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The pioneering Afro-Bloco Ilê Ayiê was organized in 1974 It was Ilê Aiyê who inspired the formation of other Afro-Blocos like Olodum, Muzenza, Ara Ketu, and Malê Debalê, and their creation was fundamental for the advent of the samba/reggae genre
Chilean folk group Illapu was formed in 1971 by brothers Andrés, José Miguel, Jaime, and Roberto Márquez Bugueño The traditional number started touring all over Chile after Osvaldo Torres joined in, making their debut with Illapu, Música Andina in 1972
Named after the magnetic personality of their members, Imán emerged in 1998 when five young musicians decided to form a new traditional Mexican band After their debut album, called Atrayendo Corazones and produced by Roberto Martínez, became a chart-topping number with the hit single “Uno, Dos y Tres,” Imán earned seven nominations at the TTMA Awards (Texas Talent Musician Association) in the categories of Band of the Year, Best Promising Band, Album of the Year, Best Regional/Mexican Song, Best Vocalist, and Best Entertainer
Puerto Rican threesome Impala was mostly influenced by ’70s hard rock when the band decided to join local scene in 1998 After performing live in the club circuit of San Juan, Impala recorded its first EP, called Güil Rock For Fud, released by independent label Borirock in 1999, issuing Celos de Daphne in the year 2001
India may have exhibited a range of musical abilities over the course of her long and winding career, from freestyle and house to Latin pop and reggaeton, but she’ll be defined forever by her run of chart-topping New York salsa hits for the RMM label in the mid- to late ’90s, when she was crowned the Princess of Salsa by none other than Celia Cruz
Son of the popular singer and clown Eduardo das Neves, Indio learned the violão (acoustic guitar) by heart after listening to his father many times He wrote dozens of beautiful songs which remained in the classical repertory of Brazilian popular music, like “Cinzas,” “Para Sempre Adeus,” “Noite Cheia de Estrelas,” “Jura de Cabocla,” “Última Estrofe,” “E Nada Mais,” “Lágrimas” (recorded by Orlando Silva in 1935), “Apoteose do Amor,” (recorded in 1936 by Orlando Silva), “Página de Dor” (with Pixinguinha, recorded by Orlando Silva in 1938), “Cabocla Serrana,” “Nênias,” “Íntima Lágrima,” “Tudo Acabado,” “Luar da Minha Terra,” “Funerais do Amor,” “Rasguei o Teu Retrato,” “Cabocla Teresa,” “Primavera,” “Noite de S
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