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Mecano|Entre el Cielo y el Suelo  (Bonus Tracks Edition)

Entre el Cielo y el Suelo (Bonus Tracks Edition)

Mecano

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Mecano already were an established band in their origin country, Spain, when they went into the studio to record their fifth studio effort. Nevertheless, up to the release of Entre el Cielo y el Suelo, Mecano's success had seemed somewhat fluky, built on some beautifully crafted pop sensibilities and a very fortunate choice of singles. But then Entre el Cielo y el Suelo came, a powerful collection of potential hits without a single song of landfill to spoil the global result. The record is easily the band's finest to date, combining both Nacho's and Jose Maria Cano's composition skills and, more beautiful than ever, Ana Torroja's flawless voice. The warmth of ballads like "Me Cuesta Tanto Olvidarte" or "Hijo de la Luna" joins together with the melodic perfection of tunes like "Cruz de Navajas," "Ay, Qué Pesado," or even "Las Cosas Pares." Entre el Cielo y el Suelo was Mecano's first work in which Jose Maria, the older of Cano's brothers, manages to demonstrate his authentic value as a composer, leaving behind the aura of the secondary role that had accompanied him until this point. To him belong some timeless, fascinating pop treasures, turned with the step of the years into some of the band's (even Spanish pop's) seminal songs, such as the aforementioned "Cruz de Navajas," "Hijo de la Luna," and "Me Cuesta Tanto Olvidarte" as well as the not less brilliant "No Es Serio Este Cementerio." Meanwhile, his brother Nacho continues showing signs of his compositive geniality in "50 Palabras, 60 Palabras ó 100" or in the poetic "Las Cosas Pares." Ana Torroja reaches kind of enviable vocal registers, which will continue developing throughout subsequent works. The innocent techno-pop of Mecano's beginnings has been transformed here into more mature and timeless singer/songwriter compositions with some well-crafted lyrical and musical passages which made the delights, not only of the band's more unconditional and youthful public, but also of a sector of more adult and traditional tastes.

© Robert Aniento /TiVo

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Entre el Cielo y el Suelo (Bonus Tracks Edition)

Mecano

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1
Ay, qué pesado
00:03:59

I. Cano, Composer, Lyricist - Mecano, MainArtist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 Ariola Eurodis S.A.

2
Ángel
00:04:35

I. Cano, Composer, Lyricist - Mecano, MainArtist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 Ariola Eurodis S.A.

3
Hijo de la luna
00:04:19

Mecano, MainArtist - Jose Maria Cano, Composer, Lyricist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 Ariola Eurodis S.A.

4
50 palabras, 60 palabras o 100
00:04:01

I. Cano, Composer, Lyricist - Mecano, MainArtist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 Ariola Eurodis S.A.

5
Te busqué
00:02:56

I. Cano, Composer, Lyricist - Mecano, MainArtist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 Ariola Eurodis S.A.

6
Me cuesta tanto olvidarte
00:02:54

Mecano, MainArtist - Jose Maria Cano, Composer, Lyricist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 BMG Ariola S.A.

7
No tienes nada que perder
00:03:03

I. Cano, Composer, Lyricist - Mecano, MainArtist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 Ariola Eurodis S.A.

8
Las curvas de esa chica
00:03:13

I. Cano, Composer, Lyricist - Mecano, MainArtist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 Ariola Eurodis S.A.

9
No es serio este cementerio
00:04:36

Mecano, MainArtist - Jose Maria Cano, Composer, Lyricist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 Ariola Eurodis S.A.

10
Cruz de navajas
00:05:02

Mecano, MainArtist - Jose Maria Cano, Composer, Lyricist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 Bmg music spain s.a.

11
Las cosas pares
00:02:29

I. Cano, Composer, Lyricist - Mecano, MainArtist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 Ariola Eurodis S.A.

12
Esta es la historia de un amor
00:03:57

I. Cano, Composer, Lyricist - Mecano, MainArtist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1986 Ariola Eurodis S.A.

13
Canción Cortita para Antes Que Nos Abandone el Mar
00:01:03

Mecano, Performance, MainArtist - Ignacio Cano, Composer

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 2005 BMG Rights Management and Administration (Spain) S.L.U

14
Figlio de la luna
00:04:22

Mecano, MainArtist - Jose Maria Cano, Composer, Lyricist - Adap. español M. Luberti, Composer, Lyricist

© 2005 BMG Rights Management and Administration (Spain) S.L.U ℗ 1989 BMG Music Spain S.A.

Chronique

Mecano already were an established band in their origin country, Spain, when they went into the studio to record their fifth studio effort. Nevertheless, up to the release of Entre el Cielo y el Suelo, Mecano's success had seemed somewhat fluky, built on some beautifully crafted pop sensibilities and a very fortunate choice of singles. But then Entre el Cielo y el Suelo came, a powerful collection of potential hits without a single song of landfill to spoil the global result. The record is easily the band's finest to date, combining both Nacho's and Jose Maria Cano's composition skills and, more beautiful than ever, Ana Torroja's flawless voice. The warmth of ballads like "Me Cuesta Tanto Olvidarte" or "Hijo de la Luna" joins together with the melodic perfection of tunes like "Cruz de Navajas," "Ay, Qué Pesado," or even "Las Cosas Pares." Entre el Cielo y el Suelo was Mecano's first work in which Jose Maria, the older of Cano's brothers, manages to demonstrate his authentic value as a composer, leaving behind the aura of the secondary role that had accompanied him until this point. To him belong some timeless, fascinating pop treasures, turned with the step of the years into some of the band's (even Spanish pop's) seminal songs, such as the aforementioned "Cruz de Navajas," "Hijo de la Luna," and "Me Cuesta Tanto Olvidarte" as well as the not less brilliant "No Es Serio Este Cementerio." Meanwhile, his brother Nacho continues showing signs of his compositive geniality in "50 Palabras, 60 Palabras ó 100" or in the poetic "Las Cosas Pares." Ana Torroja reaches kind of enviable vocal registers, which will continue developing throughout subsequent works. The innocent techno-pop of Mecano's beginnings has been transformed here into more mature and timeless singer/songwriter compositions with some well-crafted lyrical and musical passages which made the delights, not only of the band's more unconditional and youthful public, but also of a sector of more adult and traditional tastes.

© Robert Aniento /TiVo

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