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Un Retrato de la Voz del Danzon * by Barbarito Diez (CD - 08/18/2005)
 

Un Retrato de la Voz del Danzon * by Bar...

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Un Retrato de la Voz del Danzon * by Barbarito Diez (CD - 08/18/2005)
"Un Retrato de la Voz del Danzon *" (08/18/2005) International Diez, Barbarito, Yoyo USA

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$7
Una Lagrima Y Un Recuerdo [3/15] *
 

Una Lagrima Y Un Recuerdo [3/15] *

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Una Lagrima Y Un Recuerdo [3/15] *
"Una Lagrima y un Recuerdo [Brentwood/Coro]" (03/15/2005) International Grupo Miramar, BCI Music (Brentwood Communication)

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Frecuencias de un Rojo Devastador * by Emak Bakia (CD - 03/23/2004)
 

Frecuencias de un Rojo Devastador * by E...

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Frecuencias de un Rojo Devastador * by Emak Bakia (CD - 03/23/2004)
"Frecuencias de un Rojo Devastador *" (03/23/2004) International Bakia, Emak, Phantom Import DistributionRecording information: Casa. Unknown Contributor Roles: David Fernandez; Coque Yturriaga; Abel Hernandez.

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UN by Chumbawamba (CD - 06/08/2004)
 

UN by Chumbawamba (CD - 06/08/2004)

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UN by Chumbawamba (CD - 06/08/2004)
"UN" (06/08/2004) Rock & Pop Chumbawamba, Koch Records (USA)Chumbawamba: Jude Abbott (vocals, trumpet); Louise Watts (vocals, keyboards); Danbert Nobacon, Dunstan Bruce, Alice Nutter (vocals); Neil Ferguson (bass guitar); Harry Hamer (drums). Personnel: Boff (vocals, guitar); Jude Abbott (vocals, trumpet); Louis Thomas Watts (vocals, keyboards); Harry Hamer (vocals, drums); Alice Nutter, Dunstan Bruce, Danbert Novacon, Neil Ferguson (vocals); Gill Pearson (violin); Andy Cutting (accordion); Una Corda (keyboards). Additional personnel: Justin Sullivan. Recording information: Shabby Road Studios, Bradford, West Yorkshire, England (2003). Author: John Lennon. Photographer: Casey Orr. Unknown Contributor Roles: Simon Lanzon; Pat Grogan. Arranger: Chumbawamba. Though its clickable stream isn't as satisfying as the manual tune of a shortwave, Internet radio is still an effective international transmitter for localized sounds and ideas. The crew of a supertanker might joyfully discover a stream for New York hip-hop powerhouse Hot 97, for example, and blast Jay-Z into the inky Indian Ocean night. Conversely, the Internet grants a profound reach to the rants of the average soapbox idealist, whose words might burst with sudden and unlikely force from tinny desktop speakers half a world away. These bitstream cultural transfers -- both the wanted and the unwanted -- are the impetus for the grumbling lovely global village of Chumbawamba's UN. Its rousing punk past put on a shelf, the veteran collective of outsider Brits has crafted a set from international bits of found sound and World Wide Web crosstalk both extreme and goofy. There's the usual vocal harmony keen, and a bed of acoustic guitars and subtle electronic programming holds the whole thing together. "Just Desserts" begins with a scratchy prayer group recording, before winding into an accordion-fueled support platform for Global Pastry Uprising. Is that Billy Bob Thornton telling the anecdote at "Everything You Know Is Wrong"'s start? Unclear, but the cut's poppy acoustic bop cloaks its recitation of some of the most significant conspiracies, controversies, and violent events of the recent era, not to mention Chumba's position that stuffed-shirt agendas were behind them all. The song's a rabble-rouser, for sure, but just one in this UN's nation-by-nation Bad Stuff survey. It joins "Be With You," which gives support to Zimbabwean cricketers protesting President Mugabe; "Buy Nothing Day"'s endorsement of Adbusters magazine's infamous anti-consumerism movement; and "I Did It for Alfie," the story of a parent's personal protest against the world he brought his child into. These themes tend to take precedence over Chumbawamba's music. It has evolved into a nice-enough amalgam of samples and folktronica, but can be a bit bland on its own terms. The music seems much more comfortable when its political and social observations are seamless with its beats and breaks. Standouts in this respect include "A Man Walks into a Bar," which is topped off with evocative Latin rhythms, but is also a clever and explosive indictment of the Cuban embargo. "Following You" is a hopeful tribute to humanizing urban space, and "Rebel Code" celebrates Linux and the Open Source Revolution. By posting missives about problems on an international scale (and using the Internet for source material), Chumbawamba has effectively moved its brand of activism into a new phase as borderless as the powers-that-be it struggles against. ~ Johnny Loftus

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Un Slow Pour S'aimer
 

Un Slow Pour S'aimer

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Un Slow Pour S'aimer
"Un Slow Pour S'Aimer" (12/19/2001) International Francois, Frederic, BMG (distributor)

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Un-United Kingdom [EP] by Pitchshifter (CD - 06/11/2002)
 

Un-United Kingdom [EP] by Pitchshifter (...

