Recently in Latin Category

20111122-HOLIDAY-SG-latin-xmas-560x225.jpg Like the holiday season itself (emphasis on season — as in weeks of festivities), Christmas songs are kind of a big deal in the Latin-music world. From meditative religious songs to rollicking salsa soundtracks perfect for a parranda (the caroling/party tradition), sun-kissed Spanish versions of "White Christmas" to "El Burrito de Belén," there's a song for just about every occasion, and chances are it's been recorded by just about every big-name Latin star. In the spirit of the season, we put together a massive navidad mega-mix with the perfect song for every mood and moment, whether you're waking up at the crack of dawn for a novena service, preparing for a festive nochebuena dinner with family or just celebrating the season with friends. It includes a multiversion "Burrito" breakdown! ¡Feliz Navidad!

Listen now: Feliz Navidad: A Latin Christmas Celebration!

20111122-HOLIDAY-SG-global-holiday-albums-560x225.jpg We all love our holiday traditions, including our favorite seasonal songs, whether you're a classicist or a "Grandma Got Run Over by a Reindeer"-ist. This year, why not add a global dimension to your holiday listening traditions by embracing some international music customs? We've assembled an extensive guide to the best international and Latin holiday albums, including Christmas-, Hanukkah- and solstice-friendly music from Ireland, Cuba, Jamaica, Eastern Europe and more. So start listening and find some new ways to (musically) say Merry Christmas! Feliz Navidad! Nollaig Shona Dhaoibh! Ah Freilichen Chanukah! Happy holidays!

Listen now: International and Latin Holiday Albums Roundup


1. The Chieftains
The Bells of Dublin
This 1991 album still stands as an unlikely holiday classic — unlikely because only a handful of the usual suspects make it on here. Yes, you'll hear "God Rest Ye Merry Gentlemen," "O Holy Night" and a healthy heap of other traditional tunes, but the bulk of The Bells of Dublin plumbs deep into the season, featuring Breton and French carols alongside the odd, Elvis Costello-sung "St. Stephen's Day Murders." The sprawling album commences with the chiming bells of Dublin's Christchurch Cathedral, and they appear throughout. Jackson Browne, Rickie Lee Jones, Marianne Faithfull and many others guest. [Sarah Bardeen]


Cheat Sheet: Urban Latin

cheat_sheet_top_header_560x62.jpg 20111108-urban-latin-1-560x225.jpg "Urban Latin" is at once an extremely specific and yet incredibly vague term, but for our purposes here we've defined it loosely as Latin music that in some way cozies up to mainstream hip-hop and R&B, whether through its beats, its aesthetics, its collaborations or its target audience. We've focused this Cheat Sheet on three prominent styles: reggaeton, Latin hip-hop, and the newest big player in this game, bachata. That Dominican pop genre hasn't always been as urban-identified as, say, reggaeton (in fact, bachata was originally the music of the rural poor), but many of its biggest stars are carving out an aesthetic kinship to R&B that feels organic and sounds hot.

Case in point: Romeo Santos, the former lead singer of bachata boy band Aventura, who continues his former group's interest in hip-hop and R&B on his just-released, hotly anticipated solo debut. Get to know some of Santos' fellow "urbanites" with our Cheat Sheet!

Click here to listen to an accompanying playlist: Cheat Sheet: Urban Latin


Latin Grammy Awards 2011

20111101-latin-grammy-noms-560x225.jpg One of Latin music's biggest events of the year is coming up November 10. We're talking, of course, about the Latin Grammy Awards, the annual star-studded fete honoring the brightest stars and most exciting newcomers in the wide, wonderful Latin music world. Held this year in Las Vegas (and airing on Univision), the 2011 program promises to be a stunner. Mariachi star/actress Lucero and actor Cristián de la Fuente are hosting; boldfaced names like Alejandra Guzmán, Pitbull, Maná (with Prince Royce!) and Romeo Santos (featuring Usher!) are scheduled to perform; and Shakira's getting a special Person of the Year award. And then there are the awards themselves, the nominees for which include everyone from Los Tigres del Norte to Pablo Alborán, Enrique Iglesias to Calle 13 (with a whopping 10 nominations), in categories ranging from pop to urban, salsa to regional Mexican. Get ready for the big night with our comprehensive playlist of nominees!

Click here to listen to the entire playlist: Latin Grammy Nominees 2011


20111024-alt-folklorico-560x250.jpg Over the last decade or so, many Latin artists have carved out a new style by stitching indie rock, hip-hop, electronic and pop together with folk and traditional music to create a sonic tapestry that's at once comfortably familiar and chicly cutting-edge. New York outfit Pistolera call their indie-rocking brand "alt-folklorico." But fashionable innovators have sketched out similar models in a diverse range of genres, from the urban-regional movement in Latin hip-hop to the folk electronico crafted by knob-twiddlers like Mexican Institute of Sound. One of the genre's founding mothers is Lila Downs, who has made a career of digging into her Mexican heritage to create nueva ranchera, neo-norteño and other kinds of rich, rootsy pop. Her latest album, Pecados y Milagros, is redolent with the homey accordions, sweeping strings, warm brass and dramatic vocals of regional Mexican music — but with indie-pop twists. Dig into the new roots Downs and other artists are putting down with our alt-folklorico playlist.

Click here to listen to the entire playlist: Alt-Folklorico y Mas


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Album of the Day Sanz provided the husky presence on Shakira's hit song "Tortura," but the guy is a star in his own right, and with El Tren he's released a shambling, jazzy, funky solo record that trades in easy pop hooks for a messy charm that cannibalizes pop and rock music and spits out surprise after surprise. He references jazz with subtle piano and acoustic guitar shadings, breaks into rock guitar solos and even name-checks American funk -- while a flamenco flame sears his raspy voice. Shakira shines through on the dusky "Te Lo Agrodezco, Pero No," but the funky "La Peleita" and excellent "Donde Convergemos" deserve just as much attention. [Sarah Bardeen]

Hear It Now!


cheat_sheet_top_header_560x62.jpg 20111004-latin-crossover-560x225.jpg "Latin crossover" has meant many things over the years, from pop songs featuring Spanish lyrics to Latino artists who cracked the predominantly white mainstream charts. It's a vague, loaded and problematic term. But underneath that confusing umbrella, talented artists of Hispanic heritage have added rich musical, stylistic and sometimes linguistic strains to the tapestry of American pop music. That's what we're celebrating with this Cheat Sheet on Latin Crossover Artists, compiled in honor of Hispanic Heritage Month, which is observed September 15 to October 15.

Click here to listen to an accompanying playlist: Cheat Sheet: Latin Crossover Greats


Shakira
Laundry Service (2001)
The Colombian diva was already a pretty massive star in Latin America when she released her English-language debut in 2001. Her newly blonde hair aside, everything Shakira fans already loved her for was still there, perhaps even with some arguable improvements: sexy, hip-twitching beats; throat-clutching vocals; solid songwriting (particularly for an artist who was learning English as she went); and a musical body that was pop at its core but Latin in its soul. She danced fetchingly through a sprawling stylistic world here, from tango to belly dance, punk licks to heartfelt ballads. In short, she made America audiences fall hard for her version of Latin America.
See Also: Kat DeLuna


Latin Roundup September 2011

20110927-latin-RU-560x225.jpg In this edition of the Latin Roundup, we get to touch on several corners of the vast and varied world of Latin music, thanks to the stellar collection of stylistically wide-ranging albums out in the last couple months. Norteño's "narco" kingpin Gerardo Ortiz dropped his first album since last winter's attacks on his entourage. Indie-pop darling Ximena Sariñana made good on the hype surrounding her debut with an even richer, more mature, more fun sophomore collection. And rock queen Alejandra Guzman recaps her illustrious career with a killer greatest-hits collection. So let's dig in.

