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South Of The Border 48 Lively Latin Favorites
Label: Reader's Digest ‎– RDA 72-A, RCA Custom ‎– RDA 72-A
Format: 4 × Vinyl, LP, Compilation, Stereo, Box Set
Country: US
Released: 1968
Genre: Latin
Style: Compilation
 

Tracklist
South Of The Border
A1
–
Tito Lecuona And His Orchestra
Carioca
A2
–
Diego Lopez-Diaz And His Orchestra
Tea For Two Cha Cha
A3
–
Pablo Mendez And His Orchestra
Miami Beach Rumba
A4
–
Tonio Rivera And His Orchestra
Besame Mucho (Kiss Me Much)
A5
–
Pablo Mendez And His Orchestra
Guaglione
A6
–
Diego Lopez-Diaz And His Orchestra
South Of The Border (Down Mexico Way)
Lively Latin
B1
–
Juanito Fernandez And His Orchestra
Perfidia
B2
–
Perez Prado And His Orchestra
The Peanut Vendor (El Manisero)
B3
–
Alberto Ruiz And His Orchestra
Come Closer To Me (Acertate Mas)
B4
–
Joao Donato*
Samba De Orfeu
B5
–
Tonio Rivera And His Orchestra
You Never Say Yes, You Never Say No
B6
–
Alberto Ruiz And His Orchestra
Cielito Lindo
Let's Dance Latin (1)
C1
–
Juanito Fernandez And His Orchestra
Patricia
C2
–
Tonio Rivera And His Orchestra
Cachita
C3
–
Perez Prado And His Orchestra
Mambo Jambo
C4
–
Tito Lecuona And His Orchestra
Oye Negra
C5
–
Luis Gonzales And His Orchestra*
Mama Son De La Loma
C6
–
Tonio Rivera And His Orchestra
I've Got The World On A String
Let's Dance Latin (2)
D1
–
Alberto Ruiz And His Orchestra
Tampico
D2
–
Pablo Mendez And His Orchestra
Chiu Chiu
D3
–
Joao Donato*
Carnival (Manha De Carnival)
D4
–
The Claus Ogerman Orchestra
Tequila
D5
–
Juanito Fernandez And His Orchestra
Taboo
D6
–
Perez Prado And His Orchestra
Uno...
Mexican Fiesta
E1
–
Mariachi Los Camperos De Nati Cano
Guadalajara
E2
–
Mariachi Vargas De Tecalitian*
Mexican Hat Dance (El Jarabe Tapatio)
E3
–
The Three Aces*
Cu Cu Ru Cu Cu Paloma
E4
–
Xavier Cugat And His Orchestra
Alla En El Rancho Grande
E5
–
Marachi Vargas De Tecalitlan*
La Bamba
E6
–
Marachi Vargas De Tecalitlan*
La Negra
Mardi Gras In Rio
F1
–
Juanito Fernandez And His Orchestra
Mama Yo Quiero (I Want My Mama)
F2
–
Tito Lecuona And His Orchestra
Frenesi
F3
–
Alberto Ruiz And His Orchestra
Come To The Mardi Gras (Nao Tenho Lagrimas)
F4
–
Pablo Mendez And His Orchestra
Tropical Merengue
F5
–
Tito Lecuona And His Orchestra
Anna
F6
–
Diego Lopez-Diaz And His Orchestra
Madalena
Spanish Eyes
G1
–
Los Indios Tabajaras
Always In My Heart
G2
–
Los Hermanos Rigual
Magic Is The Moonlight (Te Quiero Dijiste)
G3
–
Diego Lopez-Diaz And His Orchestra
Time Was (Duerme)
G4
–
Ernesto Torrealba And His Orchestra
Como Llora Una Estrella
G5
–
Los Indios Tabajaras
Amor
G6
–
Pablo Mendez And His Orchestra
Spanish Eyes
Hasta La Vista
H1
–
Los Hermanos Rigual
La Paloma
H2
–
Diego Lopez-Diaz And His Orchestra
Preciosa
H3
–
The Three Aces*
Maria Bonita
H4
–
Tonio Rivera And His Orchestra
Adios, Mariquita Linda
H5
–
The Three Aces*
Vaya Con Dios
H6
–
Tito Lecuona And His Orchestra
Adios

