All That Music & Video

Be sure to *reserve your copy of Luis Miguel’s newest album “Labios De Miel”.

*Reservation made with $5 dollar deposit which goes toward total purchase.

Popularity: 1% [?]

Bloody Beetroots
Thursday October 28th, 2010
at Club 101  (1148 Airway)
Line at 8pm / starts at 9pm
$27 (advance)

Close your eyes and imagine, if you will, the bastard son of the Misfits and Daft Punk. As gruesome as the act of conceptionmay appear, the union would generate the most grandiose of offspring. A formidable force, not unlike the Bloody Beetroots.

Bloody Beetroots is a worldwide phenomenon under which the producer and dj Sir Bob Cornelius Rifo operates. In the Beetroots live sets and dj-sets, Sir Bob avails himself of the services of Tommy Tea.

“I am an overgrown child who loves Seventies comics, still nurtures the occasional dreams and listens to punk and classical music,” says Sir Bob. In line with Bob’s comic book mentality, the Beetroots story is awash with demons, alter egos and parallel universes. Sir Bob Cornelius Rifo, born in 1977, began playing classical music when he was a kid, but was soon affected by other influences: the raw energy of punk and rockabilly, the intense, outrageous imagery of comic artists such as Magnus and Benito Jacovitti and, above all, Tanino Liberatore, the inventor of Rank Xerox. Done with Chopin, Beethoven and Debussy, Bob turned his attention to producing a noise that combined samples and electronic with eighties punk and new wave. A decade of no-holds-barred experimentation ensued.

And so it was that Rifo founded the Bloody Beetroots, his electronic alter ego, recording 45 remixes and countless world tours in 3 years.

The project officially began in December 2006 and in the space of a few weeks became one of the most discussed and downloaded phenomenon on blogs around the world, universally acknowledged as an ongoing revelation in a state of constant explosion. This attracted the immediate attention of Etienne De Crecy and Alex Gopher, the first to commission remixes.

Bloody Beetroots aka Sir Bob Cornelius Rifo released a biblical flood of productions. The amount of remixes conceived by this producer is truly over the top. His music began to gain ground in popular culture. His tracks found their way into several episodes of C.S.I. Miami and best-selling video games of the ilk of Fifa ’09, Nba 2009, Need For Speed Pro Street and Need For Speed NITRO. Quite an achievement.

In 2007, Bob got signed to the U.S. label, Dim Mak, the brainchild of Steve Aoki. The first releases were the EP’s Rombo (2008), Cornelius (2008) and Warp Feat. Steve Aoki (2009). Warp and Cornelius made it into the iTunes Top Ten Albums Chart. Rifo and Aoki have recently formed a hardcore punk band called Rifoki, produced by Giulio Favero of ZU, due for release in 2010. Cornelius is an unusual opus, combining fashion, cinema and literature in a tribute to British science fiction writer Michael Moorcock and his antihero Jerry Cornelius. The video, conceived by Rifo and directed by Mathieu Danet has had over 1.500,000 views on the internet.

The quest of Sir Bob Cornelius Rifo a.k.a. The Bloody Beetroots continues in 2009 with the release of an album, “Romborama”, with appearances by The Cool Kids ,Vicarious Bliss, Justin Pearson from The Locust and many more. The album incorporates all musical genres from pop, punk, electro, acid and hip hop to classical music, house and techno. The cover was designed by Tanino Liberatore who has been Sir Bob’s idol since he was a little boy. “Tanino changed my way of looking at thing when I was a boy. He trashed my innocence when I was eight,” says Rifo.

“Christmas Vendetta” the first spare of “Romborama” have already reached the top ten on the iTunes chart.

2010 will be the year for a further improvement of the whole project… Bloody Beetroots is being integrated and fomented by “Death Crew 77”, a revolutionary and anarchic “army” leaded by Sir Bob Cornelius Rifo. The project is clear headed and visionary at the same time; it promotes the artistic exchange between Bloody Beetroots and their fan base, with the aim of creating a huge anarchic creative community. The strengthen of this initiative is the “The Bloody Beetroots Live” in which Bob Rifo, supported by two faithful lieutenants, will be perform live his studio compositions.

History shows us how bold and non-conformist artistic events, like the first performance of Stravinski’s “Rites of Spring” in 1913 or the famous Public Image Ltd show at the Ritz in New York in 1981, can provoke unrest and discontent. Sir Bob Cornelius Rifo tends to inspire similar revolutionary zeal, albeit with a party flavour.

There is revolt out there and we’re all invited.

