Amor Chiquito is the fourth album released by Mexican rock band Fobia on December 22, 1995. Of previous albums, "Amor Chiquito" possesses a broader range of melodies, from Hard Rock tunes, to more melodic themes, to pop songs like "Sin querer". Fobia's signature sound does not change, staying true to its eclectic lyrics full of surreal imagery. Ten more years would pass before Fobia would sit together again to record another LP. Paco Huidobro: Guitars, Chorus Leonardo de Lozanne: Vocals, Chorus Iñaki: Keyboards, Chorus Cha!: Bass Jorge Amaro "Chiquis": Drums, Percussions Jay de la Cueva: Drums, Percussions Revolución Sin Manos Descontrol Vestida Para Matar Hipnotízame Ai Kan Bugui Veneno Vil Mira Teté Sin Querer Casi Amor Vivo Casa Vacía Estrellas En La Panza
Fobia on Ice
Fobia on Ice was a live album released by Fobia, a Mexican rock band on December 16, 1997. After Fobia's first live album, band members Leonardo de Lozanne, Paco Huidobro, Cha!, Iñaki would part ways without formally breaking up until recording together again in 2004. Paco Huidobro: Guitars, chorus Leonardo de Lozanne: Vocals, chorus Iñaki: Keyboards Cha!: Bass Jay de la Cueva: Drums El microbito Veneno vil Fiebre El diablo Camila Regrésame a Júpiter Descontrol Puedo rascarme solo Dios bendiga a los gusanos Los cibernoides Mira Teté Perra policía Revolución sin manos El crucifijo Hipnotízame Vivo
Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. Before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts".
The first national chart based on distribution called the Indie Chart was published in January 1980. At the time, the term indie was used to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt
Rock en español
Rock en español is a term used in the English-speaking world to refer any kind of rock music featuring Spanish vocals. Unlike English-speaking bands few acts reached worldwide success and not between different Spanish-speaking countries due to a lack of promotion. Despite rock en español's origins in the late 1950s, many rock acts achieved at best nationwide fame until the Internet consolidated the listeners. However, some rock en español artists did become internationally popular with the help of a promotional campaign from the mid 1980s to the mid 1990s called "Rock en tu idioma"; some specific rock-based styles influenced by folkloric rhythms have developed in these regions. Some of the more prominent styles are Latin rock, a fusion of rock music with Latin American and Caribbean folkloric sounds developed in Latino communities. Spanish-speaking rock music began in the late-1950s, through listening to performers like Elvis Presley, Buddy Holly and Bill Haley, who popularized rockabilly in the United States.
The song "El relojito" by Gloria Ríos released in 1956 is considered the blueprint of rock en español. In 1958, Ritchie Valens covered the Mexican folk song "La Bamba", popularizing Spanish-language rock music throughout Latin America; that year, Daniel Flores performed his hit song "Tequila". The new sound caught the attention of the middle and upper class; the first rock bands in Latin America were created in the late 1950s with Los Llopis and Los Teen Tops achieving some success covering American rock classics during the early 1960s. The Spanish scene received some influences of non-English-speaking countries with the Yé-yé style as could be seen with Raphael. In the early 1960s, those styles of commercial rock music were nicknamed Nueva ola in some South American countries to refer the bands that adopted the American and European styles. After the popularization of The Beatles and the world success of the British Invasion, the Hispanophone world adapted new styles like Beat music and blues, soul, folk-rock and pop music.
The influences of beat music and psychedelic pop were noticeable in some acts such as Los Brincos, El Kinto, Los Gatos or The Speakers, while other successful bands featured English and few Spanish vocals like Los Bravos or Los Shakers. Success outside of the native and Spanish-speaking scene proved difficult to attain though, the few hits these bands achieved worldwide were sung in English, as Miguel Ríos and Los Bravos did for example. Los Saicos were one of the oldest proto-punk bands in the world. By mid-decade the Mexican Carlos Santana moved north to California and soon joined the burgeoning San Francisco rock scene. Forming the band Santana towards the end of the sixties, he would gather a shifting group of musicians from mixed Anglo-Saxon and Hispanic backgrounds. S. Mexico, Europe and brought together elements of rock'n' roll and jazz with Latin percussion and harmonics; the band would alternate lyrics in Spanish and English. Although he is not a rock en español musician, Carlos Santana's background is that of a traditional Latin musician who has fused rock guitar with classic Latin American songs and a sizeable body of compositions by himself and his band.
Their hit song "Oye Como Va" is an example of Santana's fusion, being composed by famous Latin jazz and mambo musician Tito Puente. From the late 1960s on, concurrently with the success of Santana, there was a growing interest in Latin-American folk music and dancing as well as a worldwide cultural boom for Latin-American literature and its colourful, sometimes surrealist and magic realist storytelling, which sustained an interest in Latin music in general, though not always in Latin rock music as such. There was a noticeable Latin influence in 1970s jazz and some acts like Malo were performing Latin Rock during the same decade. However, styles like blues, acid rock, hard rock, prog rock would be influential around the next decade. Almendra, led by Luis Alberto Spinetta, was one of the most important prog bands of the late 1960s and Spinetta would become one of the most important artists of the 1970s rock en español scene, Influenced by the new trends of the 60's, psychedelic acts like Los Dug Dug's, Pescado Rabioso — or La Revolución de Emiliano Zapata.
Triana were pioneers of the Andalusian rock scene, a new style emeged in Spain that melt prog rock with flamenco. As the hard rock merged in the UK in the late 1960s, the first hard rock acts appeared in the early 1970s with bands like Pappo's Blues. A new hard rock movement influenced by prog and punk called Spanish Rock urbano lead the harder scene of the late 1970s with bands like Leño, but in these days appeared some repression of rock music in Mexico. The government forced artists, labels and r
Mundo Feliz was the second album released by Mexican rock band Fobia in 1991. Contrary to their first album, the songs have more surreal lyrics and imagery, without losing the eclectic sound that made Fobia famous throughout Latin America. Leonardo de Lozanne Cha! Francisco Huidobro Gabriel Iñaki Brincas El Pepinillo Marino Camila El cerebro Caminitos hacia el Cosmos El diablo La fecha especial Sacúdeme Mi pequeño corazón Mundo feliz Apachurrar el corazón
Fobia is an album released by Mexican rock band Fobia. Their self-titled debut album was released in 1990; the songs are themed around common phobias and anxieties, filled with dark humor and melodic music inspired by British bands like The Cure. Songs like Los muñecos and Las flies respectively. Other songs like Dios bendiga a los gusanos and El crucifijo deal with the anxieties of love. El microbito delivers a quick change of pace towards the album's finale, it is worth noting. The band received critical and commercial success, added to the fact that Rock en español was going through a revival at the time and new bands seemed to come out of the woodwork; the original lineup was: Leonardo de Lozanne Cha! Francisco Huidobro Gabriel Kuri Iñaki Los muñecos Dios bendiga a los gusanos Las moscas El cumpleaños Corazón en caracol La iguana Pudriendo Puedo rascarme solo El microbito El crucifijo
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular