Hello,
Today’s artists are Chilean rockers who became the most influential local band during the 1980s and one of the most popular Latin rock acts ever. Singer and bassist Jorge González, guitarist Claudio Narea, and drummer Miguel Tapia decided to start their own band while still high school students. Inexperienced but enthusiastic, they were able to reach a new generation of rock fanatics with their message.....N'Joy
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Los Prisioneros ("The prisoners") were a Chilean rock / pop band formed in San Miguel, Santiago, Chile in 1979. They are considered one of the most important Chilean bands, and arguably the strongest musical influences that Chile has made to Latin American music. In addition, they are considered by Latin American media and musicians pioneers of Rock en español (Rock in Spanish) and the band with strongest socio-political impact in Chile.
Their roots date back to March 1979, when their core members entered high school. From their beginnings in 1983 at the Festival de la Canción del Colegio Miguel León Prado (Miguel Leon Prado High School Song festival) to their first limited release album in Chile under the record label "Fusión Producciones", they struggled to make themselves known until they were able to sign with EMI Records in 1985, re-releasing their first album on LP record and cassette. From that point on, they reached mainstream success in Chile, then in Peru. Los Prisioneros created a simple Punk sound with a mix of Nueva ola, Techno, Synthpop, and Reggae.
Musically, Los Prisioneros marked the beginning of a new musical era in Chile, leaving behind the 1960s folk-inspired music of Víctor Jara and Violeta Parra, and starting the new era of Nuevo Pop Chileno (New Chilean Pop). Their legacy has been recognised by bands such as Glup!, Javiera y Los Imposibles, Lucybell, Los Tetas and La Ley, who together made the tribute album Tributo a Los Prisioneros. They made themselves known for having controversial songs that criticized socio-economic structures, education, economic policies, as well as societal attitudes of Chile and Latin America. Their songs were used by Chilean young people to protest the military dictatorship of Augusto Pinochet. Because of this, Chilean mainstream media banned the group's music between 1985 and 1990, but their music continued to spread in Chile, aided in part by word of mouth and by shared homemade cassette copies. Many Los Prisoneros compositions are among the most important and musically influential songs of Latin America, and Rock en español, particularly the songs "We Are Sudamerican Rockers" and Tren al Sur, and especially El Baile De Los Que Sobran.
The band went through several cast configurations and through several phases and cycles of playing together, dissolving and later reuniting. In their first phase, 1983 to 1991, Los Prisioneros released four albums; three of them are included in the fifty best Chilean records according to Rolling Stone's Los 50 mejores discos chilenos según Rolling Stone. Placing third is La Voz De Los '80, ninth is Corazones and 15th is Pateando Piedras. In early 1990, when Claudio Narea left the band, two new members were added: Robert Rodriguez, guitarist and vocalist from Arequipa, Peru (the only non-Chilean member of the band) and Cecilia Aguayo (keyboard and chorus). By the end of 1991, they decided to dissolve resulting in a 10-year hiatus.
In 2001, their second phase began with a hits album titled Antologia, Su Historia, Y Sus Exitos, and a reunion concert at the Estadio Nacional Julio Martínez Prádanos performing for a total of almost 150,000 people (a feat which no other Chilean band has ever accomplished). In 2003, after they recorded their album titled Los Prisioneros, Jorge González and Claudio Narea had a falling out, resulting in Narea bitterly leaving the band. González and Tapia continued performing, and recorded a cover album titled Los Prisioneros En Las Raras Tocatas Nuevas De la Rock & Pop(The Prisoners In The Strange New Playings of Rock & Pop) with Alvaro Henríquez from Los Tres band. In 2004, the band recorded Manzana (Apple) with new members Sergio "Coty" Badilla and Gonzalo Yáñez; and they go on tour of Canada, The United States, Mexico, Ecuador, Peru, Bolivia, Colombia, and Chile. On February 18, 2006, in Caracas, Venezuela the band performed their last concert. Jorge González moved to Mexico, leaving Tapia and Badilla in Chile. Although they're no longer active, their music continues to be relevant and popular in Latin America.
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The voice of the '80's is the first studio album by the Chilean band Los Prisioneros, released independently under the label Fusión, on December 13, 1984. It was produced by the leader, vocalist, and composer of the songs, Jorge González, although he credited it on behalf of the band. A thousand copies were released in cassette format at the time of its release, nowadays these cassettes are considered relics and rock legends of Chile. In August 1985, The voice of the 8'0 was reissued by EMI Odeón Chilena at a national level and with a Latin American projection, managing to sell in Chile around 100,000 copies.
