With its soundtrack

THE GREAT SOCIETY WITH GRACE SLICK. CONSPICUOUS ONLY IN ITS ABSENCE. EDICION USA 1968. THE GREAT SOCIETY WITH GRACE SLICK. CONSPICUOUS ONLY IN ITS ABSENCE. EDICION USA 1968.

DANCES WITH WOLVES / ORIGINAL SOUNDTRACK / BAILANDO CON LOBOS / BANDA SONORA / BSO / JOHN BARRY / CD DANCES WITH WOLVES / ORIGINAL SOUNDTRACK / BAILANDO CON LOBOS / BANDA SONORA / BSO / JOHN BARRY / CD   NO SE ADMITEN OFERTAS SOBRE EL ARTÍCULO

JOHN BARRY - DANCES WITH WOLVES (ORIGINAL MOTION PICTURE SOUNDTRACK) - CD JOHN BARRY - DANCES WITH WOLVES (ORIGINAL MOTION PICTURE SOUNDTRACK) - CD

Tina Turner ‎– WHAT'S LOVE GOT DO WITH IT ////CD NUEVO PRECINTADO//// Tina Turner ‎– WHAT'S LOVE GOT DO WITH IT ////CD NUEVO PRECINTADO//// Tina * – What's Love Got To Do With It Label: Parlophone – 0777 7 89486 2 9, Parlophone – CDPCSD 128 Format: CD, Album Country: Europe Released: 1993 Genre: Rock, Pop, Stage & Screen Style: Rock & Roll, Pop Rock, Soundtrack Lista de Títulos I Don't Wanna Fight 6:06 Rock Me Baby 3:57 Disco Inferno 4:03 Why Must We Wait Until Tonight? 5:53 Stay Awhile 4:50 Nutbush City Limits 4:19 (Darlin') You Know I Love You 4:27 Proud Mary 5:25 A Fool In Love 2:54 It's Gonna Work Out Fine 2:49 Shake A Tail Feather 2:32 I Might Have Been Queen 4:20 What's Love Got To Do With It 3:49 Tina's Wish3:08