Popularity: 2% [?]

EPCON 2010
September 11th and 12th 
@ Wyndham Airport Inn (2027 Airway BLVD.)
Doors open at 10:00 AM and close at 6:00 PM
$15 (Two day pass)

El Paso Comic Book Convention – featuring artist Joe Benitez (JLA, Superman, Batman) with special guests…artist Martin Montiel (Wytchblade, The Darkness) and writer Raven Gregory (The Waking, Grim Fairytales, and the comic book adaptation of the hit series Charmed). Come meet Broken Tree Comics, El Paso’ ONLY nationally distributed comic book publisher as well as local comic book entities and artists Adversary Comics, 656 Comics, painter John Armbruster, Charles Jones, and Jimmy Daze Productions. Other attendees include the Animen Society of El Paso and the El Paso Cosplayers. Entertainment includes a dance performance by Bella Fusion and others.

 For More Info:  www.ep-con.com

Popularity: 2% [?]

The Sword “Warp Riders”
If there’s one thing guaranteed to tick off the worldwide heavy metal community, it’s bands who don’t pay their dues. There is an expectation that before you attain success and recognition, you put out a few demo and independent releases; tour like dogs for no money; and generally behave in a way conducive to the metal underground.

This isn’t quite what Austin, Texas quartet The Sword did: they emerged about five years ago and, very swiftly after, popped out a debut album of chunky stoner rock (think Sleep and Orange Goblin) which, it turned out, frontman JD Cronise had mostly written before the band existed. Moreover, they were signed to the Kemado label, owned by none other than the Disney corporation (although it’s now an arm of Sony). Any road up, The Sword needed to rock pretty titanically to win over doubters, which they do for much of third album Warp Riders.

Tied together by the theme of a planet locked in a battle between good and evil – that’s right kids, a concept album! – the band comes out fighting with majestic album artwork, akin to a 1970s sci-fi paperback, and an instrumental opening track entitled Acheron/Unearthing the Orb. All the songs are called things like that. The level of fantastical grandeur on display here is on a par with the bands who built the power metal subgenre’s prototypes: Judas Priest and Richie Blackmore’s Rainbow in the 70s, Iron Maiden, Manilla Road and Dio the following decade. Cronise’s vocals don’t quite fit this bill – they have a liquor-splashed Southern rock quality most similar to Neil Fallon of Clutch – and The Sword have by no means abandoned their previous taste for good-time boogie riffage, songs like Arrows in the Dark being the musical equivalent of a tipsy, face-wide grin.

Warp Riders is not likely to blow the mind of anyone well versed in this strain of chest-puffing metal, either in terms of originality or any member’s technical ability. But The Sword have stepped up a gear with this release, and ought to crumble the defences of more than a few cynics.  -Noel Gardner (Bbc.co.uk)

Ion Dissonance “Cursed”
 Ion Dissonance is set to release their fourth studio album, Cursed..  The album sees the band switching to 8 string guitars and reaching back in time for some of that magic that was present in the earlier years.  Cursed sounds like a mix between the two sounds they’ve created on past records.  With a churning low end focused on keeping tracks full of groovy hooks and odd-timed rhythms, and the dissonant atmosphere that was present on Breathing is Irrelevant and Solace.  It makes for a powerful sound.  Like a choppy Meshuggah, low-end and rhythm sensibility has been added to a noisy hardcore record.  It is not without devastatingly heavy breakdowns, and the production value works well for keeping the low end chunky and the higher frequencies sharp and noisy.  This record isn’t as timeless or innovative as the early ones, but it is as engaging and nearly as crushing.

“There are some tech albums that have terrible vocals that people still listen to because the music speaks for itself.  Surely the band wouldn’t collapse from his departure alone, right?”

Cursed is that record.  It’s not that the vocals are worse than they are on Minus the Herd, it’s that the lyrics penned by Kevin sound like they were written in crayon on a napkin from a Big Kids Meal by an angry, semi-retarded person with at least one count of battery on their record.  And I’m used to hardcore vocals having violent and spiteful themes.  Gabe painted pictures of scenes of death and malice with nearly every lyric he wrote, but at least he was painting a picture.  The new lyrics are inarticulate, whiny, and cut through the mix at inopportune times.  (Ex. “You People are Messed Up” ends with a uneven reverberating repetition of “Fuck” that sounds like a tourettes twitch).  Just reading the track-list that was released made me doubt I would enjoy this CD.  The vocals never reach any purpose or create any interesting points or use any interesting imagery; they’re JUST bitching, and unfortunately they’re easier to understand than Gabe’s were.  It could be that Ion Dissonance are pulling our collective legs.  Maybe there’s some kind of inside joke that I don’t get where its funny to have a run-of-the-mill, mediocre vocalist write awful lyrics and completely fail to replace a large portion of your sound that has departed.  But I just don’t see how the members of Ion Dissonance fail to see or care how awful this is.  Kevin tries to mimic some of Gabe’s antics here and there on the record, but without the emotional drive in the lyrics that probably birthed the techniques in the first place, they just sound like tasteless mockery.

