In Argentina: The Buenos Aires Concerts

The last official studio recording of the 1990s for Guns N' Roses was 1993's THE SPAGHETTI INCIDENT?. This collection of mostly punk covers was released at a time when G N' R was reeling from both internal dissension (founding member Izzy Stradlin left after the release of USE YOUR ILLUSION I & II) and the great grunge explosion of 1991 that made the band seem passe. Rather than jumping on any bandwagons, the California quintet instead paid homage to heroes overlooked by kids caught up in buying the right kind of flannel…

Ramones - It's Alive: 1974-1996 (2007) [2xDVD9]
2x DVD9, NTSC (ISO+MDS+LOG) | Scans | ~ 300 mins | 14,1 GB

Punk forefathers Joey, Johnny, Dee Dee, Tommy, Marky, Richie, and C-Jay Ramone outlasted almost every one of their legions of followers. For over twenty years, they delivered their signature garage-flavored, ear-shattering chainsaw level and pop-skewed sound through a string of now-classic, loud-and-fast punk rock LPs, and 2,263 concerts together. This new two DVD set captures the essence of the legendary racket they made with over four hours of rare and previously unreleased live footage that's the closest you can get to experiencing this blitzkrieg of a band. From their earliest performances at lower Manhattan's CBGBs to international festivals in front of hundreds of thousands of fans, this DVD set is your VIP ticket to the Ramones. Inducted into the Rock and Roll Hall of Fame in 2002, the band may be gone, but their sound and influence are indestructible.

This program offers three lively, colorful, and captivating orchestral works by two United States composers, born almost a century apart. These pieces exhibit the fruitful exchange and flow of musical material between North and South America that has long played a role in popular music, apparent not only in commercial song and dance music using Latin American melodies and rhythms but also in early jazz and blues where tango rhythms are so often heard, as in W. C. Handy's St. Louis Blues. And both Gottschalk in the 1850s, close to the beginning of a creative American musical tradition, and Gould in the 1950s, when such a tradition had flowered considerably, show a combination of seriousness of approach with a popular touch.