Le Mans, Aqui vivia yo - 51m 46s

Tracks & Durations

1. Canción de todo va mal	7:53
2. Buenos días, corazón	3:38
3. El amor	3:37
4. Aqui vivia yo	1:43
5. No vino, estaba enferna o de vacaciones	4:22
6. Balalaika	3:47
7. La princesita	3:28
8. Yin Yang	3:12
9. Papá negro	3:19
10. No me abrumes, amor	2:33
11. Una mujer expansiva	2:10
12. Mi novela autobiográfica	5:33
13. Ay qué triste esto	3:35
14. Sic transit gloria mundi	2:47

Note: The information about this album is acquired from the publicly available resources and we are not responsible for their accuracy.

Review

With Le Mans' penchant for pop arrangements and gorgeous vocal melodies, all sung in Spanish, comparisons to Brazil's Os Mutantes are hard to resist. And it's an apt comparison. But while Os Mutantes took their cues from the upbeat psychedelic music of their era (the Beatles), Le Mans prefer their music to be understated, with shades of lounge, jazz, and salsa. There are many standout tracks on Aquí Vivía Yo--the wistful "Papa Negro" and the slinky groove of "Mi Novel Autobiografica"--but it's the strikingly low-key affect of the album as a whole that gives it its charm. Many of the instruments that appear here are more suggestive than fully utilized--a wah-wah guitar slides in for only two bars of a song, five notes of harmonica, three notes of trombone, a little Hammond organ, all never to be heard from again--and it's this patchwork of ideas that affords the music so much of its appeal. --David A. Kulczyk"Aqui Vivia Yo" translates as "Here is where I used to live", and has been widely acclaimed in Spain as Le Mans' best album, ever.

It is Le Mans' 4th and final release. Over the years the band has developed their jazz-bossa-ennui sound to the assured masterpiece that is their melancholic swan song. The almost eight minute long opening track, "Cancion de todo va mal" ("Everything Goes Wrong tune") is a song which is constantly growing: over a mysterious, almost tribal electronic drum section, more and more instruments - trombones, mandolins, guitars, pianos - are subtly added in progression, until the voice comes in at the end. This is the tone of the album: no radical rupture with their preceding works, yet everything is more effective and successful than ever.

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