Feb 22, 2018

RhoDeo 1807 Re-Ups 132

Hello, just 5 correct requests for this week and as usual requests that totally ignore my 12 months limit, whatever another batch of 16 re-ups (4.7 gig)

These days i'm making an effort to re-up, it will satisfy a small number of people which means its likely the update will  expire relatively quickly again as its interest that keeps it live. Nevertheless here's your chance ... asks for re-up in the comments section at the page where the expired link resides, or it will be discarded by me. ....requests are satisfied on a first come first go basis. ...updates will be posted here remember to request from the page where the link died! To keep re-ups interesting to my regular visitors i will only re-up files that are at least 12 months old (the older the better as far as i am concerned), and please check the previous update request if it's less then a year old i won't re-up either.

Looka here , requests fulfilled up to February 21th.... N'Joy

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3x Sundaze Back In Flac ( Future Sound Of London - ISDN, Future Sound Of London - Lifeforms,  Future Sound Of London - Archives Vol 1)

4x Aetix Back In Flac (Joe Jackson - I'm The Man, Joe Jackson - Look Sharp !, Joe Jackson Band - Beat Crazy, Joe Jackson - Jumpin' Jive)

3x Alphabet Soup NOW in Flac (Masters Of Reality - Sunrise On The Sufferbus, MC 900 Ft Jesus - Welcome To My Dream, Mono - Formica Blues)

3x Aetix Back In Flac (Elvis Costello - My Aim Is True, Elvis Costello - Armed Forces, Elvis Costello - Get Happy)

3x Grooves Back in Flac (The Temptations - 1990, The Temptations - In Japan!, The Temptations - A Song For You)

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Feb 21, 2018

RhoDeo 1807 Aetix

Hello, so the richest country on the planet leads on the winter olympics medal table, with just 5 million citizens they just manage to keep 80 million Germans behind them ah yes those arian super (wo)men from Norway aren't that contaminated Hitler would have said. Meanwhile that amalgimation of the human cultures in the USA is having a rather poor games, despite having 320 million inhabitants, even media darling Lindsay Vonn just now missed out on the goldmedal (she was expected to win gold in the downhill). How come a country like Norway with 1/64 the amount of citizens score twice as many medals ? This is a serious question the US should ask itself. What about the UK then, well they're the leading country in the most suicidal of sports, skeleton ah yes no surprise there.

Today's artists  are an Australian rock music band composed of Peter Garrett (vocals, harmonica), Rob Hirst (drums), Jim Moginie (guitar, keyboard), Martin Rotsey (guitar) and Bones Hillman (bass guitar).  The band's music typically broaches political subjects, including the mistreatment of indigenous Australians and the environmental impact of nuclear power, and they have often lent their support to left-wing causes. The group have won eleven Australian Recording Industry Association (ARIA) Awards, and were inducted into the ARIA Hall of Fame in 2006. Midnight Oil's legacy has grown since the late 1970s, with the band being cited as an influence, and their songs covered, by numerous popular artists.........N'Joy

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Australia's Midnight Oil brought a new sense of political and social immediacy to pop music: not only did incendiary hits like "Beds Are Burning" and "Blue Sky Mine" bring global attention to the plight of, respectively, Australia's indigenous people and working class, but the group also put its money where its mouth was -- in addition to mounting benefit performances for groups like Greenpeace and Save the Whales, frontman Peter Garrett later became a member of the Australian House of Representatives on the Labor ticket.

The band formed in Sydney in 1971 as Farm, and originally comprised guitarists Jim Moginie and Martin Rotsey, drummer Rob Hirst, and bassist Andrew "Bear" James; Garrett, a law student known for his seven-foot-tall stature and shaven head, assumed vocal duties in 1975, and the group soon rechristened itself Midnight Oil. After months of sporadic gigs, they began making the rounds to area record companies; following a string of rejections, the group formed its own label, Powderworks, and issued its self-titled debut -- a taut, impassioned collection of guitar rock that quickly established the Midnight Oil sound -- in 1978.

After declaring their independence from the music industry, Midnight Oil grew increasingly active and outspoken in the political arena; after performing in opposition to uranium mining, they supported the Tibet Council before turning their attentions to the unfair practices of the local music industry, and formed their own booking agency in response to the monopoly exerted by area agents and promoters. With their 1979 sophomore effort, Head Injuries, the band scored its first hit single, "Cold Cold Change," and earned a gold record. James left the band the following year due to health problems; with new bassist Peter Gifford, they cut the EP Bird Noises, another chart success.