After reading-up on the albums below, be sure to check out my Latin Roundup, September-October 2011 playlist.


1. Ximena Sariñana
Ximena Sariñana
Latin indie ingénue Sariñana has an interesting approach to the difficult sophomore album: on one hand, the release is almost entirely in English. On the other, it's sonically less mainstream than her debut, scrapping the pop hooks and rock guitars for complex meters ("The Bid"), sweepingly cinematic synth-onies, melancholic melodies that lilt in strange angles, and a lot of hipster-friendly electro-pop. It's a complicatedly crafted, mature effort, glued together by Sariñana's odd, pensively childlike voice. "Echo Park" and "Lies We Live In" will make you think.
Don't Miss: Tour de force "Tú y Yo."


Willie Colon, Crime Pays

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Album of the Day Trombonist and bandleader Willie Colón guided Latin music in stunning directions, even from a young age. Crime Pays, a Fania compilation of his first four albums (including El Malo, which made him a star at 17 in 1967), spotlights both the "gangster" image he cultivated and his work with vocalist Hector Lavoe. Gritty and pulsing with the swaggering energy of Colón's trombone and Lavoe's resonant, boyish croon, tracks like the intoxicatingly cocky "Juana Pena" and the sultry, snarling "Que Lio" showcase two kids running on youthful confidence and raw talent. [Rachel Devitt]

Hear It Now!


20110920-calle-13-SM-560x225.jpg Calle 13 have long been reggaeton's resident rebels. Never content to simply swagger around a straight-up reggaeton beat or cop a cocky attitude, Puerto Rican stepbrothers René Pérez (aka Residente) and Eduardo Cabra (aka Visitante) have made a name for themselves challenging the boundaries of their genre with border-jumping beats, clever (and often pointedly critical) lyrics and an overarching aesthetic of playful innovation. But for 2008's Los de Atrás Vienen Conmigo, they pulled out all the stops: Residente burned up the musical purists with his scorching lyrics and breathless, runaway-train flow, while Visitante roped in dazzling beats from both the farthest and most familiar (but unexpected) corners of the world — and as always, they managed to ground it all in pure reggaeton soul. So you know digging into their source materials is going to be crazy fun, right? Right. Let's get started.

Tego Calderon
The Underdog/El Subestimado
Calle 13's spiritual partner in crime, Tego Calderon started employing the "hey, let's take reggaeton and do it really well and come atcha really hard — but also just kind of mess with it" model just a couple years before Residente and Visitante's debut. Like them, Calderon started a bit more straitlaced, but has only gotten more experimental (and more brilliant) over time, releasing this genre-jumping masterpiece just a couple years before Los de Atrás.


Don Omar
The Last Don
Don Omar represents the mainstream wing of reggaeton, a wing Calle 13 do not often visit. His debut bristles and swaggers (he ain't called Don for nothing), its beats sticking close to reggaeton's traditional tripping strut, laced with gunshots and other ominous sounds. But it's as painstakingly crafted as any of Calle 13's quirks — and besides, if there weren't a mainstream, there couldn't be an alternative, right?




cheat_sheet_top_header_560x62.jpg 20110906-colombia-CS-560x225.jpg Like the country's rich and varied natural landscape — and its thrilling and often tumultuous socio-political history — Colombian musical culture is exhilarating, breathtakingly diverse and at once richly historic and cutting-edge. Its musical claims to fame encompass everything from wide-ranging folk traditions to some of the world's biggest Latin pop stars, from rock heavyweights to alt-folkloric hip-hop. Colombian musicians are also equally brilliant at both artistic importing and exporting: salsa inundated the country and Colombians made it their own, while homegrown cumbia has infiltrated nearly every sector of the Latin world. What we've assembled here in this guide to Colombian music is only a very brief introduction, but it will give you a taste for just how deliciously diverse this country's musical heritage is. Dig in.

Click here to listen to an acompanying playlist: Cheat Sheet: Colombia, the Heart of Latin Music

Fanny Lú
Lagrimas Calidas
Like Shakira? Try Colombia's other blonde-bombshell pop star. OK, her debut album doesn't sound much like Shakira's ardent belly-dance pop: instead, Lú laces her bubblegum beats through with the accordion-driven strains of northeast Colombia's vallenato music. Her first single, "No Te Pido Flores," a folklorico-lite coffee-shop-pop slice of sun, rocketed her to stardom in 2006.
See Also: Ilona, who bridges Lú's sweet alt pop with Shakira's throatiness. Soraya, who slings everything from bluesy pop rock to sleek dance pop.


Hector & Tito, A La Reconquista

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Album of the Day Daddy Yankee's "Gasolina" may have vaulted reggaeton into the American mainstream, but Hector & Tito (a/k/a Los Bambinos) gave it a hefty shove with this 2002 release. The duo found audiences outside of Puerto Rico for the first time, gaining attention in Panama, El Salvador, the U.S. and beyond with their strident rhythms and distinctive gruff-but-thin vocal delivery. —Sarah Bardeen

Hear It Now!


Conjunto Primavera, Algo de Mi

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Album of the Day No surprises here. Conjunto Primavera do what they do best, proving that they bring romance to pop-norteño better than just about any band out there. The hit "Algo De Mi" showcases singer Tony Melendez's clear vocal delivery, while "Te Necisito" runs a close second in the starry-eyed category -- and is perhaps even a bit catchier than "Algo." A solid album. —Sarah Bardeen

Hear It Now!


cheat_sheet_top_header_560x62.jpg 20110823-latin-jazz-soul-560x225.jpg We admit that the title of this Cheat Sheet we've compiled ("we" being Latin editor Rachel Devitt and Jazz editor Nate Cavalieri) is a bit unwieldy, a bit amorphous, a bit hard to pin down. But so is the movement we're talking about. And that's what it was: a movement. The Latin music scene that set New York (and, eventually, the world) on fire in the mid-20th century grew out of several styles: jazz, soul, and what would come to be known as salsa, of course — but also earlier Latin dance sounds like mambo, cha-cha-cha, and boogaloo. Leading the charge were musicians who immigrated to New York from Puerto Rico and Cuba, and began innovatively interweaving traditional Caribbean music with mainland pop, interlacing jazz improvisation and composition with Latin dance structures and infusing American soul with Afro-Latin rhythms.

Finally, it's also about the movement of bodies: this is music made for dancing! Here, we'll trace the rise of what's often called the New York sound, from its roots in 1950s jazz and mambo through its coalescing in N.Y.C. clubs and on the Fania label in the '60s, all the way to its culmination in the unstoppable wave of '70s salsa.