Aside from this, it isn’t impossible to ignore the vocals and enjoy your listen to what really is the “return to form” album of 2010 up to this point.  Cursed is musically everything that Minus the Herd felt like it was missing, but Gabe’s absence has still left very apparent hole that needs to be filled in order for this band to be as good as their first two albums suggested they could be. -Mark Bushnoe (Hearwaxmedia.com)

Orbs “Asleep Next To Science”
With members belonging to black metal band Cradle of Filth, progressive metal band Between The Buried And Me and mathcore wizards Fear Before (the March of Flames), it’s odd that supergroup ORBS isn’t as diverse as their background would suggest. They may have culminated all of their past projects into a conceptual piece about space and nature on their debut – and now reissued – album, Asleep Next to Science, but it doesn’t feel quite as ambitious as it could be. Piano lines constantly near the edge of the cliff, but rarely are they an inch away from their life or in actual danger. Fuck, most of the time they can’t even hear the waves crashing below. Adam Fisher’s vocals on the other hand are out of control, flying up and down octaves with neither rhyme nor reason and completely ruining any potential the whirlwind of bass lines and reverb-laden guitar chords gave the band’s debut album. He truly is the Mars of ORBS’s celestial universe – luckily, there is a Venus.

Although songs like “A Man of Science” are inexcusable displays of vocal retardation, album opener “Sayer of the Law” is enjoyable with a tamed Fisher behind the mic. Ashley Ellyllon’s symphonic fetish is put into drive for once and her keyboard skills are emphasized, not ignored. Tremolo plucks and unsettling chords surround the listener, while a wee bit o’ reverb adds a distinct atmosphere to the progressive realm which the supergroup resides in. As well, it’s one of the few times where longer track lengths don’t revolve around prolix excess, unlike the rambling closer, “Eclipsical” or the ten-minute-long venture through time and space, “People Will Read Again.” Loud and quirky bass lines may add character to the band’s sound, but the band can’t help but wallow in their own pretense, or perhaps it’s their lack of understanding. Do they simply not realize how inappropriate some of the aspects to their sound are? If so, this is another argument for the “ignorance is not bliss” argument. -Austin Tracey (Reviewrinserepeat.com)

Popularity: 1% [?]

Tom Petty & The Heartbreakers “Mojo”

Sheryl Crow “100 Miles From Memphis”
The title and sound of 100 Miles from Memphis can’t help but recall Dusty in Memphis, Dusty Springfield’s 1969 blue-eyed soul classic, but Sheryl Crow’s 2010 album isn’t quite a strict homage to Dusty. Crow draws from many of the same ‘60s sources as Springfield, but she also dabbles in reggae (thanks to the chunky guitar of Keith Richards on “Eye to Eye”) and digs into the cool, seductive ‘70s groove of Hi, channeling Al Green on a sleek reworking of Terence Trent D’Arby’s “Sign Your Name,” complete with support from Justin Timberlake. Add to this the extended funk coda of “Roses and Moonlight,” the hippie singalong of “Long Road Home” and one of Crow’s signature good-time social-conscious raising anthems in “Say What You Want” and 100 Miles from Memphis boasts a considerably more expansive palette than Dusty in Memphis, yet it’s all bonded by its smooth, soulful groove due in part to the co-production from Doyle Bramhall II and Justin Stanley. This pair gives 100 Miles a sound that’s recognizably Southern yet has a distinctly sunny vibe not too for removed from Crow’s sun-kissed debut Tuesday Night Music Club, of which this shares a similar spirit, if not sensibility. Tuesday Night Music Club is loose and open where this is focused and sustained, maintaining its charming, relaxed groove from beginning to end. There’s an ease to this record that’s not often heard on Sheryl Crow’s albums and its light touch is thoroughly appealing.
-All Music GuideElvis Presley “Elvis On Tour” DVD
15 cities. 15 nights. Catch him if you can! The show is over but the fans cry out for what every Elvis Presley fan wants. More! Then, an announcer speaks the words the packed house doesn’t want to hear: “Elvis has left the building.” But what an incredible show lingers in minds and hearts. Elvis on Tour is the Golden Globe-winning Best Documentary chronicle of Presley’s whirlwind 15-cities/15-nights 1972 tour. They are nights to remember, paced here with more than 25 numbers that embrace the rocker Elvis, the gospel Elvis, the ballad Elvis, even the kung-fu Elvis. In between tour stops come more moments to treasure–montage sequences (supervised by Martin Scorsese) showcasing Presley’s early career and movies. -Amazon.com

Popularity: 1% [?]

