Esto lo estoy tocando mañana #25 - Sonny Rollins (1957)

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Sonny Rollins recorded many memorable sessions during 1954-1958, but Saxophone Colossus is arguably his finest all-around set. Joined by pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach, Rollins debuts and performs the definitive version of "St. Thomas," tears into the chord changes of "Mack the Knife" (here called "Moritat"), introduces "Strode Rode," is lyrical on "You Don't Know What Love Is," and constructs a solo on "Blue Seven" that practically defines his style. Essential music that, as with all of Rollins' Prestige recordings, has also been reissued as part of a huge "complete" box set; listeners with a tight budget are advised to pick up this single disc and be amazed.



(http://www.allmusic.com/album/saxophone-colossus-mw0000188597)

Mp3@320

Porque me siento rara vol.39 - Satan Is Real

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Songs of Death, Destruction and the Devil.

On Friday and Saturday nights across America the devil is gaining demonic control over thousands of teenage lives. It is possible that any person who has danced for substantial lenghts of time to rock and roll music may have come under the oppressive, obsessive, or possessive influence of demons. Knowing this, churches and clergymen need to shed their cloak of compromise and firmly denounce rock and roll dances. Dancing is no longer an artistic form of expression (if it ever was) but a subtle instrument of Satan to morally and spiritually destroy youth.

Bob Larson

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Porque me siento rara vol.38 - Organum

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This was the first ever appearance of the name ‘Organum’. Black & white cover with an ‘X’ motif over scratched monoprint background. The word ‘Organum’ appears on the cassette spine. Track titles appear on the inside of the cover. The cassette is a standard Sony CHF C30 cassette tape with a small yellow, round label with the number n/100 on the bottom left of side A, where n is a number between 1 and 9. Originally 100 were intended, but the project only got as far as number 9. Just one copy was sold. Copy numbers 1 and 9 were used as the basis of Kanroku (see entry 1:11). The sounds were derived from 6 linked square-wave oscillators custommade by David Jackman. All sounds by David Jackman. The tapes were recorded on a stereo cassette deck and monitored using headphones.

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