Various Artists
Fania Records 1964-1980: The Original Latin Sound of New York
If a zeitgeist could be boiled down to one album, this is what it would sound like: boogaloo, jazz, mambo, salsa and soul, all of it laced through with the hip-twitching traditional rhythms of Cuba and Puerto Rico. This is the definitive introduction to the heady brew that intoxicated New York and the world in the mid-20th century, from the label that defined the movement, thanks to its glittering, star-studded roster: Willie Colón saunters on "The Hustler," Hector Lavoe crowns himself "El Cantante," the Fania All-Stars tear up the Cheetah, and Celia Cruz, the Queen of Salsa, is positively regal on "Quimbara." — Rachel Devitt


Cheat Sheet: Latin Alt Divas

cheat_sheet_top_header_560x62.jpg 20110802-latin-alt-ladies-560x225.jpg Latin alternative music, like anything lurking under that ambiguous "alt" umbrella, is a hodgepodge hive of sounds, ranging from gritty rock to twee pop, from experimental electronic music to quirky hip-hop. But one aspect of the sound is easy to pin down: initially a kind of boys' club (or at least a club in which admittedly very talented boys got most of the attention), the world of Latin alt has recently been invaded by captivating, critically acclaimed, incredibly talented female artists. In fact, there are so many fresh new female faces in this world that we're focusing here primarily on women working in the cantautor (aka singer-songwriter) tradition, and saving the hard-rocking outfits, punk bands and emcees for another time. But even within that concentration, a wealth of sonic diversity exists, from Juana Molina's ambient electro-pop to Rita Indiana's techno-merengue, from Pistolera's folklorico rock to indie-pop darling Ximena Sariñana, whose masterful self-titled sophomore album dropped this week.

Check out selections from all these records, and more, with our Cheat Sheet: Latin Alt Divas playlist.


Ximena Sariñana
Mediocre (2008)
Yes, Sariñana has  got a fantastic new album out — a rich, complicated, well-rounded effort that showcases her newfound musical maturity. But as soon as you're done falling in love with that one, go back to where it all began. The child of a screenwriter and a famous director, the Mexico City-based artist has intertwined the film and music worlds over the course of her short but impressive career, whether she's singing telenovela theme songs or creating the kind of cinematically crafted indie pop found on this debut. While not as complex as the stuff to come, Mediocre's title belies its content. Sariñana hooks the listener in with a peppier pop aesthetic, even as she maintains a cool, slightly detached hipness.
 

Marc Anthony, Libre

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Album of the Day Having conquered both the Spanish and English-language markets, it's little wonder Anthony felt libre ("free") to create one of the best salsa albums of his career. "Viviendo" and "Celos" are wonderful, and the simple beginning of "Hasta Que Vuelvas Conmigo" evolves into a captivating, passionate crescendo that must be heard to be believed. Solid from start to finish. —Sarah Bardeen

Hear It Now!


20110726-cumbia-560x225.jpg Cumbia has long been one of Latin music's most prolific and itinerant styles. Which makes sense, given the genre's multifaceted history: originating on the coast of Colombia as a hybrid folk blend of European, African and native characteristics before gradually spreading out across Latin America, the sound has dipped into vastly disparate styles, from big band-influenced dance music, Mexican regional pop, Peruvian psychedelic rock and Chilean alt-rock. Mexican cumbia and Colombian cumbia in particular have each solidified into their own individual, massively popular genres, and each regional adaptation of that classic rhythm has its own style and stars. But whether delivered as a sultry slow dance, a rootsy folk tune or a lightning-fast out-and-out breakdown, all points in this universe are linked by that distinctive chugga-chugging beat.

This playlist traces contemporary cumbia from Colombian heartthrob Carlos Vives to the regional pop output of Mexico's beloved Quintanilla family to Bomba Estereo's alt-dance grooves -- and everything in between. Consider it a jumping-off point, from which you can dive deep into the cumbia universe.

Click here to listen to the entire playlist: mix_play_18x14.gifCumbia Mega-Mix

20110712-latin-RU-560x225.jpg The Latin music world is so wide-ranging that we couldn't possibly contain all of its riches in one little roundup. So last time around, we focused on Mexican regional music. This time, we're rounding up the latest and greatest in Latin pop, but even that list is incredibly diverse. Our top Latin pop albums of the last couple months range from bachata to country pop, dance pop to Pitbull. Dig in and catch up with nutshell reviews and can't-miss tracks!

1. Toby Love
La Voz de la Juventud
Crunk may be nearly dead, but Toby Love's much-(self-)vaunted hybrid "crunkchata" finally seems to have solidified into a genre of its own. Well, maybe not crunkchata so much as R&Bachata. Sure, in some spots, the "blend" comes mostly in the form of an English-language, hip-hop-infused bridge. But on cuts like "Eres Tu" and especially "Corazon," Love weaves urban soul and bachata together so seamlessly you'd swear R&B was born with that sexy stutter. It's his vocals that seal the deal, balancing a fragile, Michael Jackson-esque plaintiveness with a bold, seductive confidence, which doesn't really need quite as many self-aggrandizing shout-outs to, well, Toby Love as Toby Love seems to think.
Don't Miss: "Quizás," a pretty duet with Mexican singer Yuridia. The accordion-Auto-Tune odd bird "Pa' Qué." Love's reggaeton nod "Como Dos Fugitivos," featuring Del Blokke.

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It's 1995. Your kid cousin just turned 15. And now your whole family — and your neighborhood, and your church, and, well, pretty much everyone you know — is getting together for a fiesta of fabulous proportions. So what's going on the stereo? Well, you've got to have a few conjuntos for the old folks. Plenty of norteño hits and red-hot Latin pop. Some ballads for slow dances. And, por supuesto, a LOT of Selena. The young Tejana singer was already dominating Latin music (not to mention on her way to really crossing over big time) when she was tragically murdered on March 31, 1995. Her death was an immense loss to the musical world, as evidenced by the sheer magnitude of her presence on the Latin charts for the rest of the year. That might sound like kind of a dour scene in which to stage a party, but so much of Selena's music was filled with joy and celebration, and of course, the show must go on. Just as Latin artists worked to adapt and fill the gap Selena left, so, too, does our quinceañara soundtrack flesh out the musical world she left behind, featuring such celebrated artists as Elsa Garcia, Mazz, Ana Barbara and more.

Click here to listen to the entire playlist: mix_play_18x14.gifSenior Year, 1995: DJ'ing Your Cousin's Quinceañara


banner_HTC_white.jpg 20110628-radar-com-truise.jpg Welcome to another edition of Rhap Radar, our month-long survey of 24 up-and-coming artists that excite us. For a peek at what you've missed so far, here's a playlist of our first dozen honorees. And now we move on to a new batch, featuring a slow-burning blog-rap upstart, an Afro-Latin innovator (and politician!), Radiohead-esque indie rockers, a nostalgia-drenched electro-funker, and two women named Natalia (one a Latin-pop diva, the other a will.i.am-abetted pop star in training). Read on and listen in below.

Com Truise: The Synthesizer-Wielding Retro-Futurist

banner_HTC_white.jpg 20110628-radar-natalia-jimenez.jpg Welcome back to Rhapsody Radar, our month-long survey of 24 up-and-coming artists we're excited about. Today, we've got an exclusive chat with giggling Latin-pop diva Natalia Jiménez. For your listening pleasure, please also see our Natalia Jiménez's Ever-Expanding World playlist. Enjoy.

