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La Banda del Carro Rojo [CD/DVD] by Original Soundtrack/Los Tigres del Norte (CD - 08/01/2006)
 

La Banda del Carro Rojo [CD/DVD] by Orig...

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La Banda del Carro Rojo [CD/DVD] by Original Soundtrack/Los Tigres del Norte (CD - 08/01/2006)
"La Banda del Carro Rojo [CD/DVD]" (08/01/2006) International Original Soundtrack, FonovisaCorridos (Mexican folk narratives) existed long before los Tigres del Norte's formation in the late '60s, but los Tigres played a seminal role in the rise of a certain type of corrido: the narcocorrido, which describes the dangerous, violent and tragic world of narcotraficantes (drug smugglers). Los Tigres wrote the book on narcocorridos, helping to pave the way for everyone from Grupo Exterminador to los Tucanes de Tijuana to the late Chalino S nchez. And narcocorridos are a major priority on La Banda del Carro Rojo, a best-of that Fonovisa assembled in 2006. This release is hardly the only Tigres best-of that Fonovisa has put together; there have been quite a few others. But La Banda del Carro Rojo will be especially interesting to those who associate los Tigres with narcocorridos, which is not to say that all of the selections fall into that category. One of the most famous non-narcocorrido tracks is "La Jaula de Oro," which was covered by Latin pop/rock en espa?ol star Julieta Venegas (in an intriguingly non-norte?o fashion) and is a poignant account of a frustrated Mexican immigrant who has been working in the U.S. for ten years but still hasn't been granted citizenship. And "Tres Veces Mojado" is about a Salvadoran man who -- in the process of gradually making his way from El Salvador to Arizona -- has been an indocumentado (undocumented worker) in Guatemala, Mexico and the United States. But narcocorridos dominate La Banda del Carro Rojo, which -- unlike all the Tigres best-ofs that have focused on their '90s and 2000s output exclusively -- also boasts some of their groundbreaking narcocorridos of the early '70s such as the title track and "Contrabando y Traici¢n" ("Contraband and Betrayal"). Some musicologists have compared narcocorridos to gangsta rap, although the outlaw country tradition of Johnny Cash, Waylon Jennings, Johnny Paycheck and Merle Haggard is an equally valid comparison -- and whatever comparisons one prefers, La Banda del Carro Rojo is full of gems that are essential listening for narcocorrido enthusiasts. ~ Alex Henderson

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Puta's Fever by Mano Negra (CD - 07/23/1996)
 

Puta's Fever by Mano Negra (CD - 07/23/1...

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Puta's Fever by Mano Negra (CD - 07/23/1996)
"Puta's Fever" (07/23/1996) International Mano Negra, Virgin Records (USA)Mano Negra: Oscar Tramor (vocals, guitar, keyboards); Helmut Krumar (guitar, keyboards, background vocals, programming); Jo (guitar, bass, background vocals); Roger Cageot (guitar, background vocals); Tonio Del Borno (trumpet, background vocals); Kropol (trombone); Santiago "El Aguila" Casariego (drums, background vocals); Garbancito (percussion). Additional personnel: Mme. Oscar, Zofia, Naro "Chihuahua" (vocals); Alain "L'Enclume De Choisy" (acoustic bass). Recorded at Mix It Studio, Paris, France. Personnel: Helmut Krumar (vocals, guitar, keyboards, programming); Oscar Tramor (vocals, guitar, keyboards); Roger Cageot, Jo (vocals, guitar); Tonio del Borno (vocals, trumpet); Santiago el Aguila Casariego (vocals, drums); Garbancito (vocals, percussion); Kropol (trombone); Alain ? (double bass). Recording information: Mix It Studio, Paris, France. Arrangers: Thomas Darnal; Manu Chao. The highly influential Puta's Fever opened the door for a flood of young rock bands outside the English-speaking music world to fashion new hybrids that reflected their own musical cultures blended with popular worldwide sounds like rock and reggae. Manu Chao and company started from patchanka, a fast-paced French music hall style that sounds like speeded-up ragtime or hot jazz, and started singing songs in Spanish, French, and Arabic. The motor driving all the disparate elements on Puta's Fever is Santiago el Aguila Casariego's fierce drumming. And what an array of styles -- calliope-like keyboards, a Latin groove on "Patchanka," Tex-Mex on Joe "King" Carrasco's "Patchuko Hop," and dub reggae on "Peligro" -- pass through Mano Negra's manic mix. "Mano Negra" sounds like soundtrack music for a spaghetti western surf movie (really), while "Rebel Spell" marries a gospel chorus and hard rock guitar to a rapped street tale of shooting Brother Rasta dead. Puta's Fever is a triumph of eclecticism as a style where each song shifts into a different musical gear, and one key jumping-off point for the rock en espa?ol (or Latin alternative) school. Which doesn't mean that Mano Negra abandoned their original inspiration -- English lyrics dominate and there's a strong identification with a classic rock & roll outlaw stance in "Rock 'N' Roll Band" and the '50s-rooted "Devil's Call." ~ Don Snowden

