Santana's Greatest Hits is a 1974 compilation album by Santana. It offers highlights from the group's first three albums. It is the band's best-selling compilation album, selling over 7 million copies in the U.S. alone while selling more than 8 million records worldwide.

Tropical Tribute to the Beatles is a tribute album of tropical artists released in 1996 by RMM Records (Ralph Mercado's record company), produced by Oscar Gomez (distributed by Bellaphon & Uni Distribution). Arrangements were made by Steve Roistein, and lyrics were adapted into Spanish by Jorge Córcega, who had previously adapted the lyrics of Salvatore Adamo.

Music Of The Spanish Guitar is various artist compilation album. Released in 1998.

La colección “Una historia del pop y el rock en España”, editada por el sello RTVE Música y que tanto éxito ha alcanzado en sus dos primeras entregas dedicadas a las décadas de los 60 y los 70, repasa ahora en un nuevo volumen “Los 80”, una de las más brillantes y prolíficas en cuanto a grandes canciones de la historia de nuestra música pop. José Ramón Pardo y José María Iñigo han vuelto a sumergirse en un mar de canciones y recuerdos para rescatar la esencia de un período que conocen bien; han seleccionado cuarenta canciones indispensables olvidándose de discusiones genéricas para centrarse en lo esencial, que se hayan conservado en nuestra memoria como el reflejo de su época. Así, la efervescente ‘movida’ está representada por grupos como Nacha Pop, Secretos o Gabinete Caligari, el primer tecno-pop por Azul y Negro, Tino Casal y Olé Olé, el rock urbano por Leño, Miguel Ríos o Coz… Pero también hay espacio para ver la evolución de cantautores como Luis Eduardo Aute, Joaquín Sabina, Joan Manuel Serrat, Víctor y Ana o Carlos Cano, la madurez de grupos como Mocedades o Triana, el nacimiento de fenómenos como Pecos, Hombres G y Bosé, la consagración de mitos como El Último de la Fila, Alaska o Mecano… y hasta para el sentido del humor de la Trinca y la Orquesta Mondragón.

Drawing on rock, salsa, and jazz, Santana recorded one imaginative, unpredictable gem after another during the 1970s. But Caravanserai is daring even by Santana's high standards. Carlos Santana was obviously very hip to jazz fusion - something the innovative guitarist provides a generous dose of on the largely instrumental Caravanserai. Whether its approach is jazz-rock or simply rock, this album is consistently inspired and quite adventurous. Full of heartfelt, introspective guitar solos, it lacks the immediacy of Santana or Abraxas. Like the type of jazz that influenced it, this pearl (which marked the beginning of keyboardist/composer Tom Coster's highly beneficial membership in the band) requires a number of listenings in order to be absorbed and fully appreciated. But make no mistake: this is one of Santana's finest accomplishments.

Early in 1870, a codex containing early Spanish vocal music had been discovered in the library of the Palacio Real in Madrid.

An album with a remarkable journey through music from Latin America and the Caribbean plus Mexico’s son jarocho, it’s a collaboration among multi GRAMMY® winners Arturo O’Farrill and the Afro Latin Jazz Orchestra, together with featured guests: the Conga Patria Collective, that includes Patricio Hidalgo, Ramón Gutiérrez Hernández, Tacho Utrera, Wendy Cao Romero, Fernando Guadarrama, and Jorge Francisco Castillo (founder, Fandango Fronterizo).

On the 'Deutsche Harmonia Mundi' label - Following the critically acclaim of their previous release The Music Prints of Christopher Plantin, The Huelgas Ensemble, under the direction of Paul Van Nevel, return with their stunning new album The Ear of Christopher Columbus. This remarkable album features music from the late fifteenth century and the early fifteenth century that may have been heard by Christopher Columbus during the course of his lifetime. The Ear of Christopher Columbus takes the listener to a musical journey through the lifetime of the explorer, beginning with his Italian childhood.