She got famous as the singer for Madrid-born, Latin-beloved band La Quinta Estacion, but it became clear over the course of our interview that Natalia Jiménez was destined to become a diva sola to be reckoned with. And we mean that in the best possible way. On the phone from her current home base of Miami (where she recorded her self-titled solo debut with Emilio Estefan — yes, Gloria's hubby), she is fierce, funny and fab.u.lous. She's also bubbly, sweet and earnest, with an easy, contagious giggle and a penchant for saying whatever happens to be on her mind at the moment. In short, she was pretty fantastic to talk to about just about anything, but especially about her experience working with Ricky Martin (she appeared on his new hit, "Lo Mejor De Mi Vida Eres Tú"), her musical "therapy" sessions after cancelling her wedding (on the day of!), and that big, powerful voice.

20110621-pitbull.jpg Pitbull's anticipated new album, Planet Pit,hits stores this week. Its first two singles, "Hey Baby (Drop It to the Floor)" and "Give Me Everything," have dominated pop-radio playlists for months, with the latter charting at No. 1 in several countries.

The Miami rapper is yet another example of how the worlds of dance-pop and hip-hop are intersecting. Pitbull has dabbled in both genres for years, as have Flo Rida, Lil Jon, Kid Cudi, Gorilla Zoe and many others. But while rappers increasingly rhyme (and sing) over progressive house and trance-inspired beats, more critics and fans are complaining that it's all just bad pop music made by cynical record labels for an undiscerning audience.

senior_year-banner-560x60.jpg 20110607-zoot-suit-560x225.jpg A bunch of punk kids form their own adult-scaring, mainstream-baiting subculture with a unique style, slang and sound. Sound familiar? That's the recipe for basically every pop music style ever, but the particular concoction we're talking about here resulted in the Latin-laden R&B and swing genre known as pachuco boogie, which came to life in the '40s and '50s.

It started when disenfranchised Chicano youth in the Southwest and California created an alternative subculture that combined Mexican, Afro-Caribbean and African American elements. Known as pachucos and pachucas, these hipsters had their own dress code (zoot suits were preferred), their own slang (known as caló), and very defined musical tastes: big-band swing mixed with a blues-based style that blended jazz, boogie woogie, early R&B, rock 'n' roll and rumba rhythms. Their Spanish and caló lyrics addressed the scene, its penchant for dancing and partying, and the joint alienation from and appreciation for American (popular) culture these kids felt. And people absolutely loved it: Don Tosti's genre-defining (and -naming!) 1948 hit "Pachuco Boogie" was the first Latin song to sell a million copies! Take a listen to original hipsters like Tosti, Lalo Guerrero and more with our Senior Year 1950: Bailar with the Zoot-Suited "Hooligans" of Pachuco Boogie playlist.

Alejandra Alberti, Alejandra Alberti

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Album of the Day You might as well just sit down now: Alejandra Alberti's pop-rock onslaught brooks no resistance. The riffs are big, the emotions billowing and the glissandos Christina Aguilera-esque. Alberti's motto most emphatically is not "Less is more." More like "When in doubt, overdo." But this kind of full-throated catharsis is what the pop charts demand, and it's so convincingly delivered that you'll have to forgive the fact that every song, no matter how different it starts off, seems to end up at the same uber-chorus. We like the risks she takes on "Dignidad De Mujer" and "Dentro De Ti," however. — Sarah Bardeen

Hear It Now!


20110531-mexican-regional-RU-560x225.jpg Regional Mexican music is a wide and varied world with hotly contested borders — its vast yet insular nature can be completely overwhelming to neophytes. From brass-tastic banda to romantic ranchera, from grisly narcocorridos to jubilant polkas (all sometimes in the same song!), this diverse swath of music pulses with the richness of Mexican cultures on either side of the border. The terrain encompasses the sounds of accordions and synthesizers, sticky-sweet pop and centuries-old folk traditions. It's a pretty exciting journey to take, and that's especially been the case in the first half of 2011, which has seen big-name release after big-name release (plus plenty of noise from hot new up-and-comers). We've rounded up this spring's hottest new releases in Norteño, banda, Tex-Mex/Tejano, duranguense, ranchera and more. So get ready to explore, and if you start to feel lost, just remember: almost all roads lead to Los Tigres del Norte.

1. Los Tigres del Norte
MTV Unplugged
Genre: Norteño
In a Nutshell: Los Tigres threw a party at the Hollywood Palladium in February 2011 and invited a number of high-profile guests from across Latin music. But it's a party with a unique purpose: by dabbling in Latin pop, rock and even hip-hop, it challenges the often heavily policed boundaries of Latin music. The results are groundbreaking.
Don't Miss: The funked-up "America" (featuring Calle 13's Residente) and "Somos Mas Americanos" (featuring an exuberant Zack de la Rocha), both of which are thick with artistic and activist politics.
For Those Who Like: Pop politics. Genre-jumping and border-crossing. Intocable. Flaco Jimenez. Los Huracanes del Norte.

20110518-latin-alt-560x225.jpg You think "alternative" is a confusing, ambiguous, meaningless term? Try "Latin alternative." Does it mean a Latin band that plays, um, mainstream alt-rock? Or an artist that offers an alternative to Latin pop? And isn't every Latin band an alternative to the American rock mainstream? Yes? No? Maybe? Forget the semantics and just take a listen to the crème de la crème of albums that have come out under that heading in the last couple months. We've rounded up a Top 10 that includes American electro-poppers who sing in Spanish, Mexican garage rockers who sing in English, Argentinean psychedelica, Venezuelan dance punks and post-grunge rockers who pack soccer stadiums across the Latin American world. There's an alternative for everyone.


20110510-latin-pop-hits-560x225.jpg As a rule, our regular single-phile column is devoted to — OK, obsessed with — dissecting the latest and greatest in pop singles. And while our definition of pop is as varied as, well, the genre itself is, we do typically focus on English-language pop. But so many great Latin singles have dropped in the past few weeks that we had to remedy that language bias and give them some love.

Anyway, the line between Latin pop and English-language pop, once two fairly distinct worlds, is pretty fine these days. Established Latin pop stars have long been crossing over into the Top 40, and mainstream artists have started crossing over in the other direction, releasing Spanish-language versions of their hits or sometimes entire albums targeted at the Latin pop audience. Today's pop charts aren't so monolingual themselves: artists like Pitbull and Shakira have made careers out of forcing English speakers to sit up and listen to snippets of Spanish or entire Spanish tracks. And of course, aesthetically speaking, Latin rhythms, dances and styles form one of pop music's three intertwined DNA strands (the other two being African and European music).

20110503-upcoming-releases-560x225.jpg We must admit that Tuesday is our favorite day of the week here at Rhapsody: that's when new releases come out. Thankfully, the next three months of Tuesdays look absolutely glorious, full of fresh music from ukulele-brandishing rockers, electronic pioneers, strident country hit makers, unabashed pop divas, unrepentant metalheads, CCM luminaries, contenders for Best Rapper Alive honors, soul superstars and, of course, Lady Gaga. Here's the best of what's to come.


Lady Gaga, Born This Way (May 23) Quite possibly the most anticipated album of 2011, Gaga's second full-length bears a heavy load: there's the dreaded sophomore slump to avoid, and her massive celebrity to justify. Then there's the public's increasingly conflicted position on Gaga to contend with: do we find her hyper-theatricality annoying or endearing? Are the new singles ("Judas" and "Born This Way") brilliant meta-nuggets of pop culture or weak Madonna rip-offs? The whole world waits with bated breath to decide. — Rachel Devitt

Beyoncé, TBD (June) Then again, with just one girl-power-hungry, oh-Sasha-it's-fierce lead single packed with distinctive Diplo-and-Switch beats, Beyoncé made the world sit up and go, "Gaga who?" And when her fourth album drops sometime in early summer, you can bet your granny panties B's gonna knock all those lesser divas down like dominoes. — R.D.