ZZ TOP / AFTERBURNER 1985 !! ORG USA EDIT, CONTIENE ENCARTE + 1ª LABEL ORIGINAL !! TODO EXC ZZ TOP / AFTERBURNER 1985 !! ORG USA EDIT, CONTIENE ENCARTE + 1ª LABEL ORIGINAL !! TODO EXC BUEN ESTADO, ESTA EDICION CONTIENE EL ENCARTE INTERIOR Y TAMBIEN EL BONITO LABEL CON EXCLUSIVO DISEÑO El productor Bill Ham, que se había encargado de esa tarea con Zz Top desde su primer trabajo fué el elegido también de orientar el sonido del trio tejano hacía derroteros desconocidos para cualquier fan de la banda a comienzos de los ochenta. La unión del Blues- Hard- Rock Sureño añejo con las nuevas tecnologías musicales, parecía utópico tratandose de una banda como esta, pero "Eliminator", publicado en 1983, demostraria lo contrario. Después de semejante éxito la banda y su sequito decidieron dejarse llevar y explotar el filón al máximo, "Afterburner", que salió al mercado el 28 de Octubre de 1985, ahondará aun más en los terrenos electrónicos tan de moda en aquella época y que tan buenos resultados les habian dado. Para ello cuentan nuevamente con temas muy comerciales, en "Sleeping Bag" se covijan guitarras y rítmos sintetizados, baterías electrónicas, los excesos de "Eliminator" elevados al cubo. Un año antes de que saliese este disco, Eddie Van Halen, quizás animado por el resultado satisfatorio del disco de Zz Top, banda por la que sentía una admiración total, graba "Jump". "Stages", tiene bastante en común con el tema estrella de "1984", pero sus melodías son incluso más aoreras. De todas formas, que nadie piense que Billy Gibbons se ha quedado dormido, a lo largo de la canción sus riffs están bien presentes. Como en la siguiente "Woke Up With Wood", entre la inicial "Sleeping Bag" (Otra vez esos sintetizadores) y el sonido global de "Eliminator". En este nuevo trabajo descubrimos algo inédito en Zz Top, las "Power Ballads". Ciertamente, "Rough Boy" es empalagosa y Aor hasta decir basta. El tema, tubo su repercusión mediatica sobre todo en el canal televisivo de moda "Mtv". Pero no debemos encender las alarmas, Dusty Hill recupera el encanto nuevamente con la roquera y efectiva "Can't Stop Rockin'", cargada de topicazos pero con una garra descomunal. "Plantet Of Woman", es uno de los temas a los que mejor le ha sentado el nuevo diseño sonoro de Zz Top. Las poderosas guitarras son las acompañantes ideales de una estrofa y estribillo con muchísimo gancho y comercialidad. Quizás el mejor tema de "Afterburner" con el permiso de "Dipping Low (In The Lap Of Luxuri)", otra canción super "Cool" calcada al mejor repertorio de "Eliminator". El no va más de los rejuvenecios barbudos, para bien o para mal, según se mire las componen "I Got The Message" y "Velcro Fly". En ellas, los sintetizadores ya han tomado el control total. Para los puristas fans de "Fandango" o "Tres Hombres", esto quizás pueda ser la gota que colma el vaso. La despedida con la potente "Delirious", seguro que dejará un buen sabor de boca para todo tipo de seguidores de la banda, los antiguos y los que les descubrimos con este disco. Autor: Caído En Little Big Horn ZZ Top, cariñosamente conocido por sus fans como "The Little Ol' Band from Texas", es un grupo estadounidense de southern rock y hard rock formado en 1969 en Houston, Texas. Los miembros del grupo son Billy Gibbons (voz y guitarra), Dusty Hill (bajo y voz) y Frank Beard (batería). Tienen el mérito de ser uno de los pocos grupos de rock que todavía conserva sus miembros originales después de 40 años, además de haber mantenido al mismo manager y productor, Bill Ham. Alcanzaron la cima de su éxito comercial en los 70 y los 80, pero todavía hoy continúan girando y lanzando discos. ZZ Top entró en el Rock and Roll Hall of Fame el 15 de marzo de 2004. Gibbons y Hill también son famosos por las peculiares guitarras que utilizan, muchas de ellas codiseñadas con el maestro luthier John Bolin. Gibbons y Hill siempre son retratados llevando gafas de sol (un gesto a su canción de 1979 Cheap Sunglasses), ropa parecida (o en ocasiones idéntica), y sus larguísimas barbas. En 1984 la firma Gillette ofreció a Gibbons y a Hill un millón de dólares por afeitarse en un anuncio de televisión. Declinaron la oferta Tracks: -- 1: Sleeping Bag -- 2: Stages -- 3: Woke Up With Wood -- 4: Rough Boy -- 5: Can't Stop Rockin' -- 6: Planet Of Women -- 7: I Got The Message -- 8: Velcro Fly -- 9: Dipping Low (In The Lap Of Luxury) -- 10: Delirious Notes: ZZ Top: Billy Gibbons (vocals, guitar); Dusty Hill (vocals, bass); Frank Beard (drums). After scoring its biggest hit ever with its eighth release, 1983's polished ELIMINATOR, ZZ Top decided to continue in the same mainstream direction for its next release two years later, AFTERBURNER. Another big hit for the band, the album did spawn several hits, yet wasn't as strong overall as its predecessor. It was impossible to avoid the following ZZ hits on either MTV or radio between 1985-'86--the ballad "Rough Boy" (which innovative video was based on AFTERBURNER's space-age cover art), the synth stomper "Velcro Fly," the melodic "Sleeping Bag," or the rocking "Stages." 15 years after the band's debut release, AFTERBURNER found ZZ Top more popular than ever. Engineer: Bob Ludwig; Joe Hardy Producer: Bill Ham