With 1981's Place Without a Postcard (recorded with producer Glyn Johns), Midnight Oil achieved platinum status on the strength of the smash "Armistice Day," which won the group an American deal with Columbia Records. Their follow-up, 1983's 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, spent over two years in the Australian Top 40; after 1984's Red Sails in the Sunset, Garrett made a run at the Australian Senate on the Nuclear Disarmament Party ticket, losing by only a narrow margin. Participation in the Artists United Against Apartheid project followed, leading directly into Midnight Oil's increased interest in the battles of Australia's indigenous population and a tour, dubbed "Black Fella White Fella," with the Warumpi Band.

The plight of Indigenous Australians fueled much of 1987's Diesel and Dust, the Oils' breakthrough record; sparked by the hit single "Beds Are Burning," the album reached the U.S. Top 20 and made the band a household name. After bassist Dwayne "Bones" Hillman (ex-Swingers) replaced Gifford, Midnight Oil returned with 1990's Blue Sky Mining, which they followed with a concert outside of the Exxon corporation's Manhattan offices in protest of the company's handling of the Alaskan oil spill. (A film of the performance titled Black Rain Falls was later released, with profits going to Greenpeace.) The album Earth and Sun and Moon appeared in 1993, followed three years later by Breathe.

Midnight Oil next resurfaced in 1998 with Redneck Wonderland. The Real Thing, only available in Australia, followed in 2001. It was a solid collection of new songs and live tracks from Midnight Oil's magnificent run at the Metro Theatre in Sydney. Capricornia, issued on Liquid 8 in spring 2002, marked the band's 14th album of its career. In December, Peter Garrett announced his split from the band after 25 years. Garrett, who left Midnight Oil on good terms, decided to pursue politics full-time. In 2004, Garrett ran for the House of Representatives on the Labor ticket. He won the Kingsford Smith seat in New South Wales and was appointed as Shadow Parliamentary Secretary for Reconciliation and the Arts in 2005. In 2007, Garrett was appointed as Minister for the Environment, Heritage and the Arts by Prime Minister-elect Kevin Rudd, and he continued to serve in various capacities until 2013, when he chose to conclude his political career.

While Peter Garrett served in the Australian government, the other members of Midnight Oil pursued various musical projects. The most prominent of these was Ghostwriters, a band featuring drummer Rob Hirst and guitarist Martin Rotsey. In 2009, Midnight Oil reunited with Garrett for three concerts, culminating in a charity show for Sound Relief. In 2016, a few years after Garrett retired from politics, Midnight Oil announced via their website that they were exploring a possible live and studio reunion in 2017.

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Midnight Oil's second international release found them ambitiously taking on a variety of lyrical causes in a variety of musical styles. Their basic approach, with its martial rhythms, chanted vocals, and guitar textures, served as a jumping-off place, but they always sounded more assured when they stuck to that, rather than trying other things. And the unrelentingly judgmental tone of the lyrics, sung with dead seriousness by Peter Garrett, tended to douse the album's potential enjoyment, too. (It's hard to dance when you're being lectured to.) It wasn't much of a surprise when Garrett decided to run for the Australian Senate shortly after this album's release.

Midnight Oil - Red Sails in the Sunset (flac  290mb)

01 When The Generals Talk 3:31
02 Best Of Both Worlds 4:05
03 Sleep 5:08
04 Minutes To Midnight 3:07
05 Jimmy Sharman's Boxers 7:22
06 Bakerman 0:51
07 Who Can Stand In The Way 4:33
08 Kosciusko 4:40
09 Helps Me Helps You 3:23
10 Harrisburg 3:48
11 Bells And Horns In The Back Of Beyond 3:14
12 Shipyards Of New Zealand 5:50

Midnight Oil - Red Sails in the Sunset   (ogg  125mb)

