Like many young hands from Mexico's musical hotbed state of Sinaloa, Adan Romero started performing in a regional Mexican banda as a teenager. Having learned to play bass, trumpet and trombone as a child, he followed his older brother, a singer, into a musical career. But it was after going solo that Romero ground his biggest rewards.
Romero, 27, had success playing shows and even got some airplay with his group, Banda Aires de Sinaloa. Not content to be a local, mostly touring act, Romero sought to develop his recording career.
"When you're in a band with a lot of different opinions, you're limited in your own goals," says Romero. "It wasn't important to me to not earn a lot, but I wanted to invest in the [album] so it would grow little by little. So when I saw I couldn't do it in a band, I left the group."
Taking his place in the band was singer-songwriter Espinoza Paz. With Paz' band and Romero occupying offices next door to each other in the same building, the two became close friends, sharing meals and compositions. Six years ago, Paz -- who would later become regional Mexican music's most in-demand songwriter and a successful solo act in his own right -- handed him a melancholy ballad, "Ahora Te Amo."
Romero sang the song live and eventually recorded it as a midtempo track, combining the brass of banda and the accordion of norte�o, an increasingly popular fusion. The song was eventually re-named "Solo Un Dia," and it's at No. 33 this week on Billboard's Hot Latin Songs chart. "We rescued it, gave it a different style of music, another rhythm," says Romero. "And that's when the song surged."
But labels didn't come calling until Romero personally visited radio stations around Mexico, promoting the single on his own. Radio play in the important Mazatlan market led to the song being picked up in other parts of the country, and eventually to Romero getting signed by Los Angeles-based label La Sierra Records. The label is run by Romero's now manager and veteran show promoter Matias Mesa.
Romero, who wrote three songs on his album (also titled "Solo Un Dia") says Paz will contribute three songs to his next album. In the meantime, he's arrived in the U.S. for two months of promotion and performances at nightclubs and rodeos.
"We have to keep giving it the same touch, so it's important for us to keep in contact with Espinoza because he opened a lot of doors for us with that song," says Romero. Of the musicians working with him on his solo debut, he adds, "I invited three people I knew I could count on and I did the project and gave it everything."
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Thursday, 28 August 2008
Monday, 18 August 2008
Download Magna Carta mp3
 Artist: Magna Carta: mp3 download Genre(s): New Age Discography:  Sanctuary Year: 2005 Tracks: 11 In reform-minded rock circles, Magna Carta are a morsel like the Little Engine That Could -- from relatively modest beginnings in 1969, they've endured across 36 years and tally, regular as their louder, more heavily amplified rivals from the same eRA have long since been consigned to history. Acts such as King Crimson and Emerson, Lake & Palmer whitethorn be better (and practically more than widely) known, but Magna Carta accept stayed together, making music decades thirster. The chemical group was founded in 1969 by Chris Simpson (world Health Organization as well genus Panax quinquefolius) and Lyell Tranter on acoustic Gibson guitars and Glen Stuart relation harmony. Formed in London, they made their debut at the Coalhole Folk Club in Cambridge, and orgasm off of the enthusiastic response to the ten songs they did that nighttime, Magna Carta were wheeling. They were not, purely speech product, a concentrated folk radical even and so, just utilised tribe and traditional elements very to a great extent in their songwriting and levelheaded, in a modal value similar to that adopted by John David Gladwin and Terry Wincott of the Amazing Blondel at roughly the same time.They were sign to Mercury Records' British division and debuted with a self-titled LP. They were then shifted over to the related to Vertigo print -- which was more than specifically devoted to reform-minded rock'n'roll acts -- for their second album, Seasons. By that meter, their sound had coagulated about Simpson's vocalizing, songwriting, and steel-strung Martin D18; Tranter's arrangements and nylon-strung Gibson; and Stuart's vocal arrangements and his five-octave harmony compass. Seasons, produced by Gus Dudgeon, featured as its centerpiece the squinty title of regard work, and also a much larger contingent of musicians, among them Tony Visconti on bass, Rick Wakeman on keyboards, Tim Renwick on fluting, and Davey Johnstone on guitar; it was besides the group's number 1 record to be released in America, under permit to Dunhill Records, though it made almost no impact on the U.S. side of the Atlantic. When Tranter decided to render to