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Ethiopiques, Vol. 10: Tezeta - Ethiopian Blues & Ballads by Various Artists (CD) [IMPORT - (not USA
 

Ethiopiques, Vol. 10: Tezeta - Ethiopian...

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Ethiopiques, Vol. 10: Tezeta - Ethiopian Blues & Ballads by Various Artists (CD) [IMPORT - (not USA
"Ethiopiques, Vol. 10: Tezeta - Ethiopian Blues & Ballads" (02/05/2002) International Various Artists, Buda RecordsIncludes liner notes by Francis Falceto. Tezeta, an Ethiopian style with a relatively strict format built on repeated circular riffs, relies on the singer to put his stamp on the form with improvised verses and the up-and-down vocal spirals characteristic of Arabic music. The word itself means something like memory or nostalgia -- in musical terms, it's similar to saudade in Portuguese music, duende in flamenco, or blues and soul in the U.S. music world. It's that indefinable something that separates the great musicians from the merely competent -- you can't exactly say what it is but you know when someone's got it. All ten tracks here date from the early '70s, when versions of the tezeta were an innovative force in Ethiopian pop's golden age. There's a surprising variety: swirling accordion handles the circular riff accompanied only by minimal percussion on Fr?w Haylou's opening "EyŠtŠgnu NŠgu," but an almost '50s rock ballad feel pervades AlŠmayŠhu EshŠt?'s "TŠrŠdtch?walŠhu" and Menelik WŠsnatchŠw's "Tezeta" is tranquil and dreamy. Tezeta is also an excellent launching pad for saxophonists TŠsfa-Maryam Kidan? (featured on his own "HeywŠt?") and TŠwodros Meteku to provide backing fills and solos behind the singers. It's instrumental storytelling and the breathy saxes achieve that smoky, brooding flavor that seems unique to Ethiopian music, shading the music with a deep indigo to purple color. The slow, mournful versions really bring out that smoky trance sensation here. SŠyfu YohannŠs is the first singer to really stand out on his nagging "Tezeta," supported by Meketu's fills and MŠssŠlŠ GŠssŠssŠ's prominent piano. Moges Habt? and Feqadu AmdŠ-MŠsquŠl duel tenor saxes over a mysterious Fender Rhodes lick and Andrew Wilson's sharp wah-wah guitar on Mulatu Astatq?'s instrumental "GubŠly?." And Mahmoud Ahmed's "Tezeta" runs for 12 and a half gripping minutes with swirling organ, muted sax, and bubbling bass runs supplementing the voice of the most expressive singer in Ethiopian pop music. With nearly 75 minutes of music and extensive liner notes, Tezeta is another impeccable release in the outstanding Ethiopiques series. But even more than earlier soul-influenced compilations geared toward dancing, these brooding love blues laments cut to the emotional core essence of the country's music. This music sounds distinctly Ethiopian, like it could be from no other place on the planet. ~ Don Snowden

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Ethiopiques, Vol. 1: Golden Years of Modern Music by Various Artists (CD) [IMPORT - (not USA)]
 

Ethiopiques, Vol. 1: Golden Years of Mod...