LITTLE RIVER BAND: TIME EXPOSURE [DEU 1981] LP LITTLE RIVER BAND: TIME EXPOSURE [DEU 1981] LP Little River Band   "Time Exposure"  LP (Capitol - Emi)  1981  made in Germany cat. num.  10C 064-400 042 #rock     The Night Owls   Man On Your Mind   Take It Easy On Me   Ballerina   Love Will Survive   Full Circle   Just Say That You Love Me   Suicide Boulevard   Orbit Zero   Don't Let The Needle Win   Guiding Light   When  Little River Band  formed in 1975, Australia immediately took notice. The key bandmembers were already well known to Australians. Lead singer  Glenn Shorrock  had made his name in mid-'60s group  the Twilights, a  Beatles -sounding pop group that scored a national number one record with its version of  the Velvelettes ' "Needle in a Haystack." When the group broke up in 1969,  Shorrock  became lead singer of  Axiom, whose "A Little Ray of Sunshine" is still an Australian classic rock staple.  LRB 's  Beeb Birtles  had been the bass player for a popular  Twilights -era pop group called  Zoot  (Rick Springfield was a later member). When that group broke up, in search of musical credibility,  Birtles  auditioned as the bass player, but was instantly elevated to a front-line position alongside  Graham Goble. Even  LRB 's manager was well-known.  Glenn Wheatley  had been the bassist with another of Australia's bands, and possibly its most legendary,  the Masters Apprentices. Given all that background, when  Shorrock  and  Birtles  revealed they were forming a group with  Goble, managed by  Wheatley, it was major event in Australian music.

In this book, Jennifer Ring offers a wholly new interpretation of Hannah Arendt's work, from Eichmann in Jerusalem, with its bitter reception by the Jewish community, to The Life of the Mind. Departing from previous scholarship, Ring applies the perspectives of gender and ethnicity to investigate the extent to which Arendt's identity as a Jewish woman influenced both her thought and its reception.. SUNY Press.. Año 1997.

SIMPLE MINDS: CELEBRATION [ESP 1982] LP/COMP SIMPLE MINDS: CELEBRATION [ESP 1982] LP/COMP Simple Minds   "Celebration"  LP (Arista)  1982  made in Spain cat. num.   I-204 521 #new wave  #pop rock  #synth pop   Life In A Day   Chelsea Girl   Premonition   Factory   Calling Your Name   I Travel   Changeling   Celebrate   Thirty Frames A Second   Kaleidoscope   Originally released in 1982 by Arista in the U.K. and reissued on CD by the Dutch Disky imprint in 2001,  Celebration  serviceably culls some of the better moments from  Simple Minds ' first three albums: 1979's  Life in a Day  and  Reel to Real Cacophony  and 1980's  Empires and Dance. Given the sadly neglected status of the band's early catalog -- meaning anything that was released prior to 1982's breakthrough  New Gold Dream (81-82-83-84)  -- through the early 2000s, it is doubly unfortunate that a compilation like this remained out of print for an extended period of time. And though the studio albums remained in print in the U.K.,  Simple Minds ' early years hardly received the red carpet compilation treatment that their later works did. While nothing here came close to approaching the stadium-pleasing popularity of later smashes like "Don't You (Forget About Me)," "Alive and Kicking," or even "Promised You a Miracle,"  Celebration  might provide a little shock to an initiated someone who snaps up a copy. It's a near-definite that plenty of people who own  New Gold Dream  and/or the  Glittering Prize 81/92 compilation remain oblivious to the fact that  Simple Minds  released five albums that ranged from good to spectacular between 1979 and 1981, before  New Gold Dream  came along with its perfect balance of art and pop to connect with a mass audience. Not only was 1979-1981 a prolific period for the band, but it was a period that witnessed them blossoming from a decent guitar-based post-punk band to a far more rhythmic and experimental entity that gradually shed their influences while ambitiously building on them. And as the few brave souls who have remained devout  Simple Minds  fans from day one might tell you,  Celebration  has stood the test of time better than  Glittering Prize  track-for-track.