Companies, etc.
Manufactured By – Radio Corporation Of America – RDA 72-A


SOUND TESTED
BUYER APPROVED
RECORDS PLAY EX
BOX / COVER EX
​

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FYI


 
In music, a single or record single is a type of release, typically a recording of fewer tracks than an LP or a CD. This can be released for sale to the public in a variety of different formats. In most cases, the single is a song that is released separately from an album, but it can still appear on an album. Often, these are the most popular songs from albums that are released separately for promotional uses such as commercial radio airplay, and in other cases a recording released as a single does not appear on an album. 45 rpm records are played on a record player or turntable. They can be played one at a time, with the records changed manually after they finish, or a stacking spindle could be used to play up to six in succession without manually changing them. The use of the spindle led to the coined "Stack O Wax" term in the 1950s.
History
The basic parameters of the music single were established in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercial music. Gramophone discs were manufactured with a range of playback speeds (from 16 rpm to 78 rpm) and in several sizes (including 12/30 cm). By around 1910, however, the 10-inch (25 cm) 78 rpm shellac disc had become the most commonly used format.
The inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The relatively crude disc cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, and a high rotation speed was necessary to achieve acceptable recording and playback fidelity. 78 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm.
These factors, combined with the 10-inch songwriters and performers increasingly tailored their output to fit the new medium. The 3-minute single remained the standard into the 1960s when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recordings. In 1968 songwriter Jimmy Webb shattered the standard 3 minute format with "MacArthur Park" which exceeds 7 minutes length. Although Webb had written million-selling songs and was a multiple Grammy winner, the song had been rejected by several labels as simply too long for the marketplace to bear. The Beatles' also challenged deliberately the long-standing 3-minute standard for pop singles with their 1968 7 minute 20 second single "Hey Jude" which according to some was extended in length in order to exceed "MacArthur Park"
Singles have been issued in various formats, including 7-inch (18 cm), 10-inch (25 cm) and 12-inch (30 cm) vinyl discs (usually playing at 45 rpm); 10-inch (25-cm) shellac discs (playing at 78 rpm); cassette, 8 and 12 cm (3- and 5-inch) CD singles and 7-inch (18 cm) plastic flexi discs. Other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc (5/12 cm, 8/20 cm, etc.).
The most common form of the vinyl single is the 45 or 7 inch, the names are derived from its play speed, 45 rpm and the standard diameter 7 (18 cm).
The 7 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs. The first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s.
Although 7 remained the standard size for vinyl singles, 12 singles were introduced for use by DJs in discos in the 1970s. The longer playing time of these singles allowed the inclusion of extended dance mixes of tracks. In addition, the larger surface area of the 12 discs allowed for wider grooves (larger amplitude) and greater separation between grooves, the latter of which results in less cross-talk. Consequently, they 'wore' better, and were less susceptible to scratches. The 12 single is still considered a standard format for dance music, though its popularity has declined in recent years.
The sales of singles are recorded in record charts in most countries in a Top 40 format. These charts are often published in magazines and numerous television shows and radio programs count down the list. In order to be eligible for inclusion in the charts the single must meet the requirements set by the charting company, usually governing the number of songs and the total playing time of the single.
In popular music, the commercial and artistic importance of the single (as compared to the EP or album) has varied over time, technological development, and according to the audience of particular artists and genres. Singles have generally been more important to artists who sell to the youngest purchasers of music (younger teenagers and pre-teens), who tend to have more limited financial resources. Perhaps the golden age of the single was on 45's in the 1950s and early 1960s in the early years of rock music. Starting in the mid-sixties, albums became a greater focus and more important as artists created albums of uniformly high quality and coherent themes, a trend which reached its apex in the development of the concept album. Over the first decade of the 21st century, the single generally received less and less attention in the United States as albums, which on Compact Disc had virtually identical production and distribution costs but could be sold at a higher price, became most retailers' primary method of selling music. Singles continued to be produced in the UK and Australia but have declined since the mid first decade of the 21st century.
Dance music, however, has followed a different commercial pattern, and the single, especially the 12-inch vinyl single, remains a major method by which dance music is distributed.
As of 2006 the single seems to be undergoing something of a revival. Commercial music download sites reportedly sell mostly single tracks rather than whole albums, and the increase in popularity seems to have rubbed off on physical formats. Portable audio players, which make it extremely easy to load and play songs from many different artists, are claimed to be a major factor behind this trend.
A related development has been the popularity of mobile phone ringtones based on pop singles (on some modern phones, the actual single can be used as a ringtone). In September 2007, Sony BMG announced they would introduce a new type of CD single, called "ringles", for the 2007 holiday season. The format included three songs by an artist, plus a ringtone accessible from the user's computer. Sony announced plans to release 50 ringles in October and November, while Universal Music Group expected to release somewhere between 10 and 20 titles.
In a reversal of this trend, a single has been released based on a ringtone itself. The Crazy Frog ringtone, which was a cult hit in Europe in 2004, was released as a mashup with Axel F in June 2005 amid a massive publicity campaign and subsequently hit #1 on the UK charts.