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Ethiopiques, Vol. 1: Golden Years of Modern Music by Various Artists (CD) [IMPORT - (not USA)]
"Ethiopiques, Vol. 1: Golden Years of Modern Music" (02/03/1998) International Various Artists, Buda RecordsThis first volume of the Ethiopiques series just begins to show the scope of the golden age of Ethiopian music, loving assembled, remastered, and annotated. What's obvious is the influence of American soul and blues, the former quite apparent in the Memphis groove of Muluquen Mellese's "Wetetie Mare," with its smoking bassline. Mellese himself has a very androgynous voice, unlike Mahmoud Ahmed, one of the major early Ethiopian stars, whose 1975 tracks sound like Arthur Conley singing in Aramaic, with "Yeqer Memekatesh" a true undiscovered soul classic. The three instrumental pieces that punctuate the disc have a wonderful smoky sound, like late-night jazz played by Booker T. and the MGs. The 1969 cuts from Teshone Meteku could only have come from that decade, with "Yezemed Yebaed" eerily reminiscent of "Black Magic Woman" in everything but its guitar work. But the most revolutionary pieces are from Getatchew Kassa, whose reinterpretations of the revered traditional "Tezeta," in both slow and fast versions, go utterly against history, making the piece relevant for the young -- which, after all, is what rock, hip-hop, and every other movement have done. ~ Chris Nickson

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Santo Pecado by Ricardo Arjona (CD - 11/19/2002)
 

Santo Pecado by Ricardo Arjona (CD - 11/...

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Santo Pecado by Ricardo Arjona (CD - 11/19/2002)
"Santo Pecado" (11/19/2002) International Arjona, Ricardo, Sony Discos Inc.Includes a bonus DVD disc. Personnel: Ricardo Arjona (vocals); Carlos Cabral (acoustic & electric guitars, piano, keyboards); George Doering (acoustic guitar, steel guitar, dulcimer, koto, mandolin, ukulele, autoharp); Michael Landau (electric guitar); Hector Del Curto (bandoneon); Victor Medina (harmonica); Fernando Otero (piano, Fender Rhodes piano, Hammond B-3 organ, Mini-Moog syynthesizer); Victor Patron, Fernando Valladares (keyboards); Vinnie Colaiuta (drums); Armando Montiel, Rafael Padilla (percussion); Elizabeth Meza, David Torrens, Joel Hernandez (background vocals); Vientos Orchestra. Producers: Ricardo Arjona, Carlos Cabral, Fernando Otero. SANTO PECADO was nomimated for the 2003 Latin Grammy Award for Best Male Pop Vocal Album.

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Vicente Fernandez/Mujeres Divinas el Cuatreto, Vol. 20 by Vicente Fern ndez (CD - 11/11/2003)
 

Vicente Fernandez/Mujeres Divinas el Cua...

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Vicente Fernandez/Mujeres Divinas el Cuatreto, Vol. 20 by Vicente Fern ndez (CD - 11/11/2003)
"Vicente Fernandez/Mujeres Divinas el Cuatreto, Vol. 20" (11/11/2003) International Fernandez, Vicente, Sony Discos Inc.2 LPs on 2 CDs: VICENTE FERNANDEZ (1980)/MUJERES DIVINAS (EL CUATRERO) (1989). Photographers: Oscar Ruizesparza; Arturo Medellin. Arrangers: Gustavo A. Santiago; Heriberto Aceves; Fernando Z. Maldonado; Rigoberto Alfaro; Pedro Ram¡rez; Rafael Carri¢n.

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Sandungueo.com: Reggaeton Hits Vol. 1
 

Sandungueo.com: Reggaeton Hits Vol. 1

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Sandungueo.com: Reggaeton Hits Vol. 1
"Sandungueo.com: Reggaeton Hits, Vol. 1" (10/14/2003) International Various Artists, Cutting Records

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Incansables by Los Tigres del Norte (CD - 12/31/2002)
 

Incansables by Los Tigres del Norte (CD ...

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Incansables by Los Tigres del Norte (CD - 12/31/2002)
"Incansables" (12/31/2002) International Los Tigres del Norte, FonovisaPhotographer: Nadine Markova. Arrangers: Enrique Franco; Los Tigres del Norte.