Kanye West and Jay-Z, Watch the Throne (hopefully soon) Keep watching. This long-threatened mega-rapper summit will happen eventually, we swear: manic lead single "H.A.M." emerged way back in January, but it's been mostly radio silence since. Still, whenever these guys get around to it, Throne is sure to be a delightfully extravagant bacchanal of Best Rapper Alive narcissism. Hopefully Nicki Minaj drops by, too. — Rob Harvilla

Jennifer Lopez, Como Ama Una Mujer

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J.Lo acquits herself honorably on her first Spanish-language full-length, gamely tackling blustery ballads and sounding markedly more confident in Spanish. And you couldn't ask for a better clutch of songs, which pull equally from cumbia and Latin rock while remaining resolutely pop-oriented (thank Colombian heavyweights Julio Reyes and Estefano, with some help from Fito Paez). Steven Tyler would probably approve. —Sarah Bardeen

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World Roundup

20110419-world-RU-560x225.jpg So many great new releases have come through the various channels of world and Latin in the short time 2011's been alive. So many, in fact, that we've pared them down to a Top 10 of the Year — so far. (And we didn't even quite manage to keep it to 10.) Now, that should tell you something about how this year's shaping up in the world of world and Latin. Saving the Latin pop for another time (or see our recent Latin-only roundup from a few weeks back!), we're focusing this time around on diving deep and getting all pruny in waves of Afro-Latin grooves, South Asian dance pop, Afropop, Saharan desert blues and more. Enjoy!

1. Susana Baca, Afrodiaspora
In a Nutshell: Only a diva of Susana Baca's caliber could attempt to pay homage to the whole of the African diaspora's crisscrossing musical paths through Latin America and pull it off. The rhythms and percussion of her own Afro-Peruvian music provide structure and support as her velvety caress of a voice shimmies into Andean folk, flamenco, forro, even reggaeton! Only the jazz-blues-hip-hop hybrid "Hey Pocky Way" feels a little awkward.
Don't Miss: The Calle 13-featuring (!) "Plena y Bomba"
For Those Who Like: Latin dance music, Latin dancing, donkey jaws, David Byrne, Peru Negro, Novalima, Eva Ayllon, backpacking across continents.

20110322-latin-pop-divas-560x225.jpgThe Latin pop world knows divas. Take Gloria Trevi, whose new self-titled album (out this week) serves as both a collection of snarling dance-pop and Trevi's self-professed reinvention as a supposedly scandal-free, newly focused pop star. One of Latin's grandest (and most controversial) dames, Trevi has followed a career trajectory that's gone from superstardom to serving time back to superstardom. Beloved for her fierce attitude and outspoken opinions on issues like AIDS, abortion and homosexuality, Trevi still managed to shock even her own devoted fan base when she and her manager were jailed (after fleeing to Brazil) for a sex scandal involving underage girls. Trevi spent four years in jail, then (upon clearing her name) immediately got back to the business of being a star, releasing new albums and experiencing virtually no drop in album sales. Now, that's a diva. She's not called the Mexican Madonna for nothing.

War, Why Can't We Be Friends

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War were one of those rare bands who were as popular with black and Latino audiences as they were with white rock fans. The upbeat title track was a big hit and showed why War worked -- this is music that brings people and cultures together (and it can still easily be sung by drunk guys at barbecues and tailgate parties). While the L.A. band had a long line of big singles, "Low Rider" is their defining moment. It was a smash in Southern California and ended up defining Latino car culture for the duration of the '70s. — Nick Dedina

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Latin Roundup

20110222-latin-RU-560x225.jpg Winter is typically kind of a cold, barren wasteland as far as albums go, but in the Latin music world — like much of Latin America — things often manage to stay fairly caliente. The last few months (and granted, we are reaching back to the very edges of winter) have seen a number of exciting new Latin releases that encompass everything from alt-rock to Garifuna pop, reggaeton (lots and lots of reggaeton) to Ricky Martin. Catch up on current Latin music with our roundup of recent albums, complete with nutshell reviews, don't-miss tracks and further listening suggestions.


Ricky Martin
Musica + Alma + Sexo
In a Nutshell: Ricky Martin sounds like he's walking on air on his ninth album, his first since proudly coming out as gay in 2010. Nothing here is mind-blowing, but Martin sounds self-assured, sexy and positively liberated, working a buoyant, balanced strut through easygoing dance pop and sweeping slow jams.
Don't Miss: The high dance pop drama of "Te Vas."
For Those Who Like: Shaking their bon bon. Living la vida loca. Reformed boy banders. Lance Bass. Enrique Iglesias. Jon Secada. (Boys who like) cute boys. Thalia. Jennifer Lopez.


Valentines Day Music
If you're like us, you have a love/hate relationship with Valentine's Day. It's great when you're in a stable and strong relationship, but pure hell when you're alone or things are on the rocks. That's why Rhapsody is celebrating Valentine's Day with a little something for the lovers and the haters. If you're snuggling up with something warm this year, check out the list of Country's Greatest Romances. If you're flying solo, plug into Love Bites: The Anti-Valentine's Playlist, where you'll get your fill of disillusionment, bitterness and romantic recrimination. Elsewhere, we have playlists about chocolate, lovers in need of a restraining order, wedding songs, a Valentine's Day radio station and everything else you might want, whether you love or hate Cupid's day.





Romance is in the air as Rhapsody looks at pop's Best Wedding Day Songs
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Listen to songs that will satisfy your sweet tooth with Chocolate: The Playlist
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Songs of Marraige and Divorce


For Better and Worse: Songs of Marriage and Divorce
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Country Love: Country Musicians Talk About Their Greatest Romances
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Songs of Marraige and Divorce


Love Bites: The Anti-Valentine's Playlist
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Obsess Much? Valentine's Day radio station
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La Musica del Amor: Latin Pop Love Songs
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Christian Love songs
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AfroCubism, AfroCubism

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This project -- bringing Malian and Cuban musicians together to record -- was meant to happen back in 1996, but visa problems stalled it. Producer Nick Gold ended up filling the studio time with some old Cuban musicians who became the Buena Vista Social Club. Thank heavens this project, 14 years later, finally happened, because you can't fake chemistry like this. It helps when the musicians -- including Eliades Ochoa and Toumani Diabate -- are top-class. Four days of live recordings with just any group of musicians wouldn't have resulted in such rich, subtle, vibrant music. — Sarah Bardeen

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Cheat Sheet: Rise of Bachata

cheat_sheet_top_header_560x62.jpg20110111-bachata-CS-560x225.jpg If you're a new or casual fan of bachata, it may come as a surprise to learn that this massively popular genre (which can be heard streaming out of countless car windows and clubs across Latin America and the United States) was little known outside the Dominican Republic countryside just a few short years ago. And the fact that it was not only heavily stigmatized (and, at times, even persecuted) as, at best, embarrassingly backwoods and, at worst, the sound of depravity may be downright shocking. Truly, the slow, romantic, seemingly innocuous shuffling slide of the Caribbean style that today gives even reggaeton a run for its money belies its complicated, even tumultuous history. But it's that same struggle that gives the swaying rhythm of the bachata its substance.