TANGERINE DREAM: EXIT [UK 1984] CD/RE TANGERINE DREAM: EXIT [UK 1984] CD/RE (Virgin)  1984  made in UK cat. num.  CDV 2212 #space rock  #progressive rock   1 Kiew Mission 9:18 2 Pilots Of Purple Twilight 4:19 3 Choronzon 4:07 4 Exit 5:33 5 Network 23 4:55 6 Remote Viewing 8:20   Exit marks the beginning of a new phase in Tangerine Dream's music: Gone were the side-long, sequencer-led journeys, replaced by topical pieces that were more self-contained in scope, more contemporary in sound. Johannes Schmoelling's influence is really felt for the first time here; Tangram, for all its crispness and melody, was simply a refinement of Force Majeure's principles, and the soundtrack to Thief not an album proper. On Exit, listeners are introduced to electronic music's next generation, notably on "Choronzon" and "Network 23," which brought the sound of the dancefloor into the mix (it hasn't left since). That's not to suggest that Tangerine Dream has stopped creating eerie, evocative music; both "Pilots of Purple Twilight" and the stately "Exit" will feel familiar to fans, and the opening "Kiew Mission" is a captivating commentary on nuclear war that includes vocals after a sort (a woman's voice reading locations in Russian). Exit ends on a surprisingly dark note, the alien and foreboding "Remote Viewing." It's on this track more than any other that Tangerine Dream returns to its past, invoking Phaedra and the sequencer-driven works that followed, as if to tell fans that Exit's changes weren't the result of a new band, just a new direction. With one foot in the excesses of the past and one clearly on the road to a more concise sound, Exit is a transitional work. As Schmoelling and, later, Paul Haslinger exerted their influence on Tangerine Dream's music, the emphasis shifted from dark and moody commentary to more positive subjects. It's worth noting that Edgar Froese's social conscience fuels much of Exit -- copies of the record were made available to a cross-section of Russian citizens free of charge to promote an open exchange of ideas at a time when nuclear annihilation was taken seriously. Future albums channeled Froese's activism to environmental concerns, which dovetailed with the band's by-then new age sensibilities. Both here and on White Eagle, Tangerine Dream ushers in the promise and the peril of a new world where reality has caught up with science fiction. Perhaps with such a message, the medium needed to be simpler and more direct.

PABLO CRUISE: PART OF THE GAME [A&M - CAN 1979] LP PABLO CRUISE: PART OF THE GAME [A&M - CAN 1979] LP Pablo Cruise   "Part Of The Game"  LP (A&M)  1979  made in Canada cat. num.  SP-3712 #rock   Part Of The Game 3:36 I Want You Tonight 5:29 When Love Is At Your Door 4:35 Givin' It Away 5:16 Tell Me That You Love Me 4:50 Lonely Nights 5:09 How Many Tears? 6:05 For Another Town 4:25   Pablo Cruise  achieved some measure of success during the latter part of the '70s with their mellow, easygoing California pop. The band was formed in 1973 by former members of  Stoneground  and  It's a Beautiful Day: guitarist  Dave Jenkins, keyboardist  Cory Lerios, bassist  Bud Cockrell, and drummer  Steve Price. The group was praised for its compositional and instrumental skill on the albums  Pablo Cruise  and  Lifeline, and was rewarded with the Top Ten hit "Whatcha Gonna Do?" in 1977 from  A Place in the Sun.  Cockrell  left and was replaced by former  Santana  bassist  Bruce Day.  Worlds Away  went platinum, as did its predecessor, and produced three hit singles, including the Top Ten "Love Will Find a Way." By the time the '80s rolled around, the new wave movement was in full swing on the pop charts, and the group fell out of favor with the record-buying public. Several  Pablo Cruise  songs were used as soundtrack material for sports programs on ABC, CBS, and NBC, and the band's work also appeared in the films Free Ride, An Unmarried Woman, and Dreamer.

