checking out if you can find it.
There are a bunch of solid tunes with enthusiastic vocals “Estampa,” “Bochinches” – even Pat Metheny and Lyle Mays’s toothless “First Circle” gets wordless vocal harmonies.
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But like most operas, this has some throwaway material needed to advance the plot “Carmelo”and a lot of spoken dialogue that gets dull after a while.
But it’s still an excellent introduction to his work.
But even poverte Blades wasn’t putting his all into this one three originals out of seven cuts it’s pretty good anyway: Blades is fully bilingual, and does his own translations into English all his post-Fania LPs come with lyrics in both languageswhich makes it possible to fully appreciate the poetry in his best work.
I find her singing not nuanced enough to be revealing, and not direct enough to be moving – if you are a fan, you should like her in this setting, if only for the variety of musical styles on display.
Y Yo Sin Poderte Hablar
To make sure you don’t miss the point, the title track ends with a recitation of different parts of the country, ppderte nationalistic updating of his earlier celebrations of Latin American unity. Throughout, there are hellacious horn lines and jazzy chord progressions; his incredible rhythmic poderts brings interest to even the album’s most lightweight compositions, and lifts the best like the final track “Marta” into the stratosphere.
Since I don’t know the stories, I’m undoubtedly missing a lot. Bohemio Y Poeta Blades: The other hit was “Amor Verdadero,” disco-merengue with an effective rhythm guitar hook, although the album version is rather longer than anybody really needs. I bought it hoping to hear some of the lyrical and musical brilliance of Siembraand from that perspective it’s a total letdown: One track was left off the CD release, the cassette-only “Patria. By now Blades is starting to rely heavily on synthesizers, but isn’t using them in an innovative way – the synth solo by Joe Jackson is a case in point.
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It’s certainly different from the rest of his work – although El Baquine De Angelitos Negros has some similarities – and interesting the instrumental “Chinacubana” in particular ; the arrangements are quite competent, making you wonder why he never explored this approach further. After a break of a few years you’d think he’d have a lot of tunes saved up, but he only writes one song here “Amor Mudo”also setting a Mayan manuscript to music.
He sets her up with acoustic guajiro tunes “Plazos Traicioneros”boleros “Dulce Habanera” and some potent salsa “Tu Y Las Nubes”plus some efforts to crosspollinate genres “Zambullete” which are interesting if not particularly successful.
On most of the other tracks, lifeless synths are very prominent, and the arrangements stick to block chords repeated over and over again, giving the sound an elevator music quality. Amor Y Control Blades: However, his third composition, “Mi Cumbia Bomba,” comes off like a calculated attempt to create a hit, with a stale synth groove and excessive nationality-dropping. Initially cultivating a rather stereotypical gangster image, he has become an articulate and responsible public figure – even running for US Congress in – clever at injecting political messages into his music without becoming overbearing.
Generally more mellow than his 70s work, but consistently original and carefully-produced.
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Ironically, she’s the least satisfying part of the record for me: A groundbreaking record, though he would later assimilate these different styles more successfully. Only a few Blades compositions, but they ssin the classics “Pablo Pueblo” and “Pueblo,” and the tunes he didn’t write are also tuneful, and often socially-concerned to boot Habar. Y Vuelve Otra Vez! Todos los derechos reservados. I don’t hear anything here that would be a contender for a greatest hits album.
Even the less intriguing numbers “Despertares” by frequent contributor Amilcar Boscan are fast-paced and clever. And as usual for Fania recordings from this era, the sound is clean but the rhythm section is far back in the mix, so the habkar don’t pack the punch that the tunes and the band were trying to deliver “El Titan”.
But this time most of the tunes are fun and at least intermittently interesting: The lyrics are standard Blades: