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Barimar – Permette Un Ballo Vol.7

Barimar – Permette Un Ballo Vol. 7 offers twenty-six recordings across Italian social dance styles. Occhi neri and Paquito lindo open as Waltzes, followed by Nannì gita ai castelli and the Slow Waltz I milioni d’Arlecchino. La bostella appears as Samba, Oh come bali ben as Mazurka and Blue tango as Tango. Tarantella, Cha Cha, Bolero, Rock and Polka also feature in the 1998 programme. Original rhythm labels accompany the varied repertoire, helping listeners choose music by dance as well as title.

Product Details

Format: MP3
Year: 1998
Catalogue Classification: Standard
Catalogue Language: Italian
Artist: Barimar
Dance Repertoire: Italian social dancing; mixed rhythms as individually listed

Original price was: $29.00.Current price is: $6.00.

Product ID: 26107 Category: Music

Description
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Permette Un Ballo Vol. 7 is a 1998 Barimar collection of 26 dance-music recordings. Its varied programme includes waltzes, tarantella, mazurkas, samba, tango, cha cha, bolero, rock and polka, alongside original Italian tempo or rhythm labels. It offers a broader social repertoire than a collection confined to Standard ballroom dances.

Occhi neri and Paquito lindo open as waltzes, followed by Nannì gita ai castelli and the slow waltz I milioni d’Arlecchino. La bostella supplies a samba, while Oh come bali ben is a mazurka and Blue tango a tango. These specific labels remain attached to the album’s own recordings.

The middle programme includes Mademoiselle de Paris, Zibaldone, Casatschok and Battagliero. Amado Mio carries a combined tango-beguine designation, before Eso Es El Amor, Lisboa Antigua, Tango bolero and Orologio matto add further rhythm contrasts. Perle di cristallo, Tema di Lara, Marika and La bufera are among the final entries.

For someone browsing Barimar’s music for Italian social dancing, the complete list supplies the original genre descriptions and individual playing times. Combined labels and terms such as Terzinato are retained rather than translated into a different dance. All twenty-six source entries stay in order, with no invented performer additions, tempo figures or claims about dance instruction.