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Un-United Kingdom [EP] by Pitchshifter (CD - 06/11/2002)
"Un-United Kingdom [EP]" (06/11/2002) Rock & Pop Pitchshifter, Virus (USA)Pitchshifter includes: J.S. Clayden. Personnel: J.S. Clayden (vocals, programming); Johnny Carter (guitar, programming); Jim Davies (guitar). Audio Mixer: Pitchshifter. Audio Remixer: Fuzz Townshend. Recording information: Confetti Studios, Nottingham.

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$3
Per un Amico by PFM (CD - 07/20/1998)
 

Per un Amico by PFM (CD - 07/20/1998)

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Per un Amico by PFM (CD - 07/20/1998)
"Per un Amico" (07/20/1998) Rock & Pop PFM, Sony BMG Music (Canada) (DisitributThis 1972 release from Italian progressive rock band PFM (Premiata Forneira Marconi) includes the tracks "Appena Un Po", "Generale", "Per Un Amico", "Il Banchetto", and "Gaeranio". This is PFM's brilliant follow up to Storia di Amico, both of which are considered progressive rock classics, and for good reason. The diversity, complexity, and integrity of the music here is as fine as anything produced during the early '70s from other prog rock giants such as Yes, Genesis, or King Crimson. The lyrics are in Italian and, while used sparingly, make a valuable contribution to the session's integrity. The music is constantly shifting in style, tempo, and time, but are all held together by recurring themes. Mauro Pagani's airy flute is the perfect antidote to Francone Mussida's aggressive guitar, while Flavio Premoli's keyboard work rivals that of contemporaries such as Keith Emerson and Rick Wakeman. The music ranges from avant-garde to hard rock and everything in between. Always intelligent, but without pretension, this is progressive rock in it's most literal definition. ~ Robert Taylor

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Un-Led-Ed by Dread Zeppelin (CD - 07/24/1990)
 

Un-Led-Ed by Dread Zeppelin (CD - 07/24/...

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Un-Led-Ed by Dread Zeppelin (CD - 07/24/1990)
"Un-Led-Ed" (07/24/1990) Rock & Pop Dread Zeppelin, Capitol Records (USA)Dread Zeppelin: Tortelvis (vocals), Ed Zeppelin (percussion, vocals), Jah Paul Jo (guitar, keyboards) Carl Jah (guitar), Put-Mon (bass) and Fresh Cheese & Cheese (drums). Dread Zeppelin perform Led Zeppelin songs with reggae rhythms and an Elvis Presley impersonator on vocals. The scratchy 78-RPM effect on "Heartbreaker (At The End Of A Lonely Street)" is intentional. Personnel: Ed Zeppelin (vocals, congas, percussion); Jah Paul Jo (guitar, keyboards); Carl Jah (guitar). Recording information: Chapel, Encino, CA; Studio 56, Hollywood, CA. Photographers: Charlie Haj; Andy "Ephstopmon" Castro; Yo Mama. Unknown Contributor Roles: Carl Jah; Larry Treadwell. Despite singer Tortelvis' reputed propensity for gas, there is no denying that, initially, Dread Zeppelin was a breath of fresh air in a stale music scene which oftentimes took itself way too seriously. Anyone jaded enough to think they had seen it all in rock & roll was forced to think again when faced with the band's improbable reggae renditions of Led Zeppelin classics, performed by an overweight caricature of the King himself, the aforementioned Tortelvis. Together, these disparate elements provided an aural and visual cocktail of Spinal Tap proportions -- but in this case, it was all for real. Of course, none of it could possibly have worked had it not been so cleverly well thought out in advance, and then expertly executed. Make no mistake, behind the sextet's comedic fa?ade lies a highly competent group, featuring solid musicianship, great arranging talent, and, face it -- sheer balls and audacity. Having said that, the sextet's first album, 1990s Un-Led-Ed, is a gag-infested tour de force where almost every dubious musical moment is safeguarded by a healthy dose of humor -- and vice versa. Instantly catchy, and often hilarious renditions of such Zeppelin staples as "Black Dog" and "Heartbreaker" (cleverly spliced with "Hound Dog" and "Heartbreak Hotel" for added flavor) are, for the most part, perfectly valid interpretations from a musical standpoint. (Just listen to guitar player Carl Jah as he peels off scorching leads that would make Jimmy Page proud during "Whole lotta Love" for further proof.) And ultimately, what greater endorsement could one hope for, then the one bestowed by Zep vocal legend Robert Plant, who claimed that he actually preferred Dread Zeppelin's take on "You're Time Is Gonna Come" over the original. In the end, there is a very fine line between "sexy clever" and "sexy stupid," and though they would soon cross that line never to regain their way, at least with Un-Led-Ed, Tortelvis and company were taking care of business. ~ Eduardo Rivadavia