The album was initially recorded and mostly in the studies of Francisco Straub, but it was finished and mixed in the studios of Caco Lyon. It was characterized by combining the simple sound of guitar, bass and drums; In addition, some of the tracks use a keyboard as an accompaniment and an electric drum. In Pateando piedras, the second album by Los Prisioneros, the sequencers would be more present.6 7 The songs expose critics of the world during the 1980s, achieving in the song "Latin America is a town in the South of the United States" to capture the environment of American imperialism and the Cold War omnipresent in the subcontinent.
It is considered the most important rock album in Chile and also the most important youth album in Chilean music, since the members of the band were not over twenty years of age when they started recording. EMOL included the album inside from his selection of 35 fundamental albums of Chilean popular music. The voice of the '80s was chosen as the third best Chilean album of all time, according to Rolling Stone Chile magazine, surpassed by Machu Picchu Heights, Los Jaivas, in the second place, and The last compositions, by Violeta Parra, in the first place (been there done that)
Los Prisioneros - La Voz De Los '80-'84 (flac 282mb)
01 Doble Opuesto 4:27
02 Placer 4:25
03 En Lugares 4:04
04 Desiertos 5:19
05 Que Va A Suceder 4:22
06 Prisioneros De La Piel 3:21
07 A Veces 4:41
08 Angie 4:33
09 Sasha 3:48
10 Solo Ideales 4:56
Los Prisioneros - La Voz De Los '80-84 (ogg 95mb)
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Pateando piedras (Kicking stones) is the second album by Chilean rock band Los Prisioneros. Pateando piedras is a conceptual album (and second studio album) of the Chilean group Los Prisioneros. It was released on September 15, 1986 in a cassette format in Chile and a 12-inch vinyl in other countries in South America. It was the group's first album to be edited by a multinational company. It sold five thousand copies in its anticipated sale, and reached ten thousand units sold in a short time. The album was preceded by the hit single, "Move Industries," which showed the group acquiring influences from European techno bands like Depeche Mode, and abandoning the simple sound of guitar, bass and drums that had characterized their debut album, La voz of the '80, in 1984.
Pateando piedras receives its title from one of the most emblematic songs of the band, "The dance of those who are left over", a theme that presents a strong social criticism on the part of its main composer, Jorge González, which he defines as a "song to marginalized young people after leaving formal education, "2 and that has become one of the most important songs in the history of Chilean popular music.
Kicking stones meant the band's leap to mass and defeat the censorship imposed by the ruling party, by vetoing them on television and in the media controlled by the dictatorship.2 On November 1, 1986 the group promoted the album with Two recitals to the board returned at the Estadio Chile. The album became famous for its lyrics focused on social themes, danceable sound with electronic components and the personality of the band, as well as highly successful radio songs such as «Move the industries», «Want money», «Why the rich» or "Why do not they leave?"
Los Prisioneros - Pateando Piedras (flac 268mb)
01 Muevan Las Industrias 4:46
02 Por Que No Se Van 2:59
03 El Baile De Los Que Sobran 5:44
04 Estar Solo 4:31
05 Exijo Ser Un Héroe 5:40
06 Quieren Dinero 5:08
07 Por Favor 3:29
08 Por Que Los Ricos 4:54
09 Una Mujer Que No Llame La Atención 3:21
10 Independencia Cultural 4:32
Los Prisioneros - Pateando Piedras (ogg 109mb)
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La cultura de la basura (Spanish for "The culture of Garbage" or "Junk Culture") is the third album by Chilean rock band Los Prisioneros. Due to the heavy censorship of the military regime in Chile, Los Prisioneros focused in promoting the album outside Chile in other Latin American countries; for this purpose, a special Latin American edition was made. Trash Culture is the third album of the Chilean musical group Los Prisioneros, released on December 3, 1987. There are two versions of this album: the Chilean one, which has 14 songs and which was originally only released in cassette, vinyl and in the 90's it was reissued on CD. The second is the Latin American edition, released in 1988 and includes the single "We are South American rockers" and has 10 songs, most of them are remixed or are new versions of the Chilean edition.