The bachata began life as a kind of Dominican take on the Cuban bolero, a soft, romantic style of guitar music that grew and gained popularity across the countryside for years before it was even known by the name bachata (in fact, its early permutations were called bolero campesino). That naming and the codification of the style as a uniquely Dominican sound came about in the 1960s, its title taken from the gatherings that occurred around the music (bachata more or less translates as "party"). The sweet and at times almost mournful songs focused on themes of love, but they also often candidly addressed the plight of the impoverished, rural lower classes. It was a bold move that did not sit well with the ruling classes, who looked down upon the genre's frank sexuality and bold political stance. They denigrated it as a music of prostitution and crime and promoted the more middle-class merengue as the Dominican music. Bachateros, relegated to barrios and limited to just one national radio station, embraced their genre's "bad" rep, taking the opportunity to sing the little-heard stories of the difficulties of life in the country's underground.

That scrappiness ultimately paid off. At some point in the 1980s, the genre's undeniable (and ever-increasing) popularity won out over its bad rap. Electric guitars were introduced, merengue stars and other middle-class artists began experimenting with the style and bachateros began to become massive, international stars. Of course, in the process, a good deal of the revolutionary zeal was watered down — or at least drowned out by the slicker, sexier, more urban sounds of modern bachata (which often include elements of hip-hop, R&B and reggaeton). But you don't have to dig very deep to discover the "secret," radical, underground history, which continues to influence the now very mainstream genre of bachata.

Take a tour of bachata's rise from the underground and the countryside to international prominence with our guide to its key albums and artists.
20110111-anticipated-world-560x225.jpg The worlds of world and Latin music can be very disparate. But because there is some overlap (hence, the job title of yours truly), we've merged the two worlds (or perhaps more accurately, multiple worlds) temporarily to run through some of the year's most hotly anticipated albums. Just call it musical globalization! On this vast horizon, then, are Garifuna soul and Guadalajaran rock, Pitbull and Ladysmith Black Mambazo — and that's essentially just the first quarter of 2011. In short, the world(s) are looking pretty exciting this year.

Pitbull, Planet Pit (March)
Pitbull spent 2010 playing crossover guest star to pals like Enrique Iglesias ("I Like It") and Usher ("DJ Got Us Fallin' in Love") and dropping his first (entirely) Spanish-language album. Twenty-eleven is set to find him taking that crossover appeal, jumping back in the driver's seat and, apparently, driving all over the planet. If the lead single off Mr. 305's sixth album is any indication, his plan for conquering the world has diverged much from earlier efforts. "International Love" pulses with friendly, vaguely Latin but mostly generically clubby beats and plenty of innocuously sexy braggadocio. In other words, he's not taking any risks, but hey, if it ain't broke ...

Mana, Drama Y Luz (February)
After three decades playing together, seven well-received studio albums, three Grammys, five Latin Grammys and one stint touring with Mr. Carlos Santana, Mana are pretty much Latin rock stalwarts. You know them. You like them. And even if you don't know them, we pretty much guarantee you'll find their rootsy arena grooves likable. A new Mana album (their first since 2006's Amar es Combatir) is, therefore, as much a cause to celebrate as, say, your old college buddies coming to town for the weekend. You'll smile, you'll have a few drinks, you'll think of good times and you'll most likely dance.

Most Anticipated Albums of 2011

20110111-anticipated-albums-main-560x225.jpg With every new year comes the promise of great new music. Those hopes are nearly always well founded, though inevitably there are also some disappointments. Here we've assembled what we think are the most promising prospective releases for 2011, broken out by genre. In the comments field, let us know your expectations for them, and whether there are some albums that you're looking forward to that aren't on this list.

Pop

Lady Gaga, Born This Way (May)
She may be the (drag) queen of pop, but don't envy Gaga just yet. The good Lady has the weight of the world on her meat-encased shoulders. Yes, her debut was a smash success that charted hit after hit and virtually changed the shape of the pop music landscape (into one that looks more like a gay dance club, apparently). And yes, she's become one of the world's favorite fascinations in these short couple years, enchanting and perplexing us with her breathlessly dramatic performances and her is-she-or-isn't-she intersex baiting and her Kermie couture. But honey. That is a LOT of pressure to put on an album — especially the notoriously tricky sophomore effort! Here is an artist who has made a name for herself by constantly outdoing herself — by constantly shocking and surprising us. She is her own stiffest competition, and the whole world (almost literally) is waiting with bated breath to see if Gaga can keep it up, so to speak. The title bodes well: this is a Lady who knows her audience and has finely honed her (self-appointed) role as queen of the freaks and geeks and monsters and queers. But you gotta wonder if she's sleeping at night, no? Breathe easy, Gaga! We can't wait to see what you come up with next! — Rachel Devitt

Britney Spears, TBD (March)
Brit Brit's really turned it around the past couple years, huh? But while her last two albums have been successful in both a financial and a "return to form" sense, they never really achieved the Brit-geist levels of, say, a …Baby One More Time or In the Zone. And stakes are high for her sixth album: since 2008's Circus, a new sheriff has come to town (that would be Sheriff Gaga, y'all, whose hotly anticipated sophomore effort also drops this year), and the pop princesses of yore — like Britney's colleague, Christina A. — have not fared so well under her rule. But if anyone's got the boom boom to do it again (oops), it's Britney, bitch. — R.D.

Julieta Venegas, Otra Cosa

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Julieta Venegas titles her first release in four years "Another Thing." Gentle joke or dagger thrust at some unlucky lover? Listening, you could come to either conclusion. Has anyone ever argued so convincingly for the virtues of unconsummated love as Venegas does on "Amores Platonicos"? Or wrestled with the bitter truth that everything you want will escape your grasp? That Venegas slips these sentiments into such delectable, cheerful music is a testament to her gifts as a songwriter. As a bonus, her voice, which had sounded dense and sad on her unplugged release, is back together. — Sarah Bardeen

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Cal Tjader, Soul Sauce

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The title track was one of the biggest jazz hits of the 1960s, and it made a strong club comeback in the '90s. While most of the album is a solid Latin effort, bonus tracks offer superb Hard Bop with such New York stalwarts as Kenny Burrell, Donald Byrd, and Jimmy Heath. — Nick Dedina



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Best Albums of 2010: Latin

20101214-LATIN-best-of-2010-560x225.jpg It was a quite a year in Latin music. Ups and downs abounded: Shakira set the globe shaking with her World Cup anthem "Waka Waka," while Argentinean icon Gustavo Cerati tragically slipped into a coma after suffering a stroke. Narcocorridos went as mainstream as they could: Los Cuates Valenzuela got their own reality show on Mun2, and young narco artists gobbled up market share with minimal radio support. Meanwhile, Latin alternative music got its own radio show (its second, actually) with NPR's Alt.Latino, and cumbia — once your aunt's shabby dance music — suddenly went viral and showed up in clubs around the globe. Chilean emcee Anita Tijoux ended up on many critics' year-end lists, and pan-Latino pride seemed to be on the resurgence, evident in projects from Ruben Albarran's Hoppo to Calle 13's new masterwork. And then of course there was Enrique Iglesias, who made it into the charts with a song entitled "Tonight (I'm F**king You)." *Sigh.*

But that shameful incident aside, 2010's musical heights have been dizzying. We take you through 20 of our absolute favorite Latin albums this year. Did we miss something? Did we love something you hated? Jump in the mix and let us know! And, to hear an extended playlist of this year's best Latin albums, click here.

