V.a. Mambo Cubano: The Golden Age of Cuban Music 1940 1960 (2cd, 2000)

Easily the greatest collection of Colombian grooves we've ever seen – a beautifully-done package from Soundway Records, and one that lives up to the high standard we first found in their compilations of African and Panamanian funk! This time around, the focus is on the legendary Discos Fuentes – a label as important to Latin music in Columbia as Fania was in New York – but also one that's got a much richer history, and much deeper range of grooves!

For anyone in their mid-teens in the mid-5Os, and into music, it had to be rock'n'roll - American rock'n roll. There was no British equivalent to the sound. In the UK, it was Chuck Berry, Elvis Presley, The Platters, Alan Freed, Radio Luxembourg, Voice Of America. If the right people get to know about this and hear the quality, this will sell and sell.

Various Artists - The Golden Age Of American Popular Music - The Country Hits (2008) {Ace Records CDCHD 1185 rec 1953-63}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 391 Mb | MP3 @320 -> 169 Mb
Full Artwork @ 300 dpi (jpg) -> 38 Mb | 5% repair rar
© 1953-63, 2008 Ace Records | CDCHD 1185
Country / Classic Country / Country Folk

Here at Ace Towers we usually have a pretty realistic advance idea of how many copies we’re likely to sell of any CD that we release. But once in a while we put out something that catches the public imagination in a manner that exceeds our expectations in terms of sales and acclaim. Such was the case with our “Special Country Edition” of our “Golden Age Of American Rock’n’Roll” series, which has already sold almost twice as many copies as we initially anticipated, and which is still selling strongly six years on from its initial release.

For anyone in their mid-teens in the mid-5Os, and into music, it had to be rock'n'roll - American rock'n roll. There was no British equivalent to the sound. In the UK, it was Chuck Berry, Elvis Presley, The Platters, Alan Freed, Radio Luxembourg, Voice Of America.

Timing is everything in pop music, and Marilyn Manson hit a zeitgeist in the mid-'90s with Antichrist Superstar, riding the post-alternative wave to the top of the charts with his dark, arty, industrial metal. He was a proud shock artist and a great interview, one of the few rockers of his time who stood his own against his attackers by offering articulate, informed counterarguments to their blustering rage. Like any shock rocker, though, the novelty wears thin fast, and what was once scary turns into self-parody. Manson, no stranger to rock history, attempted to circumvent this by turning quickly to the left with the glam-soaked Mechanical Animals, but in doing so he lost huge portions of his audience, and by the time he returned to scary industrial metal form on Holy Wood in 2000, he seemed out of date and few critics or fans paid attention…