Antonio Aguilar

Leyendas del Campo is a musical masterpiece that pays homage to the timeless artistry of the legendary Mexican singer, Antonio Aguilar. Released through the dynamic collaboration of Musart-Balboa and Concord, this remastered edition breathes new life into Aguilar's iconic ranchera classics. With soul-stirring vocals, heartfelt storytelling, and the unmistakable charm of Aguilar's musical prowess, the album captures the essence of Mexican culture and tradition. Immerse yourself in the rich tapestry of Aguilar's unparalleled talent, as each track resonates with a profound sense of nostalgia, celebrating the enduring legacy of one of Mexico's most cherished musical icons.

Concord releases this newly remastered album from legendary Mexican singer, actor, songwriter, equestrian, film producer, and screenwriter Antonio Aguilar! Aguilar was given the honorific nickname "El Charro de México" (Mexico's Horseman) because he is credited with popularizing the Mexican equestrian sport la charrería to international audiences.

Concord releases this newly remastered collection of Corridos de Caballos Famosos from legendary Mexican singer, actor, songwriter, equestrian, film producer, and screenwriter Antonio Aguilar! Aguilar was given the honorific nickname "El Charro de México" (Mexico's Horseman) because he is credited with popularizing the Mexican equestrian sport la charrería to international audiences.

La Absoluta Colección de la Canción Ranchera es un álbum recopilatorio que incluye 20 canciones clásicas de la música ranchera. Presenta interpretaciones de grandes artistas como Antonio Aguilar y Javier Solís, capturando la esencia emotiva de este género popular en México y América Latina. La colección es ideal para los amantes de la ranchera, ofreciendo piezas representativas que destacan por sus letras y melodías apasionadas.

Hermano Lobo fue una revista española de humor fundada el 11 de mayo de 1972, con Chumy Chúmez como principal impulsor, inspirado en el semanario francés Charlie Hebdo.

Distintos artistas latinoamericanos fueron convocados para grabar un disco, denominado "Todos somos más", a modo de tributo a Marco Antonio Solís, figura de la música melódica de Latinoamérica.

This compilation offers a first overview of the early works of electronic and tape music created by Peruvians between 1964 and 1984. This period marks a technical and aesthetic evolution that allows us to understand the development of electronic music in the Peruvian context, from an initially internationalist model to a more situaded one. The first phase occurs in the 1960s, when many composers migrated outside Peru in search of advanced training and access to knowledge and infrastructure that the academic music scene in Peru could not provide. During these specialization trips, Peruvian composers gained access to the languages of the international avant-garde of the post-war period. César Bolaños traveled to Argentina, to the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) at the Instituto Di Tella, where he produced an extensive body of work, including "Intensidad y Altura" (1964) for magnetic tape, the first electronic work produced in the CLAEM electronic music laboratory. Similarly, Edgar Valcárcel was a CLAEM fellow and also spent time at the Columbia-Princeton Electronic Music Center in New York, where he composed, among other works, "Invención" (1967) for magnetic tape. Enrique Pinilla also passed through there, composing "Prisma" (1967) for magnetic tape. Alejandro Núñez Allauca was another CLAEM fellow, where he composed "Gravitación Humana" (1970) for magnetic tape.

This compilation offers a first overview of the early works of electronic and tape music created by Peruvians between 1964 and 1984. This period marks a technical and aesthetic evolution that allows us to understand the development of electronic music in the Peruvian context, from an initially internationalist model to a more situaded one. The first phase occurs in the 1960s, when many composers migrated outside Peru in search of advanced training and access to knowledge and infrastructure that the academic music scene in Peru could not provide. During these specialization trips, Peruvian composers gained access to the languages of the international avant-garde of the post-war period. César Bolaños traveled to Argentina, to the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) at the Instituto Di Tella, where he produced an extensive body of work, including "Intensidad y Altura" (1964) for magnetic tape, the first electronic work produced in the CLAEM electronic music laboratory. Similarly, Edgar Valcárcel was a CLAEM fellow and also spent time at the Columbia-Princeton Electronic Music Center in New York, where he composed, among other works, "Invención" (1967) for magnetic tape. Enrique Pinilla also passed through there, composing "Prisma" (1967) for magnetic tape. Alejandro Núñez Allauca was another CLAEM fellow, where he composed "Gravitación Humana" (1970) for magnetic tape.

This compilation offers a first overview of the early works of electronic and tape music created by Peruvians between 1964 and 1984. This period marks a technical and aesthetic evolution that allows us to understand the development of electronic music in the Peruvian context, from an initially internationalist model to a more situaded one. The first phase occurs in the 1960s, when many composers migrated outside Peru in search of advanced training and access to knowledge and infrastructure that the academic music scene in Peru could not provide. During these specialization trips, Peruvian composers gained access to the languages of the international avant-garde of the post-war period. César Bolaños traveled to Argentina, to the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) at the Instituto Di Tella, where he produced an extensive body of work, including "Intensidad y Altura" (1964) for magnetic tape, the first electronic work produced in the CLAEM electronic music laboratory. Similarly, Edgar Valcárcel was a CLAEM fellow and also spent time at the Columbia-Princeton Electronic Music Center in New York, where he composed, among other works, "Invención" (1967) for magnetic tape. Enrique Pinilla also passed through there, composing "Prisma" (1967) for magnetic tape. Alejandro Núñez Allauca was another CLAEM fellow, where he composed "Gravitación Humana" (1970) for magnetic tape.