Santana is the third studio album by Santana. The band's second self-titled album, it is often referred to as III to distinguish it from the band's 1969 debut album. The album was also known as Man with an Outstretched Hand. It was the third and last album by the Woodstock-era lineup, and it was also considered by many to be the band's peak commercially and musically, as subsequent releases aimed towards more experimental jazz and Latin music.

Japanese edition of 2000 solo release for the former U.K. and Asia vocalist. Additional artists include Robert Fripp and Ian McDonald (King Crimson), Steve Hackett (Genesis), John Young (Asia/Qango), Martin Orford (IQ/Jadis) and John Mitchell (Arena). Tracks include, 'Heart of Darkness', 'No Ordinary Miracle' and 'Second Best'. Japanese edition includes two bonus tracks, 'Love Is' and 'Space And Time'. It was re-released in 2001 under the title Sinister without the bonus tracks but with a different cover.

Itoiz was the name of a Basque music band from the coastal towns of Mutriku and Ondarroa, started off in 1978 and disbanded in 1988. Born in times of turmoil for the Basque Country (Spain), Itoiz stems from a dancing music band (i.e. playing other groups' songs) called Indar Trabes (1974), which performed mainly in evening festivities of towns. Throughout their existence spanning ten years, Itoiz dealt with several styles ranging from folk to progressive rock to pop. Collection includes first three albums: 'Itoiz' (1978), 'Ezekiel' (1980), and 'Alkolea' (1982).

First time on CD for this rare Spanish psych album originally released in 1975. It is their sole album, originally released in 1975 on the Explosion label. No one knew anything about the group members until now, it had been even rumoured to be some Argentinian guys living in Spain…but no, the group was formed by 2 Spanish female and 4 male and the brainhead was Carlos Garcia, who sadly passed away not long ago and to whom this reissue is dedicated. Emphasis on male/female vocal harmonies. Some heavy blasts of fuzz crop up and there is some organ burbling around in the background.

Carlos Alberto Mestre (born August 3, 1952 in Buenos Aires, Argentina) mostly known by his stage name Nito Mestre, is an Argentine musician, founding member –along with Charly García– of Sui Generis, member of PorSuiGieco, bandleader of Nito Mestre y los Desconocidos de Siempre and a recording solo artist. Sui Generis, was initially formed in 1969 by Charly García (keyboards and vocals), Nito Mestre (guitar, flute and vocals), Rolando Fortich (bass guitar), Juan Belia (guitar), Alberto Rodriguez (drums) and Carlos Piegari (vocals). Later on, Sui Generis became a duo as everyone left except for García. After the band split in 1975, Nito Mestre formed a new band called "Nito Mestre y los Desconocidos de Siempre" with María Rosa Yorio on vocals, Rodolfo Gorosito on guitar, Alfredo Toth on bass, Ciro Fogliatta on keyboards and Juan Carlos "Mono" Fontana as a drummer. In the early 80s, Nito pursued a solo career.

Claudio Gabis (Buenos Aires, Argentina, March 18, 1949) is a guitarist, composer and educator, recognized as one of the founders of the rock movement in Argentina and a pioneer of blues in that country.1 Among his contributions are include those he made with the Manal trio -the first group to compose blues in Spanish-, considered along with Almendra and Los Gatos, a founding group of Argentine rock,2 in addition to being one of the best guitarists in his country.

This 1987 album followed in the footsteps of Los Lobos' two stunning predecessors (And A Time To Dance and How Will the Wolf Survive). One of the band's many strengths is the contrast between the formidable songwriting of David Hidalgo/Louie Perez and Cesar Rosas, with the former exploring stories of sadness and hope while the latter rocks like a barn on fire. This is an album of incredibly natural songs; they roll out like long lost classics, but that's simply another testament to the prowess of this band as players and writers. In a way, this was the band's last offering before they were forced to take stock of themselves and their goals in the wake of the surprise million-selling La Bamba soundtrack. That they were able to carry themselves forward from that point with grace and aplomb is foreshadowed in the utter honesty of this and all of their music.