The name of the disc makes reference to the neoliberal culture that had been imposed in Chile during the 1980s in the hand of the discourse of economic success presented by the military dictatorship of the time. The title, however, is not explicit if it is an open criticism or if, on the contrary, it is a portrait of this culture considered "garbage". This last idea gains force when the vocalista Jorge González, in an interview realized in Peru, assured that many parts of the song "the culture of the garbage" are not ironic and that, in fact, it likes Raphael and other popular artists that it mentions.
A year after the success of his previous album, Pateando piedras , the group gained even more popularity in Chile. Jorge González decided that the next album was going to be called La cultura de la basura and, starting with the title, the ideas that would materialize in the first demos or demos of the album began.
This album incorporates songs created by Claudio Narea (guitarist) and Miguel Tapia (drummer) -as in the previous album Jorge González was the only composer and lyricist-, of which "We are having a great time", composed and sung in its original version by Narea.
Perhaps the most important of the culture of garbage was its theme, completely critical and direct towards the Chilean military dictatorship, which by those years was already coming to an end. Thus, the song «Power to choose» marks this area precisely. Due to this position, the Prisoners were vetoed and censored by the military, thus closing the doors to them to carry out events in a large part of the country. Also, the media highlighted the Prisoners as "harmful to youth."
In spite of its censorship and the few presentations of diffusion of the disc, several of its songs were very well-known and reached to be true classics of the group. It was recorded in the Fusión studios belonging to his friend and manager Carlos Fonseca. The recording and mixing of the music was in charge of Alejandro Lyon and Antonio Gildemeister, the general coordination was Máximo Quiroz, the producers were the same members of the band and the graphic design was the responsibility of Jacqueline Fresard.
Due to the great censorship that affected the group, it focused almost entirely on spreading its music to the rest of Latin America, becoming internationalized in some way. Thus, the Prisoners created a Hispanic-American edition of the album La cultura de la basura, changing the structures of some songs, and incorporating what would be one of their greatest hits: the song "We are South American rockers". The videoclip of this last song would become the first one broadcast by the MTV Latin America network.
Los Prisioneros - La Cultura De La Basura (flac 353mb)
01 Somos Solo Ruido 1:23
02 De La Cultura De La Basura 3:09
03 Que No Destrocen Tu Vida 4:14
04 Usted Y Su Ambicion 3:48
05 Cuando Te Vayas 4:53
06 Jugar A La Guerra 4:39
07 Algo Tan Moderno 4:48
08 Maldito Sudaca 2:17
09 Lo Estamos Pasando Muy Bien 5:49
10 El Es Mi Idolo 4:20
11 El Vals 3:09
12 Otro Dia 4:37
13 Pa Pa Pa 3:32
14 Poder Elegir 8:02
Los Prisioneros - La Cultura De La Basura (ogg 139mb)
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Corazones ([Hearts] is the fourth album by the Chilean new-wave band Los Prisioneros. First released in 1990, it was produced by Gustavo Santaolalla (with Anibal Kerpel's collaboration) for EMI Odeon Chilena. The album was recorded, mixed and mastered in Los Angeles, California. The lyrics are not related to the band's usual social criticism, but they took a more romantic, electronic oriented direction, with the support of Cecilia Aguayo on keyboards and Robert Rodríguez on guitars. With this work, the band practically left aside social criticism to start a new, much more sentimental and electronic stage. The romantic, intimate and melancholic lyrics that predominate in the album were influenced by the relationship that until then maintained Jorge González with Claudia Carvajal, the wife of the guitarist of the band, Claudio Narea. Although Narea was aware of the affair since February 1989, she remained in the band for financial reasons. However, during a rehearsal conducted in January 1990, Narea would have been forced by Gonzalez to listen repeatedly to the songs of the new album, obviously dedicated to his wife, which motivated his departure from the band two months before the publication of Corazones. For this reason, this was the first album by Los Prisioneros without Narea, who had contributed to the initial recordings of Beaucheff 1435 and continued to be a member of the band while González recorded the album, but did not appear as an interpreter in the finished work. He was replaced by keyboardist Cecilia Aguayo and guitarist Robert Rodríguez. After finishing the promotion tour -which included two performances on the International Music Festival at Viña del Mar (1991) The band split up and would eventually reunite for a brief period in 2001.
According to Rolling Stone Chile magazine, "Corazones" stands #9 on the best Chilean album of all times ranking, while "La voz de los 80" stands #3, and "Pateando piedras", #15.
