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Los Ángeles Azules are a Mexican musical group that plays the cumbia sonidera genre, which is a cumbia subgenre using the accordion and synthesizers. This results in a fusion of the sounds of cumbia from the 1950-1970s with those of 1990s-style electronic music.
A live video of the song was uploaded to YouTube on April 18, 2018. [33] Recorded at Progreso, Yucatán and directed by Diego Álvarez, the video surpassed a billion views in 2020, making Los Ángeles Azules the first Mexican group to achieve that. [24] As of 2023, the video holds over 2 billion views in the platform. [33]
Later, they uploaded other videos in which they approved Emilia's fake audition, and subsequently announced the premiere of the song "Perdonarte, ¿Para Qué?" for 23 May 2024. [ 5 ] The singer expressed her honor and enthusiasm for collaborating with the group on her social media accounts, while sharing a snippet of the track.
Los Ángeles were a Spanish pop group active 1963-1976. [1] Originally the band was known as Los Ángeles Azules (The Blue Angels), the "Azules" was dropped when contracted by Hispavox, a major Spanish label, in 1967.
Los Angeles de Charly is a Mexican cumbia group led by vocalist Carlos Becies. The group was formed in 1999, after Charly Becies and fellow vocalists Guillermo "Memo" Palafox and Jonathan Martínez left the popular group Los Ángeles Azules and became one of leading exporters of the romantic Mexican cumbia genre.
The song's title is named after Juan José Esparragoza Moreno, who is commonly referred as "El Azul".The lyrics in the song are about the Mexican drug war, mainly about working for Mexican drug lord El Chapo, using the 701 moniker, in lyrics such as "En la sangre traigo el 701 / Melena de león, pues vengo de uno. " [1]
Azul (Blue) is the seventh studio album recorded by Mexican singer and songwriter Cristian Castro.It was released by BMG U.S. Latin on June 5, 2001 (see 2001 in music).It was produced again by Colombian songwriter and record producer Kike Santander working last album Cristian's Mi Vida Sin Tu Amor (1999).
[5] [6] In the 1930s and 1940s, as jazz and swing music were gaining popularity, it was the more commercially successful white artists Paul Whiteman and Benny Goodman who became known as "the King of Jazz" and "the King of Swing" respectively, despite there being more highly regarded contemporary African-American artists.