--------------------------
Flamenco (Spanish pronunciation: [flaˈmeUko]) is a form of Spanish folk music and dance from the region of Andalusia in southern Spain. It includes cante (singing), toque (guitar playing), baile (dance) and palmas (handclaps). First mentioned in literature in 1774, the genre grew out of Andalusian and Romani music and dance styles. Flamenco is often associated with the gitanos (Romani people of Spain) and a number of famous flamenco artists are of this ethnicity. Flamenco was first recorded in the late 18th century but the genre underwent a dramatic development in the late 19th century.
In recent years flamenco has become popular all over the world and is taught in many countries. In Japan there are more flamenco academies than there are in Spain. On November 16, 2010 UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity.
Flamenco is a style of music and dance which is considered part of the culture of Spain, although it is actually native to only one region: Andalusia.
Andalusian, Gypsy, Sephardic, Moorish and Byzantine influences have been detected in flamenco, often claimed to have coalesced around the time of the Reconquista in the 15th century. The origins of the term are unclear; the word flamenco itself was not recorded until the 18th century.
Flamenco is the music of the Andalusian gypsies and played in their social community. Andalusian people who grew up around gypsies were also accepted as "flamencos" (Paco de Lucía). Other regions, mainly Extremadura and Murcia, have also contributed to the development of flamenco, and many flamenco artists have been born outside Andalusia. Latin American and especially Cuban influences have also contributed, as evidenced in the dances of "Ida y Vuelta".
Etymology
There are many suggestions for the origin of the word flamenco as a musical term (summarized below) but no solid evidence for any of them. The word was not recorded as a musical and dance term until the late 18th century.
The Spanish word flamenco can mean "flamingo" – referring to the bird, but originally meaning "flame-coloured" – but also "Flemish", i.e. someone or something related to Flanders. The (predominantly Flemish) courtiers of Charles V of the Holy Roman Empire (Carlos I of Spain) were known for their colourful red dress and florid displays of courtesy, but also for their boisterous behaviour. The word flamenco came to be used for arrogant or flamboyant behaviour in general, which could possibly have come to be applied to the Gitano players and performers.
A theory proposed by Andalusian historian Blas Infante in his 1933 book Orígenes de lo Flamenco y Secreto del Cante Jondo suggests that the word flamenco comes from the Hispano-Arabic term fellah mengu, meaning "expelled peasant"; Infante argued that this term referred to the ethnic Andalusians of the Islamic faith, the Moriscos, who in order to avoid forced exile and religious persecution, joined with the Roma newcomers.
Origins
Moorish influence in the Iberian Peninsula goes back thousands of years, but it was the Islamic invasion in 711 that brought the main musical influences. The conquerors brought their music, and were in turn influenced by native Spanish forms.
The Emirate, and later Caliphate of Cordoba became a major center of influence in both the Muslim and Christian worlds, attracting musicians from all Islamic countries. One such was Zyriab, who revolutionized the shape and techniques of the oud, adding a fifth string, and set the foundations for Andalusian nuba.
Centuries later, aspects of this "Moorish guitar" combined with the European lute and guitar latina to create the vihuela, which in turn influenced the baroque guitar, the precursor to the classical guitar - the basis of the flamenco guitar, and all other guitars in popular usage today. 
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Salsa is a popular form of social dance that originated in New York with strong influences from Latin America, particularly Cuba and Puerto Rico. The movements of salsa have its origins in Cuban Son, Cha cha cha, Mambo and other dance forms, and the dance, along with the salsa music, originated in the mid-1970s in New York.
Origin
Salsa dancing originated in New York in the mid-1970s. It evolved from earlier dance forms such as "Cha cha cha" and Mambo which were popular in New York, and incorporated elements of Swing dancing and Hustle, as well as elements of Afro-Cuban and Afro-Caribbean dances such as Guaguanco and Pachanga.
There is some controversy surrounding the origins of the word salsa. Some claim that it was based on a cry shouted by musicians while they were playing their music. Others believe that the term was created by record labels to better market their music, who chose the word "salsa" because of its spicy and hot connotations. Still others believe the term came about because salsa dancing and music is a mixture of different styles, just like salsa or "sauce" in Latin American countries is a mixture of different ingredients.
Description
In many styles of salsa dancing, as a dancer shifts their weight by stepping, the upper body remains level and nearly unaffected by the weight changes. Weight shifts cause the hips to move. Arm and shoulder movements are also incorporated. The Cuban Casino style of salsa dancing involves significant movement above the waist, with up-and-down shoulder movements and shifting of the ribcage.
The arms are used by the "lead" dancer to communicate or signal the "follower," either in "open" or "closed" position. The open position requires the two dancers to hold one or both hands, especially for moves that involve turns, putting arms behind the back, or moving around each other, to name a few examples. In the closed position, the leader puts the right hand on the follower's back, while the follower puts the left hand on the leader's shoulder.
In the original Latin America form, the forward/backward motion of salsa is done in diagonal or sideways with the 3-step weight change intact.
In some styles of salsa, such as LA and New York style, the dancers remain in a slot or line (switching places), while in some Latin American styles, such as Cuban style, the dancers circle around each other, sometimes in 3 points. This circular style is inspired by Cuban Son, specifically to the beat of Son Montuno in the 1920s. However, as it is a popular music, it is open to improvisation and thus it is continuously evolving. New modern salsa styles are associated and named to the original geographic areas that developed them. There are often devotees of each of these styles outside of their home territory. Characteristics that may identify a style include: timing, basic steps, foot patterns, body rolls and movements, turns and figures, attitude, dance influences and the way that partners hold each other. The point in a musical bar music where a slightly larger step is taken (the break step) and the direction the step moves can often be used to identify a style.
Incorporating other dance styling techniques into salsa dancing has become very common, for both men and women: shimmies, leg work, arm work, body movement, spins, body isolations, shoulder shimmies, rolls, even hand styling, acrobatics and lifts.
Latin American styles originate from Puerto Rico, Cuba and surrounding Caribbean islands.
 

 




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