Los Prisioneros - Corazones (flac 294mb)
01 Tren Al Sur 5:36
02 Amiga Mía 4:02
03 Con Suavidad 5:04
04 Corzones Rojos 3:31
05 Cuentame Una Historia Original 3:49
06 Estrechez De Corazón 6:23
07 Por Amarte 6:03
08 Noche En La Ciudad (Fiesta!) 6:10
09 Es Demasiado Triste 4:51
Los Prisioneros - Corazones (ogg 105mb )
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Today’s artists are Chilean rockers who became the most influential local band during the 1980s and one of the most popular Latin rock acts ever. Singer and bassist Jorge González, guitarist Claudio Narea, and drummer Miguel Tapia decided to start their own band while still high school students. Inexperienced but enthusiastic, they were able to reach a new generation of rock fanatics with their message.....N'Joy
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Los Prisioneros ("The prisoners") were a Chilean rock / pop band formed in San Miguel, Santiago, Chile in 1979. They are considered one of the most important Chilean bands, and arguably the strongest musical influences that Chile has made to Latin American music. In addition, they are considered by Latin American media and musicians pioneers of Rock en español (Rock in Spanish) and the band with strongest socio-political impact in Chile.
Musically, Los Prisioneros marked the beginning of a new musical era in Chile, leaving behind the 1960s folk-inspired music of Víctor Jara and Violeta Parra, and starting the new era of Nuevo Pop Chileno (New Chilean Pop). Their legacy has been recognised by bands such as Glup!, Javiera y Los Imposibles, Lucybell, Los Tetas and La Ley, who together made the tribute album Tributo a Los Prisioneros. They made themselves known for having controversial songs that criticized socio-economic structures, education, economic policies, as well as societal attitudes of Chile and Latin America. Their songs were used by Chilean young people to protest the military dictatorship of Augusto Pinochet. Because of this, Chilean mainstream media banned the group's music between 1985 and 1990, but their music continued to spread in Chile, aided in part by word of mouth and by shared homemade cassette copies. Many Los Prisoneros compositions are among the most important and musically influential songs of Latin America, and Rock en español, particularly the songs "We Are Sudamerican Rockers" and Tren al Sur, and especially El Baile De Los Que Sobran.
In 2001, their second phase began with a hits album titled Antologia, Su Historia, Y Sus Exitos, and a reunion concert at the Estadio Nacional Julio Martínez Prádanos performing for a total of almost 150,000 people (a feat which no other Chilean band has ever accomplished). In 2003, after they recorded their album titled Los Prisioneros, Jorge González and Claudio Narea had a falling out, resulting in Narea bitterly leaving the band. González and Tapia continued performing, and recorded a cover album titled Los Prisioneros En Las Raras Tocatas Nuevas De la Rock & Pop(The Prisoners In The Strange New Playings of Rock & Pop) with Alvaro Henríquez from Los Tres band. In 2004, the band recorded Manzana (Apple) with new members Sergio "Coty" Badilla and Gonzalo Yáñez; and they go on tour of Canada, The United States, Mexico, Ecuador, Peru, Bolivia, Colombia, and Chile. On February 18, 2006, in Caracas, Venezuela the band performed their last concert. Jorge González moved to Mexico, leaving Tapia and Badilla in Chile. Although they're no longer active, their music continues to be relevant and popular in Latin America.
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The voice of the '80's is the first studio album by the Chilean band Los Prisioneros, released independently under the label Fusión, on December 13, 1984. It was produced by the leader, vocalist, and composer of the songs, Jorge González, although he credited it on behalf of the band. A thousand copies were released in cassette format at the time of its release, nowadays these cassettes are considered relics and rock legends of Chile. In August 1985, The voice of the 8'0 was reissued by EMI Odeón Chilena at a national level and with a Latin American projection, managing to sell in Chile around 100,000 copies.
The album was initially recorded and mostly in the studies of Francisco Straub, but it was finished and mixed in the studios of Caco Lyon. It was characterized by combining the simple sound of guitar, bass and drums; In addition, some of the tracks use a keyboard as an accompaniment and an electric drum. In Pateando piedras, the second album by Los Prisioneros, the sequencers would be more present.6 7 The songs expose critics of the world during the 1980s, achieving in the song "Latin America is a town in the South of the United States" to capture the environment of American imperialism and the Cold War omnipresent in the subcontinent.