Foals “Total Life Forever”
After Foals scrapped the mix of their debut, Antidotes, by TV on the Radio’s Dave Sitek, it was clear that they were a band that was interested in creating their own sound. That sentiment may be why their follow-up, Total Life Forever, sounds more like a reaction to their first record than a continuation of it. Many of the elements that drove Foals into the spotlight in the first place are definitely still in place. There’s plenty of cascading, Minus the Bear-style guitar work and funky Talking Heads influence in their math-pop-meets-the-dancefloor rhythms. What’s missing is the edge. Total Life Forever is considerably more subdued than its predecessor, lacking much of the uptempo thump found on Antidotes. In its place is a mellower, more spacious sound. While this new sound is still danceable, it’s far more refined than the angular post-punk riffing that fans might be expecting. Right from the beginning, the album-opening, “Blue Blood” makes it clear that Foals are taking a different, more patient approach to songwriting, letting the song build and build on itself as it methodically works itself into a frenzy before leaving the way it came in. Because of the changes here, fans of the early, pre-Antidotes singles may find Total Life Forever to be too restrained, lacking the youthful vigor of their debut. Where some see restraint, others may very well see refinement, and those who appreciated Antidotes‘ more spacy passages will find that Foals’ reinvention of their sound is a calculated risk that definitely pays off. -All Music Guide

Arcade Fire “The Suburbs”
Montreal’s Arcade Fire successfully avoided the sophomore slump with 2007’s apocalyptic Neon Bible. Heavier and more uncertain than their near perfect, darkly optimistic 2004 debut, the album aimed for the nosebleed section and left a red mess. Having already fled the cold comforts of suburbia on Funeral and suffered beneath the weight of the world on Neon Bible, it seems fitting that a band once so consumed with spiritual and social middle-class fury, should find peace “under the overpass in the parking lot.” If nostalgia is just pain recalled, repaired, and resold, then The Suburbs is its sales manual. Inspired by brothers Win and William Butler’s suburban Houston, TX upbringing, the 16-track record plays out like a long lost summer weekend, with the jaunty but melancholy KinksBowie-esque title cut serving as its bookends. Meticulously paced and conservatively grand, fans looking for the instant gratification of past anthems like “Wake Up” or “Intervention” will find themselves reluctantly defending The Suburbs upon first listen, but anyone who remembers excitedly jumping into a friend’s car on a sleepy Friday night armed with heartache, hope, and no agenda knows that patience is key. Multiple spins reveal a work that’s as triumphant and soul-slamming as it is sentimental and mature. At its most spirited, like on “Empty Room,” “Rococo,” “City with No Children,” “Half Light II (No Celebration),” “We Used to Wait,” and the glorious Régine Chassagne-led “Sprawl II (Mountains Beyond Mountains),” the latter of which threatens to break into Blondie’s “Heart of Glass” at any moment, Arcade Fire makes the suburbs feel positively electric. Quieter moments reveal a changing of the guard, as Win trades in the Springsteen-isms of Neon Bible for Neil Young on “Wasted Hours,” and the ornate rage of Funeral for the simplicity of a line like “Let’s go for a drive and see the town tonight/There’s nothing do, but I don’t mind when I’m with you,” from album highlight “Suburban War.” The Suburbs feels like Richard Linklater’s Dazed & Confused for the Y generation. It’s serious without being preachy, cynical without dissolving into apathy, and whimsical enough to keep both sentiments in line, and of all of their records, it may be the one that ages so well.
-All Music GuideShawn Lee “Sing A Song”
Producer, composer, and multi-instrumentalist Shawn Lee doesn’t like to remain in the same musical territory for long. His lifetime fascinations with hip-hop, soul, funk, jazz, pop, and psychedelia have taken him to some interesting places over the course of 13 albums. Along with his wide-ranging musical interests, the notion of collaboration has also been a large factor in his development. Sing a Song, while not a direct follow-up, revisits some of the themes explored on 2009′s Soul in the Hole. Where that recording featured some collaborations, primarily with singers, Sing a Song is almost a complete set of collaborations with singers and musicians — the exceptions are the Laurel Canyon-inspired folk meets Sunset Strip sunshine pop of “I’ll Just Wait a While” and the finger-popping tripped-out doo wop of “Swimming Pool.” One of the things this set proves is that Lee can add “singer” to his résumé. Check out the opener, “Shut Up and Learn,” a Memphis cum psychedelic soul-inspired duet with Orgone‘s fantastic frontwoman, Fanny Franklin. Lee‘s falsetto can actually hang with Franklin‘s open-throated R&B wail. “It Takes Two” features former Motown songwriter and recording artist Marcus Malone. The original song the two penned is worthy of Malone‘s heritage at the Detroit label. “Who Are You?,” with Bing Ji Ling of the Phenomenal Handclap Band, is a funky reggae-flavored number with a Latin tinge. Other standouts include a new version of “Fading Light,” where Lee collaborates with Lord Large and Robert Bradley (an earlier version of the cut appeared on a LL disc), a slippery nocturnal groover called “Older” with Miles Bonney (which may be the set’s finest track), and the humorous steamy hip-hop soul of “Christopher Walken on Sunshine” with Princess Superstar. While not as groundbreaking as some of Lee‘s other recordings, Sing a Song is consistent, full of pleasant surprises, and the perfect record for hot summer nights. -All Music Guide