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Midnight Oil frontman Peter Garrett has long been active in elective politics in Australia, and like any good politician, he knows that sometimes the most important thing is to get your message out to the masses, even it means speaking with a bit less force than might be your custom. While the hard edges and challenging angles of 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 and Red Sails in the Sunset made Midnight Oil bona fide superstars in Australia, they were little more than a rumor in most of the rest of the world, and for their sixth album, Diesel and Dust, Midnight Oil made some changes in their approach. On Diesel and Dust, there's less in the way of bruising hard rock like "Best of Both Worlds," nothing as eccentric as "Outside World," and very little as esoterically regional as "Jimmy Sharman's Boxers," while the production favors the tuneful side of the band's songwriting (which, truth to tell, was always there) and buffs away some of the group's harsher edges. As a result, Diesel and Dust isn't an album for hardcore Oils fans, but as a bid for a larger audience, it was both shrewd and well executed -- it was the group's first real worldwide success, going platinum in America and spawning a massive hit single, "Beds Are Burning." While the album lacks the kick-in-the-head impact of their earlier work, Diesel and Dust also makes clear that the bandmembers could apply their intelligence and passion to less aggressive material and still come up with forceful, compelling music, as on the haunting "The Dead Heart" and the poppy but emphatic "Dreamworld." And as always, there was no compromise in the band's forceful political stance -- most of the album's songs deal openly with the issues of Aboriginal rights (hardly an issue pertinent only to Australians), and one of Midnight Oil's greatest victories may well be writing a song explicitly demanding reparations for indigenous peoples, and seeing it top the charts around the world. And the closer, "Sometimes," may be the finest and most moving anthem the band ever wrote ("Sometimes you're beaten to the core/Sometimes you're taken to the wall/But you don't give in"). Diesel and Dust is that rarity, a bid for the larger audience that's also an artistic success and a triumph for leftist politics -- even the Clash never managed that hat trick this well.

Midnight Oil - Diesel And Dust (flac  284mb)
01 Beds Are Burning 4:14
02 Put Down That Weapon 4:38
03 Dreamworld 3:36
04 Arctic World 4:21
05 Warakurna 4:38
06 The Dead Heart 5:10
07 Whoah 3:50
08 Bullroarer 4:59
09 Sell My Soul 3:35
10 Sometimes 3:53

Midnight Oil - Diesel And Dust     (ogg  116mb)

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Success didn't change Midnight Oil with their 1990 album Blue Sky Mining. The Australian band had finally broken through with their previous record, Diesel and Dust, but chart accomplishments didn't temper the group. Blue Sky Mining found lead singer Peter Garrett and the boys singing about familiar themes with their usual passion. The songs aren't quite on par with those from Diesel and Dust, but there's still enough here to make it a worthy follow-up. The lead track "Blue Sky Mine" deals with the oppression of the lower working class within the context of a mining company. The immediately catchy cut managed to find mid-chart success. Other notable tracks are the driving "Forgotten Years," which also managed a bit of airplay, and the menacing "Mountains of Burma." The band stumble only once, on the clumsy love song "Shakers and Movers."

Midnight Oil - Blue Sky Mining (flac  270mb)
01 Blue Sky Mine 4:18
02 Stars Of Warburton 4:43
03 Bedlam Bridge 4:25
04 Forgotten Years 4:21
05 Mountains Of Burma 4:50
06 King Of The Mountain 3:58
07 River Runs Red 5:23
08 Shakers And Movers 4:32
09 One Country 5:56
10 Antarctica 4:22

Midnight Oil - Blue Sky Mining   (ogg  109mb)

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Feb 20, 2018

RhoDeo 1807 Roots


Today’s artists are Chico Trujillo one of the most important orchestras in Chile. They are the soundtrack of all parties, from Arica to Punta Arenas. Their mix of classical cumbia, bolero, Latin American, Balkan and reggae music has assured them an audience of all generations and lifestyles.

The group began as a branch of the punk / ska band LaFloripondio in 1999 in Valparaíso. Twelve years and five albums later, they have come to symbolize a unique cocktail that has its roots in the cumbia of the pre-Pinochet days and has managed to incorporate all aspects of Chilean popular culture. They have been able to mix pieces of the past with the global influence of alternative culture and have merged it all under the Pan-American flag of cumbia. The exuberance of the band represents a welcome return to the world of dance party and nocturnal pleasures.......N'Joy

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The New Chilean Cumbia also known as New Chilean Cumbia Rock (Spanish: Nueva cumbia chilena, Nueva cumbia rock chilena) is a subgenre of cumbia music that originated in Chile in the early 2000s and that largely surfaced in mainstream media in 2009 and 2010. In contrast to older cumbias the lyrics of New Chilean Cumbia deals more with urban life and combines aspects of rock, hip hop and a wide variety of Latin American genres like Andean music, salsa, the son, reggae, boleros, ska, Latin-African music, diablada and even folklore from the Balkans, like the Klezmer, and Gipsy music.

While the movement has various influences its roots lie in the Chilean cumbia tradition established by Orquesta Huambaly, Giolito y su Combo, Orquesta Cubanacán, La Sonora Palacios and Sonora de Tommy Rey, but in contrast to these bands the New Chilean Cumbia is aimed towards a younger public. The New Chilean Cumbia public comes often from the middle classes.