DEPECHE MODE - STRIPPED - CD BONG 10, (7 TRACKS), EDICION MUTE RECORDS LONDON 1991 DEPECHE MODE - STRIPPED - CD BONG 10, (7 TRACKS), EDICION MUTE RECORDS LONDON 1991 Stripped es el décimo quinto disco sencillo del grupo inglés de música electrónica Depeche Mode, el primero desprendido de su álbum Black Celebration, publicado en 7 y en 12 pulgadas sólo en Europa en 1986. La canción " But Not Tonight " fue el lado B estándar. " Stripped " y " But Not Tonight " fueron compuestas por Martin Gore. " But Not Tonight " fue incluida en la edición estadounidense de Black Celebration. Los otros lados B fueron las canciones " Breathing in Fumes " y " Black Day ". " Breathing in Fumes " es una nueva canción utilizando samples de " Stripped " y " Black Day " es una versión acústica cantada por Martin Gore, coescrita por Alan Wilder y Daniel Miller, de la canción " Black Celebration " que dio título al álbum. Una versión extendida de " But Not Tonight " se incluyó también en la edición europea en CD del álbum Black Celebration. Por su parte, la versión larga de " Stripped ", llamada Highland Mix y que fuera durante varios años la reproducida en conciertos, fue realizada por el productor Mark Ellis Flood, quien previamente se encargara de la ingeniería del sencillo "Shake the Disease" y posteriormente trabajara con Depeche Mode produciendo sus álbumes Violator y Songs of Faith and Devotion. Mute CD Bong10,Stripped – Highland Mix 1. «Stripped» 3:51 2. «But Not Tonight» 4:16 3. «Stripped» (Highland Mix) 6:41 4. «But Not Tonight» (Extended Remix) 5:13 5. «Breathing in Fumes» 6:06 6. «Fly on the Windscreen» (Quiet Mix) 4:24 7. «Black Day» 2:37 " Stripped " is Depeche Mode's fifteenth UK single, released on 10 February 1986. It was the first single from the album Black Celebration, and the band's thirteenth overall and sixth consecutive single to hit the UK Top 20, peaking at number 15. " Stripped " is well known for its innovative use of sampling. The underlying beat is a distorted and slowed-down sound of a motorcycle engine running, while the main melody begins with a car's ignition starting, and the end uses sounds of fireworks. The band's U.S. label Sire Records, however, decided to use the B-side " But Not Tonight " on the soundtrack to the movie Modern Girls and included the song on US editions of Black Celebration. As a result, the single was flipped, and released as " But Not Tonight " in the United States to help promote the movie. The band was not happy with this decision, seeing "But Not Tonight" as a useless pop track recorded in less than a day. The single did not chart. Surprisingly, despite previous criticism of the song by the band, an acoustic version of "But Not Tonight" was sometimes performed by Martin Gore on Depeche Mode’s Delta Machine Tour and is included in the 2014 album "Live in Berlin". The other two B-Sides are " Breathing in Fumes " and " Black Day ". " Breathing in Fumes " was a new song using samples from " Stripped ", mixed by the band and Thomas Stiehler. " Black Day " is an acoustic, alternate version of "Black Celebration" sung by Martin Gore, and is co-written by him, Alan Wilder, and producer Daniel Miller – the only Depeche Mode song where Miller receives a writing credit. The " Highland Mix " of " Stripped " was mixed by Mark Ellis (better known as Flood), who in the future would produce Depeche Mode's Violator and Songs of Faith and Devotion records. Some editions of the Black Celebration CD include the extended remix of "But Not Tonight" along with "Black Day" and "Breathing in Fumes" as bonus tracks. The music video for "Stripped" was the last Depeche Mode video to be directed by Peter Care and was filmed outside of Hansa Studios in Berlin. The music video for "But Not Tonight" was directed by Tamra Davis and is available in multiple versions. "Stripped" was featured in the film Say Anything....  

