A Mi Novia Linda... ♥

  

Bolivar Peralta

"La Novia Que Tengo"

1998

Tracks:

01 - La Novia Que Tengo ♥

 02 - Que Decida Ella
03 - Sin Tu Amor Soy Un Cobarde
04 - Asi Comenzo Nuestro Amor
05 - Tu Nuevo Calmante
06 - Dejate Querer
07 - Permitame Señora
08 - Nuestro Ayer
09 - Rico En Sentimiento
10 - Un Amor Que Ya Murio
11 - Nunca Se Sabe
12 - Asi Es El Amor (Merengue)

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

   

Bolivar Antonio Peralta Camilo

Biografia por Rincon del Amargue

Este talentoso interprete de la bachata,nacio en 1948 en el municipio de tenares, salcedo. hijo de Jose Peralta y Eufemia Camilo.
Narra que su incursion en la musica nace de manera accidental,  aunque desde pequeño sintio inclinacion por la musica y el canto.
Bolivar Peralta compartia la agricultura en su tierra natal con el canto, dice, que en el conuco los muchachos me decian que no trabajara, sino que le animara cantando mientras ellos trabajaban.
En la epoca que el cantautor de amargue decide lanzarse al ambiente musical, ya nombres como: Luis Segura, Miguelito Cuevas,
Julio Jaramillo, Jose M Calderon, Rafael Encarnacion, entre otros ya se dejaban escuchar.
En 1974 Bolivar Peralta logra vender su primera composicion "Historia de Amor" al señor Francisco Flores por el precio de150 pesos y para 1977 grabo el sencillo "Samaritana" al Señor Jesus Lopez, (el compa).
Hace su llegada a Santo Domingo en 1988 motivada por la continuacion de la carrera bachatera, ya que para ese tiempo la agricultura no representaba ningun sutento.
En 1989 Peralta inicia su carrera musical, junto a Manolito de la Cruz  con un pequeño grupo para tocar en lugares publicos, un año despues formo parte del conjunto "los melodicos".
En 1992 formo su primer conjunto llamado "Los Inigualables" la Historia musical de este cultivador de la bachata, esta contenida en una 11 producciones detacandose otros exitos como: el caballo blanco, me gusta esa hembra entre otras.
En la nueva estapa de su carrera  el artista lanza una nueva produccion bajo el sello R&L del Señor Roque Cruz, titulada Mujer de mis sueños, popularizando mas su carrera con los exitos: se que volveras, la vida es una tombola y mujer de mis sueños.
Peralta  esta convencido que gracias  al tratamiento mas depurado en la letras de las composiciones de bachata, este ritmo se ha catapulado a niveles de popularidad insospechados por el.
Es por ello que siempre se ha preocupado por imprimirle a sus canciones una lirica romantica y si doble sentido, por tal razon, este artista es reconocido hoy por  sus compañeros de arte como uno de los mejores compositores de todos los tiempos.
Bolivar, mas adelante lanza otra producion titulada la novia que tengo considerando este trabajo musical, como uno de los mas importante en su carrera.
En esta ultima entrega musical, el cantautor expresa su fino sentimiento y no abandona el romantisismo que lo ha caracterizado a lo largo de su exitosa trayectoria musical. "la novia que tengo" fue la segunda producion que el artista lanzo bajo el sello R&L.
Bolivar Peralta se define como un fiel seguidor de las composiciones romanticas, por esto a su composiciones le imprime su estilo y su voz depurada.

"La Novia Que Tengo"

 
Tengo la novia mas linda
la mas concentida
que sone tener

Ella me quiere, me entiende
me envuelve me lleva
y me vuelve a traer

Y como un loco quiza
cada dia mas
mas la quiero yo

Estoy viviendo locuras
por esa criatura
que dios me mando

Estoy viviendo locuras
por esa criatura
que dios me mando

CORO
La novia que tengo
es una dulzura

Es una manzana
no es una alma dura

Es todo mi sueno
es mi alegria
asi la deseaba
asi la queria

La novia que tengo
es una dulzura

Es una manzana
no es una alma dura

Que novia mas linda
(Tengo yo)

Que novia mas buena
(tengo yo)

Que novia mas linda
(tengo yo)

Mi novia es perfecta
(tengo yo) 

 

 ♥

¡Baila!

 

El Chaval 

De La Bachata

Para Siempre

Tracks:

01. De Hoy Pa Delante
02. No Trates De Mentir
03. Bohemio De Aficion
04. El Chancletu
05. Me La Voy A Llevar
06. El Jefe
07. Fruta Venenosa
08. Planchame
09. Me Falta Valor
10. Mal Agradecida
11. Como Olvidarla

 

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•☆♫

.ღ•:*´♥`*:•ღ.

♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•☆♫

 

 Dominican singer El Chaval -- often referred to as El Chaval de la Bachata -- was an active recording artist for over a decade before breaking into the Latin music mainstream in 2007. Born Linar Espinal on April 12, 1978, in Juncalito Jánico, Dominican Republic, he moved with his family to the city of Santiago in 1985. He began his singing career as a teenager in 1993 with the album Si Te Vas, credited to El Chaval & Los Infantiles del Amargue; another early album with the same group, Amor de Mis Sueños... Ahora Si Mas Mambo, followed in 1994. After a few years away from the marketplace, El Chaval returned to recording with a series of increasingly mature albums, including Sentimiento Unico (1997), Enfermo de Amor (1998), Para Toda la Vida (1999), Para Siempre (2000), Volvere (2002), Ayer y Hoy (2003), Devuelveme Todo (2004), No Te Llamo Más (2005), ¡En Vivo! (2007), and Ya Me Cansé (2007). The latter -- like many of these albums, released by Mas Music -- was his breakthrough, featuring the popular song "Dónde Están Mis Amigos." A greatest-hits collection, Su Mejors Exitos (2007), was compiled and released by Mas Music not long thereafter. ~by Jason Birchmeier

 

***

 

 NOMBRE ARTÍSTICO: El Chaval de la Bachata

NOMBRE REAL: Elinar Espinal

NACIÓ EN: Juncalito Jánico (RD) el día 04/12/1978
GÉNERO: Bachata

BIOGRAFÍA:
Linar Espinal mejor conocido en el campo artístico como El Chaval de la Bachata. Nace en Juncalito Jánico el 4 de diciembre 1978, rodeado del cariño de sus padres y hermanos es el menor de 4 hijos que procrearan Maria su madre y Chucho su padre, desde pequeño tocaba el acordeón, pero fue cuando en el año 1985 la familia se traslada a la ciudad de Santiago RD precisamente en el sector de Pekín, ahí es cuando se inclina por el ritmo de la bachata, escuchando en ese entonces al bachatero Blas Duran con la producción “Mujeres Hembras”, desde muy pequeño su trabajo era la búsqueda de aluminio, cobre y bronce para luego venderlo.

Para el año 1993 conoce a Zenón Marte quien le presento a Juan Tavarez el cual tenía un grupo de bachata acompañado de su hijo Joel Tavarez de 8 años de edad, un chico esplendido tocando su guitarra con el cual forman el grupo “LOS INFANTILES DEL AMARGUE” con la voz líder de Linar Espinal. En 1994 conocen a Nepo Nuñez Records el cual le grabo su primera producción discográfica para ese mismo año.

En 1997 sale la primera producción como El Chaval de la Bachata titulada “Sentimiento Unico” la cual contiene el hit “cuando el amor se va”. En 1998 “Enferno de Amor”, 1999 “Para toda la vida”, en el 2000 “Para Siempre”, 2002 “Volvere”, 2003 “Ayer y Hoy”, 2004 “Devuelveme Todo”, 2005 “No te llamo Más”, 2007 “Ya me canse” esta última conteniendo el más reciente hit “Donde están esos amigos”

El chaval recibió un disco de oro 1998, ha sido nominado a los premios Ases de New York 1999, en los premios Casandra 2005 y muchas nominaciones más.

Actualmente esta con la compañía disquera MAS MUSIC y sigue trabajando duro para hacer buenas producciones para seguir en el gusto popular…

El Chaval de la Bachata ha llevado su ritmo a lugares como Estados Unidos, Ameria del Sur, Europa, America Central y otros.

Bachata is a genre of music that originated in the Dominican Republic in the early parts of the 20th century and spread to other parts of Latin America and Mediterranean Europe. It became popular in the countryside and the rural neighborhoods of the Dominican Republic. Its subjects are often romantic; especially prevalent are tales of heartbreak and sadness. In fact, the original term used to name the genre was amargue ("bitterness," or "bitter music"), until the rather ambiguous (and mood-neutral) term bachata became popular. The form of dance, Bachata, also developed with the music.

  

 
wiki bachata

 

 

♥

 

Bachata

Edilio Paredes
1980

Tracks:

01. Porque Me Busca
02. Muchachita Misteriosa
03. Mujer Perdida
04. No Me Olvides
05. Se Cambiaron Los Papeles
06. Del Cielo Cayo Una Rosa
07. La Mujer Completa
08. La Tinajita
09. Dos Amantes
10. Yo La Recuerdo

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

.ღ•:*´♥`*:•ღ.

         

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

Edilio Paredes and The Birth of Bachata
David C. Wayne

In the annals of popular music throughout the world, it is difficult to find a single figure who has had as much influence in the forging of a style as Edilio Paredes has in the creation of bachata. Recording the lead guitar on “many more than a thousand” tracks over three decades, Edilio shaped a new genre; his arrangements distinguished bachata from the bolero out of which it emerged, and set the framework within which bachateros continue to operate even today. From bachata’s seminal days until the early 1990’s, Edilio Paredes directed and recorded the most important work of the music’s most important artists, and along the way inspired three generations of Dominican guitarists.