It is considered the most important rock album in Chile and also the most important youth album in Chilean music, since the members of the band were not over twenty years of age when they started recording. EMOL included the album inside from his selection of 35 fundamental albums of Chilean popular music. The voice of the '80s was chosen as the third best Chilean album of all time, according to Rolling Stone Chile magazine, surpassed by Machu Picchu Heights, Los Jaivas, in the second place, and The last compositions, by Violeta Parra, in the first place (been there done that)
Los Prisioneros - La Voz De Los '80-'84 (flac 282mb)
01 Doble Opuesto 4:27
02 Placer 4:25
03 En Lugares 4:04
04 Desiertos 5:19
05 Que Va A Suceder 4:22
06 Prisioneros De La Piel 3:21
07 A Veces 4:41
08 Angie 4:33
09 Sasha 3:48
10 Solo Ideales 4:56
Los Prisioneros - La Voz De Los '80-84 (ogg 95mb)
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Pateando piedras (Kicking stones) is the second album by Chilean rock band Los Prisioneros. Pateando piedras is a conceptual album (and second studio album) of the Chilean group Los Prisioneros. It was released on September 15, 1986 in a cassette format in Chile and a 12-inch vinyl in other countries in South America. It was the group's first album to be edited by a multinational company. It sold five thousand copies in its anticipated sale, and reached ten thousand units sold in a short time. The album was preceded by the hit single, "Move Industries," which showed the group acquiring influences from European techno bands like Depeche Mode, and abandoning the simple sound of guitar, bass and drums that had characterized their debut album, La voz of the '80, in 1984.
Pateando piedras receives its title from one of the most emblematic songs of the band, "The dance of those who are left over", a theme that presents a strong social criticism on the part of its main composer, Jorge González, which he defines as a "song to marginalized young people after leaving formal education, "2 and that has become one of the most important songs in the history of Chilean popular music.
Kicking stones meant the band's leap to mass and defeat the censorship imposed by the ruling party, by vetoing them on television and in the media controlled by the dictatorship.2 On November 1, 1986 the group promoted the album with Two recitals to the board returned at the Estadio Chile. The album became famous for its lyrics focused on social themes, danceable sound with electronic components and the personality of the band, as well as highly successful radio songs such as «Move the industries», «Want money», «Why the rich» or "Why do not they leave?"
Los Prisioneros - Pateando Piedras (flac 268mb)
01 Muevan Las Industrias 4:46
02 Por Que No Se Van 2:59
03 El Baile De Los Que Sobran 5:44
04 Estar Solo 4:31
05 Exijo Ser Un Héroe 5:40
06 Quieren Dinero 5:08
07 Por Favor 3:29
08 Por Que Los Ricos 4:54
09 Una Mujer Que No Llame La Atención 3:21
10 Independencia Cultural 4:32
Los Prisioneros - Pateando Piedras (ogg 109mb)
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La cultura de la basura (Spanish for "The culture of Garbage" or "Junk Culture") is the third album by Chilean rock band Los Prisioneros. Due to the heavy censorship of the military regime in Chile, Los Prisioneros focused in promoting the album outside Chile in other Latin American countries; for this purpose, a special Latin American edition was made. Trash Culture is the third album of the Chilean musical group Los Prisioneros, released on December 3, 1987. There are two versions of this album: the Chilean one, which has 14 songs and which was originally only released in cassette, vinyl and in the 90's it was reissued on CD. The second is the Latin American edition, released in 1988 and includes the single "We are South American rockers" and has 10 songs, most of them are remixed or are new versions of the Chilean edition.
The name of the disc makes reference to the neoliberal culture that had been imposed in Chile during the 1980s in the hand of the discourse of economic success presented by the military dictatorship of the time. The title, however, is not explicit if it is an open criticism or if, on the contrary, it is a portrait of this culture considered "garbage". This last idea gains force when the vocalista Jorge González, in an interview realized in Peru, assured that many parts of the song "the culture of the garbage" are not ironic and that, in fact, it likes Raphael and other popular artists that it mentions.
A year after the success of his previous album, Pateando piedras , the group gained even more popularity in Chile. Jorge González decided that the next album was going to be called La cultura de la basura and, starting with the title, the ideas that would materialize in the first demos or demos of the album began.