his native Australia, Johnstone, a virtuoso-level guitar player liquid in several styles, replaced him in Magna Carta, leading to the core lineup that recorded Songs from Wasties Orchard and the live album In Concert before Johnstone was stolen away -- with avail from Dudgeon, wHO victimized him on his roger Sessions -- by Elton John and, later, Kiki Dee. Johnstone's switch was guitarist Stan Gordon, wHO worked on Master of the Ages (1974) and was united by bassist Graham Smith. By 1975, however, the radical was down to one member -- Gordon and Smith left field in 1974, and a divergence around their heavy and future counseling lED to Stuart's exit in 1975 after the press release of Martin's Cafe (the latter besides pronounced their last expiration on Vertigo). When the fitly highborn Putting It Back Together was released in 1976 -- featuring Simpson, guitar player Tommy Hoy (late of the Natural Acoustic Band), and bassist Nigel Smith, with Chris Karan and Pick Withers on drums -- the mathematical group was on Polydor (the parent label of Vertigo) in Europe and Ariola in the United States. Withers later became an official member of the radical for a short time, before joining Mark Knopfler, David Knopfler, and John Illsley in what became Dire Straits, and early new members from this period included Robin Thyne and Lee Abbott, wHO ultimately took over the bassist post. Thyne and Hoy only lasted a couple of years, and for the next three age the rank in Magna Carta became preferably fluid, with Alistair Fenn, George Norris, and future Albion Band member Doug Morter passing through on guitars, along with several drummers, including future Icicle Works grad Paul Burgess. They enjoyed an unexpected tuner hit during this period with "Main road to Spain" off of the 1981 LP Midnight Blue, and Simpson as well released his first solo album, Listen to the Man, around this like time.The turning point for Magna Carta and Simpson, both professionally and personally, came the next year when he met Linda Taylor, a Yorkshire-born isaac Bashevis Singer and guitarist. At the meter, Simpson was promoting his solo individual "Bite of the Gin," and she was recording a corporeal of her have. He over up playing on some of her sides, and she appeared on some of his new songs, and by 1983 she'd coupled the group. Her arrival refreshed Simpson's act, and through 1984 -- a head where about all of the other progressive rock bands with which they'd started had long since ceased working -- Magna Carta unbroken acting and transcription, with Simpson and Taylor, supported by Abbott, at the congress of Racial Equality of the batting order. The middle of the decade, however, saw the couple retire from performing -- instead, for two eld they ran a music club in the Middle East. It was in 1986 that they reanimated the group, with Abbott one time more joining them in the core lineup and a considerably expanded sound, including a keyboard musician (Gwyn Jones) and lead guitarist (Paul Simon Carlton). In 1990 Simpson and Taylor matrimonial, and since 1992 with Abbott's outlet, they've comprised the core of Magna Carta, which continued to enlistment Europe -- where the stria had a large audience -- regularly. In keeping with their appeal as a live playact, most of their releases since the early '80s (with the notable exclusion of 2001's Seasons in the Tide) make been concert recordings. Polygram reissued the group's early Vertigo albums at the goal of the nineties, and in 2004 Repertoire Records re-released Seasons in a mini-LP foldout edition re-creating its original packaging format in miniature. Although some critics, abashed by the more pretentiously "arty" and elfin sides of progressive rock (particularly in its folk division) have verbalized contempt for Magna Carta, that reissue and the periodic liberation of anthologies of the group's work bear witness to the cosmos of an audience for their work, even 40 eld into their history. |
Muse happy with leaked Streets collaboration
Friday, 8 August 2008
Resurrection Band
Artist: Resurrection Band
Genre(s):
Other
Discography:
Mommy Don't Love Daddy Anymore
Year: 1981
Tracks: 11
Christian rock pioneers the Resurrection Band formed during the former 1970s, a product of the Jesus People USA revival encounter movement wholesale the w coast during that clock time; comprising vocalists Glenn and Wendi Kaiser, guitarist/keyboardist Stu Heiss, bassist Roy Montroy and drummer John Herrin, the mathematical group -- too known as plainly Rez -- debuted in 1974 with Music to Raise the Dead, followed that same year by All Your Life. After a four-year hiatus, Resurrection Band resurfaced with Awaiting Your Reply, kickoff a exceedingly prolific period which byword the mathematical group issuing a new LP almost every year through the mid-1980s. With 1988's Silence Screams, they inaugurated their possess label, Grrr Records.
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