From infancy, Edilio has always been a prodigiously talented musician. He is a native of the small country town of La Galana, near San Francisco de Macoris, and was the first person in his family to sing or play an instrument (although his brother and his three sons have since become well known musicians in their own right). Nothing in his family history or background augured for the appearance of a musical genius. Nevertheless, Edilio relates that the first time he played a guitar was when he was four years old. “The owner of the colmado had a tres, and he put it up on the counter. I remember having to stand up on my tiptoes to be able to reach it. I’d never played any kind of instrument before, but I was able to pick up three merengues that were popular at the time.” Perhaps seeing a young child play the instrument that he was unable to play incited jealousy in the owner of the colmado - he became infuriated one day after Edilio broke a string. This left quite an impression on the gentle Edilio, and at the tender age of four the great master of the Dominican guitar swore off music forever!

By the time he was eight he had seen more of the world (he reports crossing the river to nearby San Felipe), and he repented of his decision. He formed a group with his brother, Nelson, and Ramón Cordero, who would go on to be a major figure in bachata as well. They began to play at parties in the area with a guitar that an uncle of Ramón’s gave to Edilio along with some basic instruction (Edilio is largely self-taught). Edilio recalls playing the music of Odilio Gonzalez, Julio Jaramillo and Blanca Iris Villafañe, and dreaming of one day being able to play as well as Puerto Rican legend Yomo Toro.

When he was 13, Edilio decided to go to the capital, Santo Domingo. He went to work at Casa Alegre, which was a music store owned by singer Cuco Valoy. Valoy also owned a record label, and Edilio went to work recording for him. He recorded songs with singers Bernardo Ortiz, Rafael Encarnación and Mélida Pérez, and his reputation began to grow. He quickly supplanted a number of older musicians as the most sought after guitarist to record “bolero campesino”—what would later become known as bachata.

Soon after Edilio began to record for Radhames Aracena, the proprietor of Radio Guarachita. Aracena’s station was the only national radio station which featured guitar music, and the music the station played was all recorded under one of the various labels which Aracena himself owned. It was during the years of Radio Guarachita’s predominance that bachata properly began to coalesce as a genre. Every bachatero in the country at one time or another probably recorded for Radhames Aracena. Since he was Guarachita’s premier “requinto”, or lead guitar player, all of those artists except for the few who, like Luis Segura, played their own lead guitar, worked with Edilio Paredes.

As the years went by bachata changed markedly. Whereas it began in the early 1960s as a music which was barely distinguishable from the bolero that came before it, by the mid-1970s bachata was beginning to become much more rhythmic and danceable. The güira replaced the maracas, a change which Edilio was party to, and elements of other more upbeat musics like son and merengue could be heard in the guitar lines. The one person who most influenced these changes was unarguably the one who was making the arrangements—Edilio Paredes. During this period his name was most closely linked with that of his childhood friend, Ramón Cordero, but he did important work with almost all of the major bachateros of the 1960s, 1970s and 1980s. Besides the substantial ouvre of classic songs he recorded with Marino Pérez, Bolívar Peralta, Leonardo Paniagua, and José Manuel Calderón, among others, Edilio also released a good deal of his own work.

To have a conversation with Edilio Paredes about those days is to take a glimpse into bachata’s history through the eyes of an intelligent, critical and uniquely well informed observer. And the story we see is at times a difficult one to look at. As the genre developed, it became increasingly marginalized by Dominican society, until bachata’s creators and their audience became, for a time, a despised group of people. The reasons behind this are complex and best dealt with in another context. They certainly included, however, the active efforts of the merengue industry to eliminate bachata as effective musical competition; an elitist and modernist tendency which associated guitar music with the “backwardness” of the countryside; and, later, a puritan reaction against the double entendres which became a staple of the music during the 1980s.

Happily the situation has changed. As a result of a variety of factors, bachata’s popularity grew steadily during the 1990s, and it has become arguably the most important Dominican musical export, threatening to eclipse the much longer established merengue. Bachata’s audience extends throughout Mexico, Central and South America, Europe and the United States. Young groups have pioneered a fusion of bachata with rock and R&B, while a more traditional style continues to thrive. Among those who are driving the success of the music are Edilio’s three sons, David, Samuel and Nano, all of whom are themselves tremendous musicians.
 
In spite of the current bachata vogue, Edilio Paredes still does not enjoy the esteem in his own country that one would expect. Whereas cuatrista Yomo Toro of Puerto Rico, Edilio’s childhood idol, and tresero Francisco Repilado (Compay Segundo) of Cuba are cultural icons in their respective nations, the complicated relationship of bachata with Dominican culture has relegated its greatest virtuoso to the margins of society. The musicians who have benefited from bachata’s recently achieved popularity readily acknowledge their debt to Edilio, and on any given night his audience might include some of the genre’s marquee names. Likewise, those who were aficionados of the music when it was being actively denigrated by the Dominican media know and recognize Edilio Paredes as the master musician he is.

With the entry of bachata onto the international stage, Edilio has found an audience that can objectively appreciate his great artistry. Touring with singers like Super Uba and Puerto Plata, Edilio is introducing authentic bachata to a new group of listeners. Far from the bordellos and cabarets where this music once took refuge, Edilio's pioneering style is being enthusiastically embraced the world over.
  

source

 

 

more Classic Bachata :)

  

♥♥♥