CHICAGO: HOT STREETS [CBS - ESP 1990] LP CHICAGO: HOT STREETS [CBS - ESP 1990] LP Chicago   "Hot Streets"  LP (CBS)  1990  made in Spain cat. num.  LSP 982369 1 #pop rock   Alive Again 4:17 The Greatest Love On Earth 3:43 Little Miss Lovin' 4:32 Hot Streets 5:12 Take A Chance 4:35 Gone Long Gone 3:55 Ain't It Time 4:08 Love Was New 3:32 No Tell Lover 4:15 Show Me The Way 3:18   Although  Chicago  tragically marked its decade anniversary with the bitter loss of lead guitarist  Terry Kath,  Hot Streets  (1978) was not only the first release without him, it was also the band's initial offering away from  James William Guercio  -- with whom the group had worked on every one of its previous dozen long-players.  Donnie Dacus  (guitar/vocals) was brought in to fill  Kath 's formidable shoes. His maiden voyage would likewise mark the beginning of a downward spiral in terms of the string of hits that was usually associated with  Chicago  albums. Both the upbeat and pumping opener "Alive Again" and the typical adult contemporary balladry of "No Tell Lover" became their last Top 40 hits for nearly four years.  Phil Ramone 's production gives the material an added and noticeable bite. The  Peter Cetera  (bass/vocals) rocker "Little Miss Lovin" recalls the band's earliest sides by blending an aggressive backbeat with a funky and soulful rhythm. "Gone, Long, Gone," the disc's other  Cetera contribution, also stands out for  Dacus ' spot-on slide guitar intonation, which mimics a similar style used most notably by  George Harrison. Although it failed to chart when extracted as a single, Robert Lamm's (keyboards/vocals) "Love Was New" is one of the more jazz-influenced tunes on  Hot Streets. The laid-back groove effortlessly carries the melody behind a fusion of light rock and contemporary jazz. The rapidly changing pop music landscape, whose horizons would embrace disco and new wave, would all but abandon  Chicago  for the group's next few albums. Although the band attempted to adapt to the trends, it would be four LPs and four years before  Chicago  would re-emerge in full form on its comeback,  Chicago 16  (1982).

Enjoy the content without reflections Display Mate Forget reflections, light will no longer be an impediment to enjoy every detail clearly. You will be able to appreciate the details of each painting. It's time to enjoy art and your TV as it should be. Designed to look like a true work of art The minimalist design of The Frame blends with your decoration. Its slimmer profile, multiple frame options, and single nearly invisible cable offer a sophisticated look from any angle. Your frame, your style Customizable Frame With The Frame TV you have the power to decide. Choose the frame color that best suits your space and your tastes. Thanks to its magnetic mounting you can customize your TV in the blink of an eye. Colors available in white, brown and teak. Frame your favorite moments My collection Upload and display your photos or family portraits easily. You just have to send them to The Frame through your phone or via USB. The Frame detects your presence Motion sensor The TV automatically turns on its screen to show your works of art when it detects your entry into the room. Also, when you leave it, it will turn off to save energy. Horizontal or vertical? It's up to you! Rotating studio stand Joining your Studio base together with the Rotating Wallmount will allow you to choose the position of your screen, put it in a horizontal or vertical position in a single turn. So you can enjoy your favorite content your way. Experience more at the same time Multi View Want to catch up on last week's episode while you work out? There is no need to stop seeing one for the other. Set up two channels on the screen so you can watch or even hear both at the same time, and adjust the size to help you focus. The Frame gives you the freedom to see everything your way. TV and sound bar in perfect harmony Q-Symphony Combine the audio from your TV with that from your sound bar, creating an immersive atmosphere around you. Enjoy multi-dimensional sound without the need to connect additional speakers to your TV.