Popularity: 1% [?]

All $4.95  pre-owned CD’s and DVD’s in our budget section have recently been reduced to $3.95! 

Popularity: 1% [?]

Selling LPs?

Vinyl records make (another) comeback!

Considering selling your LP collection?   Because All That Music & Video is the most important seller and buyer of new and used vinyl records in the region, you will want to bring them to us first!

• As a public service, ATMV is happy to offer sellers free appraisals of their LP collections.   We will grade, sort, and appraise your LP’s as our time permits.
• LPs have recently made another comeback at All That Music & Video and are now more accessible to our customers!   We have allocated more space to offer you thousands of collectible records by many of the most in-demand music artists.
• See our frequently renewed supply of specially priced pre-owned LPs by sorted by Pop-Rock, Various Artists, Jazz, Country, Vocal-Nostalgia and 12” classics.  For many years and because of low demand, LPs were removed from the sales floor due to space limitations. We now invite you to join-in the latest comeback of LPs by selling and buying LPs at ATMV!

In the 1980’s, when CD technology replaced LPs as the primary format for recorded music, it was predicted that vinyl records would quickly become obsolete.   They mostly became obsolete for a time. But before long, LPs made somewhat of a comeback thanks to their use by Club DJS; rock bands that insisted on releasing their music on vinyl as well as CD; young and old collectors of LPs who never really went away; and a few audiophiles that insisted that their favorite music sounded better recorded in analogue on LP than on CD or other digital formats.

There are some things you should know about selling your LPs.  ATMV will give you the best price possible for LPs that have some value.  However, we ask our customers to be realistic about the value of their record collections.  Typically there are more copies of the same records available for sale, and not enough buyers.  The law of “supply and demand” dictates that an overabundant supply and little or no demand, equals little or no value.  Also consider the fact that we are presently warehousing over 20,000 records in storage.   Many of those records are multiples of the same records you may be selling.  We accumulate so many used records that periodically we throw out the duplicate copies and keep only the better ones.  We see perhaps an estimated 500 to 1-thousand records weekly, not all of which are we prepared to purchase.  However, we still seek-out quality-collectible LPs that may turn up, as we offer our library of LP recordings to record-hounds and collectors at fair prices.

As a rule, an average collection of 100 records may contain less than 20% of items that may have any commercial appeal, provided that the general condition of the LP and cover are not seriously diminished.   The rest, while at one-time perhaps bonafide best sellers, are now no longer in demand.   Buyers simply are not seeking these artists or titles.  If they are, they’re purchasing the CD version to replace their original LP.  Generally speaking, with decades of time, more records are worth less – fewer are worth more.

