Miami Horor

Primitive Love is the ninth studio album and second English-language record by the Miami Sound Machine, released in August 1985, by Epic Records. This album was a follow-up to the band's previous releases in every sense; in the music, in rhythms and in Gloria Estefan's vocals. Previous releases by Miami Sound Machine had failed to achieve much in the way of crossover success. However, with the release of Primitive Love in 1985, their distinctive sound was finally being heard by a wider audience, both in the United States and abroad. This album was the band's first appearance on the American albums chart, reaching #23 on the Billboard 200.

Let It Loose/Anything for You is the 10th studio album by Gloria Estefan and Miami Sound Machine, released in 1987. It is the first studio album credited to Estefan as a solo artist, but is her 10th album overall including her work with Miami Sound Machine. The album was re-released under a new title Anything for You and new cover art in Europe, South Africa, Australia and New Zealand, starting in October 1988 through early 1989. To date the album has sold more than 8 million copies worldwide.

"Doctor Pressure" is a mash-up of the songs "Drop The Pressure" from Mylo and "Dr. Beat" from Miami Sound Machine. This is a 2005 CD5 featuring two mixes of the song and three mixes of "Drop The Pressure". This was milked to the public by Breastfed via V2.

The glamorous city of Miami offers Art Deco architecture, buoyant party spots and wonderful Latin American culture. The reef-fringed keys, meanwhile, are all about natural wonders – think turquoise coves, palm shaded beaches and abundant wildlife.

Port Of Miami is the 2006 album by rapper Rick Ross, known as Rick Ro$$ with dollar symbols in places of the "S" in his last name. This formerly obese rapper sounded fat but also delivered rhymes as thick as his ankles. The album featured a number of guests, credits listed below. This was released through Def Jam on his own Slip'N'Slide label on 8 August, 2006.

The black audience in the USA has traditionally embraced larger-than-life characters and their accompanying schtick in their quest for entertainment. In the golden era of the 1950s and 60s, James Brown had his cape and you-can’t-make-me-leave routine, Solomon Burke his regal robes, Little Richard his pancaked flamboyance. When it came time for a Caucasian analogue, the R&B-infatuated Wayne Cochran knew what needed to be done to make his mark. Cochran’s platinum blonde “do” and outrageous image are well-remembered by those who witnessed them but, lest we forget, unlike today, back then an entertainer truly had to deliver. There is enough available footage of Cochran and his crack 12-piece C.C. Riders to prove he was a mesmerising performer, and for the best part of two decades he filled venues across America with a thrilling rhythm and blues showcase.