The movement have been contrasted to the heavily aired and commercialized Chilean Romantic Cumbia whose commercially most successful acts are La Noche and Américo. The New Chilean Cumbia is also distinct from the Argentine Cumbia Villera a genre that enjoys certain popularity in Chile and relyes on synthesizers and focus on marginal shanty town life.

The most popular New Chilean Cumbia acts include: Chico Trujillo, Juana Fe, La Mano Ajena, Banda Conmoción, Villa Cariño, Combo Ginebra, La María Goyo (psychedelic cumbia), Sonora Barón and Santa Feria.

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La Mano Ajena is a Chilean band founded in 2002 that mixes rhythms from Eastern Europe, Latin America, France and Russia, blending all these sounds in a pastiche that also unites the tendencies of each member of the band: rock, punk, Latin American folklore and theater music. This musical project is unique in Chile, and its hybrid sound has been called "klezmer a la chilena" by press.

Its first references were Jazz manouche, Klezmer, Balkan and Gypsy music, rhythms to which later they would incorporate Latin influences like Cumbia, Mambo, Cha-cha-cha, Tango and Rumba; creating a cosmopolitan sonority. From its beginning, the band was a precursor in spreading the Gypsy, Balkan and Klezmer rhythms in Chilean stages; and today, after almost a decade, they are one of the most important and celebrated bands from the so called “new culture of musical carnival” that has taken place in Chile in the last years.

La Mano Ajena has played in many stages abroad and inside of Chile, in countries as Denmark, Spain, Serbia and Argentina. In Santiago, they have shared stage with bands as Gogol Bordello and Emir Kusturica & The No Smoking Orchestra. In January, 2009, they became the first and only Latin American band to participate in the Küstendorf Film and Music Festival in Serbia, created by the twice Palm d’Or winner in Cannes and world famous filmmaker Emir Kusturica, whose band The No Smoking Orchestra is the main and most important reference concerning Balkan and Gypsy music in the world.

La Mano Ajena incorporates in its work a traditional repertoire sung in diverse languages: Gypsy language, Yiddish, Hebrew, French, English and Spanish. Its members are 8 multi-instrumentalists: Rodrigo Latorre, soprano saxophone, alto saxophone, baritone saxophone, guitar, piccolo flute, keyboard and theremin; María Fernanda Carrasco, vocals, keyboard, melodica and minor percussion; Danka Villanueva, violin and marimba; Gabriel Moyla, accordion, alto saxophone and baritone saxophone; Jair Moreno, clarinet; Álvaro Sáez, drums, darbuka and djembe; and Cristian Aqueveque, electric bass and double bass. Most of them have been part of important Chilean theater companies.

During 2006 they went on their first European Tour, doing shows in several cities of Denmark and Spain. On that same year, their first album was released in Spain by the Fundación Autor record company. In 2008, on their second European tour, they played 19 times in different Danish cities. On November 2009, La Mano Ajena opened the concert of the world famous New York gypsy punk band Gogol Bordello, on their first visit to Chile.

In Chile, they have played in some of the most important stages of the country, and their versatility has led them to create original music and songs for television shows. In 2009, they participated in “Leche para Haití” a charity concert created to raise funds for children in Haití; and they were part of the cultural program “Creando Chile en mi barrio” (“Creating Chile in my neighborhood”), organized by the Chilean Ministry of Culture, where, as a cultural delegation, they travelled around the country playing in different stages, recording new tracks, teaching lessons and sharing their experiences with new musicians and bands from different corners of Chile.

In 2010, they created the Music School Escuela Ajena, in which all the band members shared their musical knowledge with children, teenagers and adults. This idea was related to the band's interest for teaching to younger generations specially, and it was also a result of the musicians' social concerns. La Mano Ajena is currently recording their third album in studio, Raza Quimera was released at the end of 2011.