20.
Camila
Dejarte De Amar
Their second release took its sweet time, but that's kind of Camila's M.O.: they start slow, build to a crescendo, and wallop you with emotion until you sink back, sated. But while the insanely popular Todo Cambio kept R&B as its guiding artistic light, we enter the realm of the rock ballad on Dejarte de Amar. Each song travels a fairly predictable trajectory — intimate meditations build to rocking catharsis before crashing into a sensitive coda — but the great singing and solid hooks make this the follow-up fans have been waiting for. — S.B.


Juanes, P.A.R.C.E.

20101206-juanes-560x225.jpg Finding an American equivalent to the Colombian pop star Juanes is nearly impossible. He is a consummate love-song singer, but he made his name with a single about landmines ("Fijate Bien"). He cut his teeth on Zeppelin but his music draws much of its propulsion from vallenato, the Afro-Colombian cousin to cumbia that has its home on Colombia's north coast. He's political; he's romantic. He's sort of Trace Adkins, Taylor Swift and Boots Riley rolled up into one. And he makes great pop music.

But is his new album, P.A.R.C.E., great? His fans might not think so. When he debuted the lead single, "Yerbatero," during the World Cup opening concert earlier this year, it was met with a resounding yawn. He even looked a little nervous playing it. And it never reached the top of the Billboard charts, which is nearly unheard-of for a Juanes single. ("Y No Regresas," the subsequent single, has fared better.) He's messing with the formula that's made him such a reliable chart presence — why?


The Best Albums of 2010, 30-11

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Albums:   50-31 |   30-11 |   10-1


30.
Matthew Dear
Black City
After his left turn with 2007's Asa Breed, there are no great surprises on Matthew Dear's Black City. Once again, it sounds like he's spent many a long, dark night holed up in his studio, channeling David Bowie and Ian Curtis through the mic while he fiddles with wine-soaked synthesizers. There's more of a full-band feel here, with ropy electric bass lines and daubs of electric guitar, but it's typically broken into off-kilter electronic rhythms. Even in its moments of disco abandon, Dear's Black City is a claustrophobic place to live. — P.S.


29.
M.I.A.
MAYA
Much has been made of M.I.A.'s "terrorist" tendencies, a reputation she exacerbates on album three. MAYA* is an aural assault, battering the listener with a barrage of repetitive lyrics and sometimes grating waves of sound. This is an album that is designed to alienate. Yet "Born Free"'s high-octane dissonance is, if not likable, then energizing. And fascinating (once your ears stop ringing) pockets of sweetness and quiet exist: the electro-dancehall "It Takes a Muscle" (a cover of '80s Dutch group Spectral Display), the Bollywood-meets-sacred-harp "Tell Me Why." — Rachel Devitt

20101122-calle-13-560x225.jpg When they started out, Calle 13 were foul-mouthed Lotharios whose politics — if they had any — seemed to take a backseat to celebrating sex in all its dirtiest permutations. (That was never actually true, however: the group made its name with a song that castigated the FBI after a murder in Puerto Rico.) Their clever, lewd, slang-heavy lyrics have set a lot of folks on edge, even if they couldn't stop moving to songs like "Atrevete-te-te" or "Tango Del Pecado." It's a different story in 2010, however. The inventive musicality that has always raised them head and shoulders above their Puerto Rican compatriots has found its mate in Residente's increasingly poetic — and pointed — lyrics.

Residente, aka Rene Perez, is the voice on the mic, and he doesn't take it slow. Within the first five minutes of the lead single, "Calma Pueblo," he takes down his record label — "My label's not Sony, my label's the people" — and then proceeds to blast Adidas, Coca-Cola, the White House, radio stations, artists who engage in payola, the Puerto Rican government, journalism, The Sopranos, the Vatican and brand-name clothing. Add the searing guitar of Omar Rodriguez (of Mars Volta fame), and you have dynamite. Literally, in a sense: the album art is suffused with images of improvised explosive devices, and Residente posits himself as someone who's infiltrated the system and plans to blow it up from the inside. Is Residente overestimating his own importance? Of course he is. But in hip-hop, that almost comes with the job description. Elsewhere in the album he likens Calle 13's music to elemental forces — it forces us to move "como los planetas giran alrededor del sol" ("like the planets spin around the sun"). But the fans are given momentous treatment too: "The volume of your body, giving a concert/ Like a hurricane moving the wind."

Young Guns of Narcocorridos

20101122-narco-corridos-560x225.jpg Call it Mexico's gangsta rap. The lyrics are violent, the language is littered with slang, and making paper is the order of the day — pretty much exclusively through drug smuggling. You can even hear the music shaking apart car trunks all over the United States, but that's where the comparisons between gangsta rap and Mexican narcocorridos end. Narcocorrido artists' instruments of choice aren't the sampler and mixing deck: think tuba and accordion, and the rhythmic up-and-down of a guitar. And while most gangsta rappers boast of their own exploits, narcocorrido singers detail the dramas of real-life drug kingpins in Mexico. And singing them can get you killed.

Back in the 1800s, Mexico's corridos ("ballads") were like a living newspaper, and musicians would travel minstrel-like around the countryside, singing the headlines to whoever would listen. Frequently the heroes of these songs were Robin Hood types, stealing from the rich to give to the poor and outwitting corrupt lawmen. The style has its roots in Spanish troubadour music, and it has endured into the 21st century. But in the 1970s, the heroes in corridos began to undergo a subtle but important sea-change. The songs increasingly detailed smuggling drugs across the border, with the characters getting shot up Bonnie and Clyde-style. Bands like Los Tigres del Norte, Los Huracanes del Norte and Los Tucanes de Tijuana were writing the songs, known as narcocorridos (literally, "drug ballads"), though narcocorridos never formed the entirety of any of these bands' repertoires.

Fast-forward to 2010. Mexico is embroiled in waves of violence. Drug cartels control entire regions of the country. And a new crop of singers has sprung up, many of them bilingual and bicultural, born in L.A. and raised in Culiacán, as the story often goes. These singers have embraced the narcocorridos as a way of life; romantic songs have become the exception rather than the norm. Singers are frequently paid — or "encouraged" — to write songs praising cartel members, but they have to be careful. If they're too complimentary, they risk angering rival cartels; if they aren't sufficiently laudatory, they risk pissing off the song's subject. This is no small matter: in 2007, singer Valentin Elizalde was murdered after he mocked drug kingpin Osiel Cárdenas in his song "A Mis Enemigos." In fact, since 2006, at least 13 musicians have been killed, including Sergio "El Shaka" Vega, Sergio Gomez of K-Paz de la Sierra, and Zayda Peña, who survived a gunshot wound to her back, only to be fatally shot in the head later in the hospital.

Other musicians have been arrested for associating with the cartels. In 2009, Tex-Mex great Ramon Ayala and Los Cadetes De Linares were arrested for playing a party thrown by the Beltran Leyva cartel. Musicians are frequently invited to play fiestas privadas; they're not told whose party it is until they arrive, and for many, the money is hard to refuse. (They just have to be careful not to get too friendly with the boss's wife; jealousy can turn fatal.) The drug cartels, for their part, actively cultivate relationships with musicians. Besides asking for ballads celebrating their exploits, they frequently launder their money through unregulated ticket sales at music events. Often they'll funnel money to a musician early in his career so they can collect on the favor later.