COLOURBOX: THE OFFICIAL COLOURBOX WORLD CUP THEME [UK 1986] 7' COLOURBOX: THE OFFICIAL COLOURBOX WORLD CUP THEME [UK 1986] 7' Colourbox   "The Official Colourbox World Cup Theme"  single 7" (4AD)  1986  made in UK cat. num.  AD 605 #synth pop   A The Official Colourbox World Cup Theme 3:06 B Philip Glass 3:29   One of the legendary 4AD label's earliest and most under-recognized acts,  Colourbox  were among the first artists outside of the realm of hip-hop to rely heavily on sampling techniques; ultimately, their arty blue-eyed soul -- a fusion of far-ranging influences spanning from classic R&B to dub to industrial -- reached its commercial and creative apotheosis through their work on  M/A/R/R/S ' seminal "Pump Up the Volume" project, a reflection of the group's longstanding interest in the burgeoning underground dance music scene of the 1980s.  Colourbox  were primarily the work of London-based brothers Martyn and  Steven Young, who recruited vocalist  Debbion Currie  to sing on their 1982 4AD debut, "Breakdown."  Curry  was replaced by  Lorita Grahame  in time for the trio's 1983 re-recording of the same track, this time produced by  Mick Glossop.  Colourbox 's self-titled debut EP -- a collection of dub and scratching experiments heralding their first plunge into sampling technology, edited down from three hours of studio sessions -- appeared later that same year, with the single "Say You" following in 1984. After another 12", "Punch," the group issued 1985's "The Moon Is Blue," a teaser for its upcoming full-length LP, also a self-titled affair; "Baby I Love You So" and "The Official Colourbox World Cup Theme" both appeared the following year.  In 1987, at the behest of 4AD chief  Ivo Watts-Russell, the Young brothers teamed with labelmates  A.R. Kane  as  M/A/R/R/S  to record a single fusing the rhythms and beats from classic soul recordings with state of the art electronics and production. Complete with scratches by champion mixer  Chris "C.J." Mackintosh  and London  DJ Dave Dorrell, "Pump Up the Volume" -- a breakthrough effort heralding sampling's gradual absorption from hip-hop into dance music and ultimately the pop mainstream -- soon topped the British charts, the first 4AD release to accomplish that feat. Plans for a follow-up never materialized, however; stranger still, despite  M/A/R/R/S ' success, both the Youngs and  Colourbox seemed to vanish, with no future recordings forthcoming.  

Mahler: Symphony No. 5 - Orquesta Filarmónica de Málaga, Moreno Valiente (CD, Album) (2021) Mahler: Symphony No. 5 - Orquesta Filarmónica de Málaga, Moreno Valiente (CD, Album) (2021) The recording of such a complex and ambitious work as Gustav Mahler's Fifth Symphony by the Malaga Philharmonic Orchestra (OFM in Spanish) is a demonstration of the determination and enthusiasm with which the group is facing his 30th anniversary. Highly artistic work, Mahler's Fifth Symphony is of great extension and expressive intensity; it is full of deep symbolism and evident spirituality. It is a musical and intellectual monument testing the quality of an orchestra and its conductor. It is a challenge that, in a market full of references to the Austrian composer's masterpiece, the OFM faces with all the potential the work demands. In his first four symphonies, Mahler tried to identify with four ideas: the first, the power of will against destiny; the second, hope in the resurrection; in the third a certain 'Nietzschean' pantheism, and the fourth is a musical manifesto about innocence. There is in all of them that kind of youthful lyricism which its first songs have, a style that is nipped in the bud in his Fifth Symphony, completed in 1902 and premiered in Cologne by the Gürzenich Orchestra on 18 October 1904 under the direction of the author. The language he uses in his Fifth Symphony seems to be anticipating the future, in a kind of progressive tonality tending towards a certain harmonic instability and reinforcing the words of the composer himself. Envíos CD Envío Ordinario: 1,5€ (envío sin caja de plástico y con responsabilidad a cargo del comprador) Envío Certificado y tarifa plana: 3,5€ Combina lotes y ahorra gastos de envío. Envíos gratuitos a partir de 40€.