La Mano Ajena - I   (flac  313mb)

01 Aves Errantes 3:56
02 Behusher Khusid 3:40
03 Ashrenu (Doyna) 4:26
04 Danza Alegre Epoca Cose 4:44
05 Favella 5:48
06 Wewo 4:23
07 Tango A La Django 3:59
08 Joropo 4:17
09 Ot Azoy 4:17
10 Maria Derrumba Mi Rumba 6:25

La Mano Ajena - I (ogg   113mb )

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The origin of one of Chile’s most famous modern bands, Chico Trujillo, is so well known in music circles in Chile it’s entered popular folklore, and can pretty much be described by two words: an accident. Born from sporadic jam sessions between classes, travels and commitments with other groups, the band from Villa Alemana in the Valparaíso Region almost never came to be. If you’re at all familiar with modern Chilean music, you know what a loss that would have been; a decade on and Chico Trujillo has not only carved a name for itself as one of Chile’s most beloved bands, it’s also helped carved out a whole new genre of music, nueva cumbia chilena, or new Chilean cumbia. It’s a sound that brings the classic sounds of cumbia to an urban environment…and mashes it up with influences as diverse as hip-hop and Andean folk, rock and salsa.

The band formed in 1999 in Villa Alemana, Zona Central, Chile, following a tour that lead singer Aldo Enrique Asenjo Cubillos - known as “Macha” - undertook with his then band La Floripondio through the cities of Germany, the Netherlands and Austria. Chico Trujillo’s first songs were born of jamming sessions with Asenjo and his friend Antonio Orellana, and their sound gradually attracted new members to the band. This lineup led to their first album, Chico Trujillo y la Señora Imaginación, in 2001.

Chico Trujillo has performed concerts at universities, musical venues, festivals and various events, including the Cumbre Guachaca Chilena at Estación Mapocho and concerts campaigning for the rights of the indigenous Mapuche. They have also featured on the Lollapalooza music festival lineup in both Santiago and Chicago.

Chico Trujillo mixes original songs with traditional cumbia, exploring styles as diverse as boleros and ska, Andean folk and hip hop, reggae and rock, in a popular live act. A post on the New York Times Artsbeat blog described Chico Trujillo’s signature sound:

    “Every party band needs a rhythm, and Aldo Asenjo, the band’s leader and singer, relies on cumbia, the beat heard in countless variations across Latin America. Cumbia often trots calmly, but Chico Trujillo’s version gallops, bounding along; now and then, the music switches into rumba, equally upbeat. Mr. Asenjo sings lyrics as chattery and percussive as some hip-hop, taking on the ups and downs of love and life, with his voice answered by chortling horns — did he borrow the arranging idea from ska bands? — and a tootling, circusy organ. Syncopation, momentum and a way of romping through pain — a party band needs them all, and Chico Trujillo has them.”

As they themselves explain, Chico Trujillo has “been able to mix pieces of the past with the global influence of alternative culture, bringing it all together under the Pan-American flag of the cumbia.”

Chico Trujillo - Cumbia Chilombiana   (flac  279mb)

01 Medallita 4:31
02 Pollera Amarilla 3:46
03 Conductor 2:50
04 Calentones 2:42
05 Gauraré 3:18
06 No Me Busques 3:16
07 Sombrero 4:51
08 La Escoba 2:48
09 Mira Si No He De Venir 2:13
10 Regresa 4:17
11 Mix Chilombiano 5:12

Chico Trujillo - Cumbia Chilombiana (ogg   96mb)

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Chico Trujillo's  Gran Pecador hits home, comparisons with Argentina's Fabulosos Cadillacs are inevitable--the wonderfully complex horn lines, the irresistible melodies, clever lyrics, and punkish blend of Latin music styles are all similar. They also remind me of Austin's brilliant Grupo Fantasma, another gonzo cumbia outfit. If you've been jonesing for something that will get you off like the Cadillacs in their prime, look no further.

Even the lesser material--like the shamelessly sexist "Linda secretaria"--has such powerful hooks that you'll be hard pressed not to sing along. And instead of being front-loaded, like so many albums, Gran Pecador just gets better and better as it goes, climaxing with the 1-2-3 punch of the rip-roaring "Negra santa," the gorgeous, sad, spare, and completely un-ironic "Fuera de mi vida," and the stunning "Fiesta de San Benito," which incorporates haunting Andean indigenous melodies (think Inti-Illimani) in its powerhouse horn lines. This is an instant classic, required listening for fans of Manu Chao, Sargent Garcia, the Cadillacs, or Grupo Fantasma

 Chico Trujillo ‎- Gran Pecador (great sinner)   (flac  222mb)

01 Caleta Vargas 4:11
02 Asi Es Que Vivo Yo (Sigue La Fiesta) 3:38
03 La Banda De Mi Vecino 3:45
04 Gran Pecador 3:31
05 Calientame La Sopa Con Un Hueso 2:33
06 Se Baila O No Se Baila 2:14
07 Linda Secretaria 3:17
08 Negra Santa 2:32
09 Fuera De Mi Vida 2:53
10 La Fiesta De San Benito 3:46

Chico Trujillo ‎- Gran Pecador   (ogg  78mb)

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After 10 years of playing in Santiago’s cumbia-punk underground, Chico Trujillo has been hailed by The New York Times as a “world-class party band.” Fusing punk rock and classic Latin grooves with a touch of ska, this energetic eight-piece band has been the soundtrack to parties all around the world, including Lollapalooza.