This album incorporates songs created by Claudio Narea (guitarist) and Miguel Tapia (drummer) -as in the previous album Jorge González was the only composer and lyricist-, of which "We are having a great time", composed and sung in its original version by Narea.
Perhaps the most important of the culture of garbage was its theme, completely critical and direct towards the Chilean military dictatorship, which by those years was already coming to an end. Thus, the song «Power to choose» marks this area precisely. Due to this position, the Prisoners were vetoed and censored by the military, thus closing the doors to them to carry out events in a large part of the country. Also, the media highlighted the Prisoners as "harmful to youth."
In spite of its censorship and the few presentations of diffusion of the disc, several of its songs were very well-known and reached to be true classics of the group. It was recorded in the Fusión studios belonging to his friend and manager Carlos Fonseca. The recording and mixing of the music was in charge of Alejandro Lyon and Antonio Gildemeister, the general coordination was Máximo Quiroz, the producers were the same members of the band and the graphic design was the responsibility of Jacqueline Fresard.
Due to the great censorship that affected the group, it focused almost entirely on spreading its music to the rest of Latin America, becoming internationalized in some way. Thus, the Prisoners created a Hispanic-American edition of the album La cultura de la basura, changing the structures of some songs, and incorporating what would be one of their greatest hits: the song "We are South American rockers". The videoclip of this last song would become the first one broadcast by the MTV Latin America network.
Los Prisioneros - La Cultura De La Basura (flac 353mb)
01 Somos Solo Ruido 1:23
02 De La Cultura De La Basura 3:09
03 Que No Destrocen Tu Vida 4:14
04 Usted Y Su Ambicion 3:48
05 Cuando Te Vayas 4:53
06 Jugar A La Guerra 4:39
07 Algo Tan Moderno 4:48
08 Maldito Sudaca 2:17
09 Lo Estamos Pasando Muy Bien 5:49
10 El Es Mi Idolo 4:20
11 El Vals 3:09
12 Otro Dia 4:37
13 Pa Pa Pa 3:32
14 Poder Elegir 8:02
Los Prisioneros - La Cultura De La Basura (ogg 139mb)
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Corazones ([Hearts] is the fourth album by the Chilean new-wave band Los Prisioneros. First released in 1990, it was produced by Gustavo Santaolalla (with Anibal Kerpel's collaboration) for EMI Odeon Chilena. The album was recorded, mixed and mastered in Los Angeles, California. The lyrics are not related to the band's usual social criticism, but they took a more romantic, electronic oriented direction, with the support of Cecilia Aguayo on keyboards and Robert Rodríguez on guitars. With this work, the band practically left aside social criticism to start a new, much more sentimental and electronic stage. The romantic, intimate and melancholic lyrics that predominate in the album were influenced by the relationship that until then maintained Jorge González with Claudia Carvajal, the wife of the guitarist of the band, Claudio Narea. Although Narea was aware of the affair since February 1989, she remained in the band for financial reasons. However, during a rehearsal conducted in January 1990, Narea would have been forced by Gonzalez to listen repeatedly to the songs of the new album, obviously dedicated to his wife, which motivated his departure from the band two months before the publication of Corazones. For this reason, this was the first album by Los Prisioneros without Narea, who had contributed to the initial recordings of Beaucheff 1435 and continued to be a member of the band while González recorded the album, but did not appear as an interpreter in the finished work. He was replaced by keyboardist Cecilia Aguayo and guitarist Robert Rodríguez. After finishing the promotion tour -which included two performances on the International Music Festival at Viña del Mar (1991) The band split up and would eventually reunite for a brief period in 2001.
According to Rolling Stone Chile magazine, "Corazones" stands #9 on the best Chilean album of all times ranking, while "La voz de los 80" stands #3, and "Pateando piedras", #15.
Los Prisioneros - Corazones (flac 294mb)
01 Tren Al Sur 5:36
02 Amiga Mía 4:02
03 Con Suavidad 5:04
04 Corzones Rojos 3:31
05 Cuentame Una Historia Original 3:49
06 Estrechez De Corazón 6:23
07 Por Amarte 6:03
08 Noche En La Ciudad (Fiesta!) 6:10
09 Es Demasiado Triste 4:51
Los Prisioneros - Corazones (ogg 105mb )
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1 comment:
The best part of this post was discovering Los Jaivas :)
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