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Des Fleurs Pour Un Cameleon [5/16] *
 

Des Fleurs Pour Un Cameleon [5/16] *

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Des Fleurs Pour Un Cameleon [5/16] *
"Des Fleurs Pour on Cam?l?on" (05/16/2006) R&B Lio, ZE Records (USA)Personnel: Jerome Soligny (guitar, keyboards); Xavier Geronimi, Kenji Suzuki, Phil Palmer (guitar); Simon Clarke (flute, alto saxophone, baritone saxophone); Elliott Murphy (harmonica); Tim Sanders (tenor saxophone); Roddy Lorimer (trumpet); Helen Turner (piano); Chuck Sabo (drums, percussion, programming); Guy Sigsworth (programming). Audio Mixers: Mark "Spike" Stent; Roland Herrington. Audio Remasterer: Charlus DelaSalle. Recording information: Britania Studios, London, England (1992); Master Rock Studios (1992); Studio Plus Trente, Paris, France (1992). Lio's sixth album, originally released in 1991, found her at her most commercial and, comparatively speaking at least, her least remarkable -- though this has everything to do with the music and little to do with her singing, which is as strong as ever. Recording in London with the help of Etienne Daho on production might have been an attempt to follow in the footsteps of Serge Gainsbourg's own London sessions in the '60s. However, the opening "Je Me Tords" teeters precariously on the balance between inspired (Lio's quick, rhythmic delivery) and mundane (the guitar work is hollow and fairly flat), and the album finds itself stuck there throughout. On the upbeat numbers Daho's backing is bright and sparkly enough with moments of great flash, but too homogenized for its own good, a last hangover of yuppie funk before hip-hop and techno would redirect pop impulses in Europe for the rest of the decade. As a result, Lio sounds like she's already a little late to the party, which again is a pity because her singing is energetic, sly, and playful throughout -- in ways she provides all the kinetic energy that the songs themselves tend to lack, no matter how busy they sound. "Qui M'Aime Me Suive" is one of the better ones, as is "L'Amour Est Lent." It's on the slower songs that everything connects, with the moody, dramatic splash of "L'Autre Joue" and the album centerpiece, "Chanson pour Cam?leon," readily reminiscent of the richness of contemporaneous Cocteau Twins, delicate guitar textures leading the way. But perhaps the best and most surprising track is a remake of "The Girl from Ipanema," which Daho handles most of the vocals on -- with a brisk, hyperactive beat under a gentle arrangement, the result interestingly predicts where DJ Towa Tei would go with his later solo efforts. The 2006 reissue includes a variety of remixes. ~ Ned Raggett

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$14
Tout un Jour by Isabelle Boulay (CD - 05/10/2004)
 

Tout un Jour by Isabelle Boulay (CD - 05...

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Tout un Jour by Isabelle Boulay (CD - 05/10/2004)
"Tout un Jour" (05/10/2004) Rock & Pop Boulay, Isabelle, V2 Records (USA)

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Un Jour Parfait (+1 Bonus Track)
 

Un Jour Parfait (+1 Bonus Track)

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Un Jour Parfait (+1 Bonus Track)
"Un Jour Parfait *" (11/12/2001) Rock & Pop Burnel, J.J., Eastworld (UK)CD contains 1 bonus track. Personnel: J.J. Burnel (vocals, bass guitar, drums, programming); Alex Gifford (saxophone); Jason Votier (trumpet); Chris Laurence (trombone); Dave Greenfield (keyboards).

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$15
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