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"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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"Ni en Defensa Propia/Los Mas Grandes Exitos de los Dandys" (11/11/2003) International Fernandez, Vicente, Sony Discos Inc.2 LPs on 2 CDs: NI EN DEFENSA PROPIA (1980)/LOS MAS GRANDES EXITOS DE LOS DANDY'S (1999).

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"Ewe Drumming from Ghana: The Soup Which Is Sweet Draw the Chairs in Closer" (06/21/2005) International Various Artists, Topic Records

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

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"Live at Stubb's [Digipak]" (08/23/2005) International Matisyahu, Epic (USA)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Personnel: Matisyahu (rap vocals); Aaron Dugan (guitar); Josh Werner (bass guitar); Jonah David (drums); Yoni. A musical and religious anomaly, Matisyahu (born Matthew Miller) channels his Hasidic Jewish beliefs into deft lyrics unleashed in a surprisingly fierce and proficient raggamuffin style and supported by strong reggae grooves. Here Matisyahu presents his divinely inspired songs live, recorded at 2005's SXSW music festivals, backed by a tight band that is capable of navigating dreamy dub passages ("Fire and Heights") and careening through energetic funk-rock ("Chop 'Em Down").

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"Bhangra: Original Punjabi Pop" (04/22/2003) International Various Artists, Arc Music (UK)Bhangra: Original Punjabi Pop is an album of Punjabi-based bhangra (as opposed to that of the London clubs). The basic sound is similar, though the British breed is usually rather more beat-heavy than the Punjabi-based form. The exuberance is always there in both formats, but the Punjabi artists tend to emphasize the melody of the lyrics more than the British. The dhol still figures heavily in the rhythmic aspects, but it's a generally lighter sound. The end result is a joyous compilation lying somewhere between electronica and Punjabi folk songs. The artists all have decent sounds, updating the ancient genre as so many others have done with a good show of skill. The lyrics are often simple chanted mantras repeating themselves for the duration of a song, but then again it's the musicality of the song and not the lyrical content that is foremost. The call and response aspects are strong as well. There are a number of bhangra compilations available on the market, most licensed from one of a number of Indian labels (this album is no exception in this respect, coming from the Times Music label out of Mumbai). With such a wealth of music available, the competition for the title of the best bhangra compilation is stiff. This album is certainly a contender. The title is in doubt, but that the album is a worthwhile listen is not. ~ Adam Greenberg

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"Greatest Hits of Brasil '66" (10/25/1990) International Mendes, Sergio, A&M Records (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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"Alone in Iz World" (09/25/2001) International IZ Kamakawiwo'ole, Israel, BigBoy Records (Hawaii)This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. Contains an untitled hidden track after "In This Life." Personnel includes: Israel Kamakawiwo'ole (vocals, ukulele); Mel Amina, Barry Flanagan (guitar). Recorded in Hawaii. Includes liner notes by Jon De Mello. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. While the name Israel Kamakawiwo'ole falls trippingly off few tongues, the Hawaiian singer better known as "Iz" was one of the biggest stars in his home state. Iz first came to public attention as a member of the popular Hawaiian group known as the Makaha Sons of Ni'ihau. His subsequent solo career brought even greater fame, and countless fans were saddened at his untimely death in 1997. Those who mourn his passing will be gladdened by the posthumous release of ALONE IN IZ WORLD, compiled from various recording session outtakes. While one might expect a big, deep sound to emanate from a gargantuan-sized body like that of Iz, the hefty singer actually possessed a gorgeous, fragile tenor voice full of tenderness and delicacy. That voice is put to use here on tunes that alternate between voice-and-ukelele solo performances (Iz was no slouch on the uke) and more fully arranged tunes enhanced after the singer's death. Whether crooning in his native tongue or in English, Iz cuts right through to the heart of the listener with his pure, emotive tone.

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"Himalayan Trekking Songs" (04/15/1999) International Bharat Nepali Party, Sounds Of The WorldRecorded in Katmandhu, Nepal. Liner Note Author: William Hogeland. Recording information: Kathmandu, Nepal (05/1995).

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"Air Mail Music: African Drums" (01/07/2003) International Madou Djembe, Playasound

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