Record value in part can be correlated to stamp & coin collecting standards.  That is, the better the condition the better odds the item will have any value.  But just because the LP is in good condition, doesn’t necessarily mean it has any value or collectability.  Quite the contrary, if the LP was never or rarely played, it was probably of little interest to its original owner, so would anybody be interested in it now?  If your LP’s were played and enjoyed frequently, chances are the album has suffered from moderate to serious groove wear.  Not to mention broken seams, tattered covers, writing-on the record cover or vinyl, scratches, scuffs, etc.  On the other hand, if the LP is a historic critically acclaimed item, and has been meticulously cared for with minimal play, then there is a chance it could be worth something.  That is, of course, if it is not a common recording.  See the list below to see examples of recordings that are of little or no value and examples of collectible artists and recordings that may hold some value, pending condition.

Hope you’ve gotten a better understanding of our appraisal process.  Don’t be disappointed with our bid.  Be realistic. We’ve spent the last 30 years learning what’s-in and what’s not, and use that knowledge to buy and sell fairly and strategically.

We recommend that you keep any records that have emotional or sentimental value, because generally speaking, 80% of the LP’s in any collection are common and have little or no value. For those, we may only pay-out pennies, nickels, and dimes at best.  The other 20% may have a value of 25 cents to $1.00 dollar or more.  True collectibles may command $5 to $25 dollars at the wholesale level. Good Luck!

LP Demand – “Studs & Duds”

“Studs” (Sought-After Artists on LP)

The artists below are only a sampling of many LP’s that are in demand.

Generally speaking, any Rock ‘n Roll, Psycaldelic, Punk, R&B, or Chicano Rock LP from the (50’s-80’s) era, are high in-demand.  The edgier, more obscure, or rarer – the better.

• Animals
• Beatles (original Vee-Jay & Apple)
• Beatles solo albums by Lennon, McCartney, Harrison, or Starr
• Berry, Chuck (early Chess)
• Bowie, David (early)
• Brown, James (early king and Federal)
• Clark Dave Five
• Cooke, Sam (early Keen and RCA)
• Creedence Clearwater Revival
• Crystals, The (on Phillies)
• Domino, Fats (early Imperial)
• Doors & Jim Morrison
• Dylan, Bob (early Columbia)
• Gaye Marvin (early Tamla)
• Hendrix, Jimi
• Jives
• Led Zeppelin
• Little Joe and the Latinaries
• Malo
• Pickett, Wilson
• Pink Floyd
• Presley, Elvis (early RCA)
• Price Lloyd (early ABC Paramount)
• Rolling Stones (early London)
• Ronettes, The (on Phillies)
• Sunny and the Sunglows (Sun liners) on Sunglow or Teardrop
• Turner, Joe (early Atlantic)
• Wells, Mary
• Zappa Frank (early Verve)

“Duds” (Least Sought-After Artists on LP)

The artists below are only a sampling of many LP’s that are not in demand. Often many of these types of records are routinely abandoned or donated. We cannot pay cash on many of the artists on this list.

Generally speaking, any Classical, string, house orchestra, instrumental, or no-name budget LPs from the 60s-70s also fall into this category.

• Alpert, Herb or Tijuana Brass
• Ames, Nancy
• Campbell Glen
• Conniff, Ray
• Crosby, Bill
• Denver, John
• Diamond, Neil
• Enoch Light
• Faith, Percy
• Ferrante and Teicher
• Four Freshmen
• Grateful Dead
• Hall and Oates
• Hirt, Al
• Joel, Billy
• John, Elton (on MCA)
• Kaempfert, Bert
• Kingston Trio
• Lettermen
• Living Strings
• Guy Lombardo
• Longines Symphony
• Mancini, Henry
• Manilow, Barry
• Mantovani
• Martin, Dean
• Miller, Mitch
• Moody Blues
• Newton-John, Olivia
• Readers-Digest recordings
• Rogers, Kenny
• Simon, Carly
• Streisand, Barbra
• Warwick, Dionne
• Welk, Lawrence
• Williams, Roger
• Wilson, Nancy

Popularity: 4% [?]

IMPORTANT UPDATE:  Event has been CANCELLED!
Tickets may be refunded at place of purchase starting Wednesday, August 25th.
Panteon Rococo


Latin rock band from Mexico Panteón Rococó was formed in the mid-’90s, recording its first EP, called Pa’ Mi Negra, in 1997. The following year, the group participated in a double-album called Eskuela De Baile, contributing with two of its original songs, “L’America” and “Curame.” A similar compilation called Puro Eskañol came a year later, including Panteón Rococó‘s “Borracho.” In 1999, the ten-piece Latin ska and reggae band was awarded at an event known as Skalaria for being the Best Local Ska Performer. In October of that same year, Panteón Rococó released its debut album, A La Izquierda De La Tierra.

Popularity: 10% [?]