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Ritmo [3/7] *
 

Ritmo [3/7] *

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Ritmo [3/7] *
"Ritmo [Remaster]" (03/07/2006) International More, Beny, EscondidaIt is a shame that it took Ry Cooder to shed some light on literally dozens of dynamic talents from Cuba, but thankfully they are receiving their due, albeit posthumously in some cases. Benny Mor? died in 1963, but he is often regarded as one of the leading legends of the Latin scene, and no wonder. Whether it is the strong Latin-meets-tango flair of "Dolor Carabali," which contains an impressive horn section, or the ensuing "El Bobo de la Yuca," containing a fabulous, bouncy, happy-go-lucky flavor, Mor?'s powerful pipes are what makes each track shine. And while some of the recordings suffer from early technology, particularly the distant and rather low sound emanating during "Baila Mi Son," Mor? brings each track to life. This is especially true during the mid-tempo "Rumberos de Ayer" or the slower, romantic-leaning "Sin Razon Ni Justica." Perhaps the first true highlight is the bombastic "Marianao," which has a festive, rhumba-oriented melody from start to finish. Mor? allowed his band to play an integral role in each song, often leading the way during numbers like the light, hip-shaking "Las Mulatas del Chachacha" and "Elige Tu, Que Canto Yo," which instantly brings to mind the late greats like Ibrahim Ferrer or Tito Puente. Following the rather subpar "Dolor y Perdon," Mor? ups the ante with the fantastic and infectious "Maracaibo Oriental" as well as the stellar "Mata Siguaraya," showcasing his wide vocal range. ~ Jason MacNeil

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Bolerista de America con Guitarras by Felipe Pirela (CD - 08/18/2005)
 

Bolerista de America con Guitarras by Fe...

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Bolerista de America con Guitarras by Felipe Pirela (CD - 08/18/2005)
"Bolerista de America con Guitarras" (08/18/2005) International Pirela, Felipe, Yoyo USA

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Greatest Hits of Brasil '66 by Sergio Mendes & Brasil '66 (CD - 10/25/1990)
 

Greatest Hits of Brasil '66 by Sergio Me...

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Greatest Hits of Brasil '66 by Sergio Mendes & Brasil '66 (CD - 10/25/1990)
"Greatest Hits of Brasil '66" (10/25/1990) International Mendes, Sergio, A&M (USA)Personnel includes: Sergio Mendes (piano); Lani Hall (vocals). Engineers include: Larry Levine, Henry Lewy, Bones Howe. Personnel: Sergio Mendes (vocals). Recording information: 1966-1969. Arranger: Sergio Mendes. Unlike vocalist Astrud Gilberto, pianist Sergio Mendes was highly respected as a musician in his native Brazil from the very beginnings of bossa nova in the early '60s. Mendes and his combo, Brasil '66, were also the most Americanized of the Brazilian semi-expatriates who enjoyed stateside success at the height of the bossa nova craze. Brazil '66, which featured gifted singer Lani Hall, could occasionally even sound like a slightly Latin version of the Fifth Dimension-without the soaring strings and deluxe production values. Mendez was a shrewd leader, and he understood that much of '60s pop music was ripe for bossa nova treatment. He successfully covered Beatles tunes several times, with his version of "Fool On The Hill" being a particularly winning example, as well as songs by Simon & Garfunkle, Burt Bacharach, and even Cole Porter-whose "Night And Day" seemed tailor-made for the sensual bossa rhythms. From time to time, Brasil '66 would also introduce the songs of fellow countrymen, such as Jorge Ben's exuberant, "Mais Que Nada," sung in Portuguese.

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Whirled by V?sen (CD - 09/23/1997)
 

Whirled by V?sen (CD - 09/23/1997)

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Whirled by V?sen (CD - 09/23/1997)
"Whirled" (09/23/1997) International V?sen, NorthSide RecordsPersonnel: Roger Tallroth (12-string guitar, bouzouki, mandolin); Mikael Marin (fiddle, viola); Mats Olofsson (cello); Andr? Ferrari (percussion, bells). Audio Mixers: Adam Kviman; Magnus Frykberg. Recording information: Silence Studio, Koppom. Unknown Contributor Role: Olov Johansson. Arranger: V?sen. Sweden's V?sen have made a bold move with their fifth album, Whirled. Recognizing perhaps that they had reached the limits of the keyed fiddle-viola-guitar format of traditional and original Swedish folk music, they have brought aboard a percussionist, the versatile Andre Ferrari. This is in itself a breaking of the bounds of traditional Swedish music whose most common rhythmic accompaniment is the fiddler's own stomping foot. In addition, every song on the album is an original, with all members of the group composing. Previously, almost half the group's material had been traditionals. The quartet still builds on a Swedish folk base, but they reach out to other traditions, with songs sounding in turn vaguely Middle Eastern to vaguely jazzy. A move such as V?sen has made could result in a triumph or a disaster. Far too often world music acts throw too many ingredients into the pot, and the resulting mixture sounds like everything in general and nothing in particular. Happily it can be reported that that has not happened on Whirled. The tune "Bambodansarna" ("The Bamboo Dancers") picks up on the group's predilection for a tribal feeling and gives us a dramatic and percussive ritual song with an all-male chant as an interlude. "Nitti Pomfritti" ("90 French Fries") opens with a delicate, almost melancholy percussion motif and builds slowly to a kind of crazy-up-all-night intensity. "Till Farmor" ("To Grandma") is the kind of sad and tender tune that guitarist Roger Tallroth is known for. Tallroth's three compositions on the album are by far the most traditional things on it. But his playing is anything but conservative, as instead of playing his usual guitar, he breaks out with a 12-string, a Swedish bouzouki, and an octave mandolin. A cello, played by Mats Olofsson, is also brought aboard for three numbers. Despite the new variety of influences and instruments, Whirled holds together remarkably well. The group clearly worked long and hard on integrating Andre Ferrari into the mix and worked just as hard as assembling material that was expansive without being eclectic. This album represents a new frontier for world music. ~ Kurt Keefner