Chico Trujillo play cumbia with a twist. Cumbia is a Colombian rhythm based on the West African groove that gave birth to blue beat and ska in Jamaica. In Colombia it became cumbia, the country's signature sound. In many parts of South America, particularly Chile, cumbia is more popular than salsa. Chico Trujillo started as a side project of the Chilean ska band La Floripondio (The Magnolia), but soon became the main attraction for the musicians involved. Chico de Oro (A Little Gold) is the band's first North American release and includes popular cuts from three of the band's Chilean albums, hence the punny title. Chico Trujillo use cumbia's irresistible pulse as a jumping-off place for their own particular sound, a hybrid that includes salsa, soca, ska, surf music, jazz, chicha, and other Latin and Caribbean flavors. The band's music is relentlessly upbeat, and this album will get any party up and moving. The album opens with the insanely catchy "Varga Varga," an amalgamation of cumbia and salsa driven by a blazing horn section with Michael Magliocchetti adding some twangy spaghetti Western guitar and Camilo Salinas playing a few fine Cuban-style piano fills. "Conductor" showcases "Oso" Tabile's big boozy trombone and a tongue-twisting call and response between vocalist Macha Asenjo and the ensemble; "Loca" is marked by Asenjo's passionate crooning, forceful horn accents, shimmering surf guitar, and Salinas' uncontained Farfisa; while "Pollera Amarilla" is driven by odd staccato guitar playing a Brazilian melodic line that's reminiscent of Carmen Miranda's "Chica Boom Chic." The band pays tribute to its ska roots with "Maria," a quiet skank with acoustic accordion and Magliocchetti adding some jazzy Les Paul-goes-to-Chile electric guitar ornamentation, and the pan-Latin rave up of "Ahora Quien," which blends ska, cumbia, and rhumba. The band only slows down for "Cabildo," a moody bolero with a sultry trumpet solo by Zorra Cabezas that morphs into a percussion jam featuring a long spoken word outro.

Chico Trujillo - Live At California Plaza   (flac  349mb)

01 Intro 1:51
02 Chico Trujillo Live July 27 2013
03 Chico Trujillo Live July 27 2013
04 Chico Trujillo Live July 27 2013
05 Chico Trujillo Live July 27 2013
06 Chico Trujillo Live July 27 2013
02 Chico Trujillo Live July 27 2013
02 Chico Trujillo Live July 27 2013
02 Chico Trujillo Live July 27 2013
02 Chico Trujillo Live July 27 2013
02 Chico Trujillo Live July 27 2013
02 Chico Trujillo Live July 27 2013
02 Chico Trujillo Live July 27 2013
14 Outro 1:12

Chico Trujillo - Live At California Plaza (ogg  160mb)

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Marca Chancho is the fourth studio album by the Chilean band Chancho en Piedra. Strongly inspired by popular culture and traditional music mixed with rock, it has a wide variety of themes and rhythms ranging from the most traditional rock, through the bossanova, to the cueca. This album includes a theme that would be a great success in the group's career, "Eligiendo una reina", a well-known and well-known subject among Chilean youth that critically criticizes the overvaluation of female physical beauty on television and entertainment. from a local point of view.

The cover and the design of the album take as reference the classic American soup label Campbell popularized by the father of pop art, Andy Warhol.

Chancho en Piedra - Marca Chancho   (flac  392mb)

01 Popular Condimento 0:32
02 Buenos Días A Todos 5:15
03 Eligiendo Una Reina 4:05
04 Lophophora 2:21
05 Historias De Amor Y Condón 4:47
06 Kiltro Virtual 3:38
07 Quiero Comer... 0:08
08 El Curanto 4:19
09 Mampato 6:47
10 Brocacochi 2:42
11 Los Huilles 0:25
12 Hermanos Marranos 3:16
13 El Día En Que Los Gatos Hicieron Las Paces Con Los Ratones 3:28
14 Me Vuelvo Mono 3:59
15 Patá En La Raja 1:52
16 El Durazno Y El Melón 4:01

Chancho en Piedra - Marca Chancho (ogg  128mb)

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