Los Retros - Everlasting - VINYL LP

Double vinyl LP pressing housed in gatefold sleeve. Includes . Supernatural is the eighteenth studio album by Latin rock band Santana, released on June 15, 1999 on Arista Records. After the group found themselves without a tag in the mid-1990s, founding member and guitarist Carlos Santana began talks with Arista president Clive Davis, who first signed the group in 1969, which led to a new record deal. The pair collaborated with A&R man Pete Ganbarg on the production of Supernatural as Santana wanted to focus his musical direction towards pop and radio friendly material and proceeded to do so by collaborating with various contemporary guest artists, including Eric Clapton, Rob Thomas, Eagle-Eye Cherry, Lauryn Hill, Dave Matthews, Maná, KC Porter and Cee-Lo Green. Supernatural became a significant commercial success worldwide. It reached # 1 in eleven countries, including the US for 12 non-consecutive weeks where it is certified 15× Platinum. The first of six singles from the album, InchSmoothInch featuring Matchbox Twenty singer Rob Thomas, was a number one success worldwide and topped the Billboard Hot 100 chart for 12 weeks.

On March 29, Eric Copeland delivers Trogg Modal Vol. 2, the counterpart to last October's Vol. 1. The former Black Dice member's 'Freakbeat 4/4' agenda gets further refined here -Vol. 2 is more laid-back than the first, but still highly danceable. Self-described as Inchlate Night Flight proto tekno,Inch the tracks pulse with thick layers of percussion, melodic fever dreams, and riffs wrung through a taffy puller. Eric's textured, off-the-cuff approach to dance music adds a refreshing element of spontaneity and 'jamming' to a climate of uncanny smoothness and Polish. Where Vol. 1 was composed of Inchrippers,Inch Vol. 2 travels at it's own pace, continuing to showcase Eric's ability to recontextualize 4/4 tracks as psychedelic contortions, from the squelchy vibrations of InchBS DropoutInch to the blithe, video arcade soundtrack InchHigh Score Zed.Inch Taken together, the two volumes of Trogg Modal showcase the versatility of one of the most continuously exciting experimental artists of the past twenty years - arriving in 2019 with his mischievous sense of adventure firmly intact.

Part-time poet turned melodic storyteller, Chicano singer/songwriter Josiah Flores puts music to the parts of life most tend to hide from. From the foothills of south San Jose to the foggy avenues of San Francisco, he calls the Bay Area his home. Influenced by the likes of Stoney Edwards, Freddy Fender, Willie Dunn, and Waylon Jennings, if one were to sit in a dimly-lit corner of their local watering hole, hunched over a beer, they would find Josiah's songs sitting down next to them.What first started off as a solo project, Josiah has now brought some new players to join him on his second full length album, Doin' Fine, a collection of songs that explore themes of change and transformation. The band includes Esther Gonzales (dobro, lap steel), Sydney Peterson (bass), K. Dylan Edrich (Fiddle), Ainsley Wagoner (piano, keys, background vox) Jacob Aranda (pedal steel), and Marisela Guizar (drums), musicians all based in the Bay Area. The album was produced and recorded on Otari ½Inch 8 track by Alicia Vanden Heuvel, at Speakeasy Studios SF, her record tag and analog recording studio of the same name, in San Francisco's Mission District. Growing up religious, Josiah cut his teeth in his church's youth group band, learning early how to communicate songs to an audience, as well as lead a band. This led him to writing his own songs and poems and performing them at whatever open mic would let him, guitar and harmonica in hand. The album's opener, InchWishin' I Don't Care, Inch mimics the simplicity of a hymn from a Johnny Cash Gospel album, with lyrics that reflect Flores' personal experience. InchYoung, Dumb, & Full of BeerInch, the album's first single, is reminiscent of the old drinking songs in the style of Hank Williams. It follows a narrator wanting to save his relationship, but who keeps finding himself in his own cycle of self destruction. Sonically, the song mimics a c