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Ghana Soundz: Afrobeat, Funk and Fusion in 70's, Vol. 2 by Various Artists (CD - 04/03/2006)
 

Ghana Soundz: Afrobeat, Funk and Fusion ...

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Ghana Soundz: Afrobeat, Funk and Fusion in 70's, Vol. 2 by Various Artists (CD - 04/03/2006)
"Ghana Soundz: Afrobeat, Funk and Fusion in 70's, Vol. 2" (04/03/2006) International Various Artists, Soundway

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Mexican-American Border Music, Vols. 6 & 7: Corridos & Tragedias, Vol. 1 by Various Artists (CD - 10
 

Mexican-American Border Music, Vols. 6 &...

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Mexican-American Border Music, Vols. 6 & 7: Corridos & Tragedias, Vol. 1 by Various Artists (CD - 10
"Mexican-American Border Music, Vols. 6 & 7: Corridos & Tragedias, Vol. 1" (10/1994) International Various Artists, ArhoolieIncludes a 168-page book with liner notes by Chris Strachwitz, Philip Sonnichsen and James Nicolopulos; plus translations, transcriptions, illustrations and biographies. Personnel: David N., Angel Soto, Luis M. Ba?uelos, Maria Lopez, Francisco Montalvo, Ortega, Leonardo Sifuentes, Luis Hern ndez, Manuel Vald?z, Mendoza, Andres Berlanga, Pedro Rocha, Antonio Flores, Salas, Silvano Ramos (vocals, guitar); Alfonso Echeverria (vocals, violin); Manuel Trevi?o, Guadalupe Guzm n, Lupe Mart¡nez (vocals); H. Hern ndez (harp). Liner Note Author: Chris Strachwitz. Recording information: Chicago, IL (12/03/1928-02/08/1937); Dallas, TX (12/03/1928-02/08/1937); El Paso, TX (12/03/1928-02/08/1937); Hollywood, CA (12/03/1928-02/08/1937); LA, CA (12/03/1928-02/08/1937); NY, NY (12/03/1928-02/08/1937); San Antonio, TX (12/03/1928-02/08/1937). Editor: Chris Strachwitz. Translators: Juanita Salem; Philip Sonnichsen; Zack Salem; Humberto Ram¡rez; Pepi Plowman; Jonathan Clark. Of all the seminal Folklyric tejano releases, this is to my mind the best. It's certainly the most lavish, with its 170-page illustrated booklet. But the corridos played, and play, such an important historical role in Texas-Mexican society, and musically are of such stark splendor, that there is no way this would not be a crucial re-release on every conceivable ground. ~ John Storm Roberts, Original Music

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Rico Vacilon by Pedro Infante (CD - 11/20/2001)
 

Rico Vacilon by Pedro Infante (CD - 11/2...

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Rico Vacilon by Pedro Infante (CD - 11/20/2001)
"Rico Vacilon" (11/20/2001) International Infante, Pedro, WEA LatinaPersonnel: Pedro Infante (vocals).

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International Music calling your name? Find all of the top Music gear that you want at BizRate. Compare prices from top brands like as well as . Browse ratings from merchants that sell International Music and other Music. Narrow your choices down by price range, brand, merchant, and more. Find the product that's right for you: La Banda del Carro Rojo [CD/DVD] by Original Soundtrack/Los Tigres del Norte (CD - 08/01/2006) - Celebracion De los 25 A?os de Juan Gabriel en Bellas Artes by Juan Gabriel (CD - 01/27/1998).