Yet despite the grisly reality — or perhaps because of it — Mexicans and Mexican Americans are eating narcocorridos up, thrilled to find music that's as hard as gangsta rap yet also helps them connect to their roots, something that feels like it's truly theirs. And of course, there's the thrill of skirting danger, of partaking — however distantly — in this world of drugs, guns and rampant machismo. Perhaps it borders on voyeurism, but whatever the draw, it's turning into big money for the musicians, without any radio support. Meet the key players of this new narcocorrido generation, and some of the classic groups who paved the way for it. For an extended listening experience, check out our full Young Guns of Narcocorridos playlist.


Chico Mann, Analog Drift

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In his spare time, Antibalas guitarist Marcos Garcia is Chico Mann, the one-Mann Afrobeat ensemble who decided it was time to see if Afrobeat and electro could have a baby, and if so, what it would sound like. Analog Drift is the answer. (The album is named for the tone drift that occurs in analog synths over time.) Yes, that really is a Roland 303 making moves straight out of Beat Street, haunted by ghosts of Fela and Arsenio Rodriguez. What is charming on tape becomes incantatory onstage, finding the spiritual thread that links three powerful, distinct musical traditions. — Sarah Bardeen

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Julieta Venegas, Limon y Sal

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Each Julieta Venegas album has edged closer and closer to the mainstream, and we should probably be disappointed by that. But that's impossible with Venegas: she's always charming, crafting smart, rootsy pop that has made the accordion into a mainstream instrument and her lazy drape of a voice into a national obsession. Even the so-weird-it-shouldn't-work rap/reggaeton nod "Primer Dia" succeeds, though it stupidly relegates her to back-up singing. "De Que Me Sirve" approaches jazz, while the single "Me Voy" and "Te Voy A Mostrar" stand out among a solid pack of songs. — Sarah Bardeen

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20100921-rocks-latin-roots-560x225.jpg The Charleston. The Bo Diddley beat. Bow Wow Wow's "I Want Candy." Even Snoop's "Drop It Like It's Hot." Mambo's got a musty aura in our collective American imagination, but it actually helped spirit Afro-Cuban rhythms into American popular music in the early 20th century — in particular the 3:2 son clave rhythm (known back then as the habanera). That syncopated Boom.Boom.Boom/tap-tap rhythm seems to demand a physical response — it was a favorite soundtrack for early striptease shows — and it has given propulsion to everything from rockabilly to hip-hop songs ever since. It put that fatal sway in Elvis' hips; it made "Louie Louie" the irresistible party song it still is. Let's put it this way — when country and blues music got in bed to make rock 'n' roll, there was actually a third party involved. It's time to give Latin music its due: check out our mix of early rock 'n' roll songs and their (in some cases) direct Cuban antecedents. We start out with Buddy Holly vocalizing the rhythm for his band, and we keep the surprises coming. Did you know that the Stones' "Satisfaction" is, in fact, a cha-cha-cha?


Playlist: Rock's Latin Roots

Bossa Nova Album Guide

20100921-bossanova-560x225.jpg Sun. Sea. Love. Beaches.

Rain. Mountains. Melody, Melancholy.

Bossa nova, contradictorily, has all of those things and more.

The musical form has been with us for over 50 years now and has worked its way into the genetic DNA of Brazil as well as American jazz, pop music and global culture in general. Both jazz and bossa nova married African rhythms, European folk styles and expansive classical harmony into a sumptuous whole, but (interestingly) their rhythmic foundations are unique. Bossa nova does not "swing" in the American style; it pulses in a way that keeps musicians and listeners on both sides of the equator enthralled.

In the 1950s, João Gilberto was a rising star who specialized in robust Latin ballads when he walked away from his career and spent years coming up with a new way of playing and singing. Gilberto played the restless samba rhythms on his guitar while his (now) softened vocals lay dreamily behind the beat in a fashion that recalled vocalists such as Billie Holiday, Frank Sinatra, Julie London and France's Henri Salvador. Separate Gilberto's guitar playing from his singing and you have two beautiful things — put them together and (gentle pow!) you have bossa nova. His songs can be upbeat and playful or bittersweet and lovelorn (a hallmark of Portuguese fado torch songs). Gilberto is a master musician who worked hard to revolutionize a new style of music — and he has stuck to his blueprint for the rest of his life.
20100914-tito-puente-560x225.jpg Tito Puente is a badass. He composed your favorite Santana song ("Oye Como Va"); he became an initiate (olubata) in santeria, the Afro-Cuban religion that features chicken sacrifices and spirit possession; and he helped create salsa (the music, not the food), though he hated the term. His name is a joy to say, but it's also meaningful: puente means "bridge," and in many ways Puente was just that, a bridge between Afro-Cuban music and big band jazz, between Nuyorican culture and the rest of the world. He brought the timbales front and center in Latin music, which had never been done before, and he also played a raft of other instruments and was a master composer, arranger and conductor. This turgid two-disc collection from Fania lays out the goods in chronological order, starting with Puente's smoking mambo, which made New York's Palladium the epicenter of Latin music in the 1950s. It moves on to his unpublicized but deep connection to sacred Afro-Cuban percussion; touches on his dalliances with boogaloo and bossa nova; and then dives into his ultimate co-creation of the explosive sound of early salsa. It's an exhilarating listen, and one that begs the question: where did he get all these ideas? The man was a dynamo, but some of his influences might surprise you.

Definitive Guide to the LAMC

20100706-lamc-575x225.jpg What is the Latin Alternative Music Conference? It's the only gathering in the world dedicated solely to Latino artists who are making hip-hop, electronic music and indie rock, and it's happening in New York City between from July 6 through July 10. LAMC turns 11 years old this year — here's to staving off the adolescent blues with good music — and it's bringing an absolute boatload of excellent shows to New York City this week.

If you'll be in the area, we've got a guide to all the buzz-worthy shows. If you have to sit at home, moping about all the fun you're missing, we've got a playlist to get you up to date on what Latin alt bands are doing right now.

Dig in, and don't forget — all this music and more is available when you join the elite club of Rhapsody subscribers. Why not sign up for a free trial?

Tuesday, July 6
Apple In-Store with Ana Tijoux @ 7 p.m.
We've already waxed rhapsodic (excuse the pun) about Ms. Tijoux. French-Chilean rappers = extremely good. We love her latest album, we love her lyricism, we love her old-school style. Hit this, even if it's hosted by the evil empire.

Get Well: Gustavo Cerati

20100622_gustavo_cerati_575x225.jpg Think of a singer who defined a decade for you. Was it John Lennon? Roberta Flack? Sting? For many Latin Americans, it was Gustavo Cerati. In the 1980s and early '90s, there was no bigger band than Argentina's Soda Stereo, and Cerati was its voice and face. The group's rocking-yet-introspective albums spawned a cascade of hits that met with no less critical than commercial success. Cerati grew up steeped in British and American rock, and he developed a sound that easily translates across borders. As a superstar, he's always had a streak of the poet about him, something slightly elevated and otherworldly. He became even more adventurous in his solo career, delving into orchestral music and electronica with great success on Siempre Es Hoy and 11 Episodios Sinfonicos. Though that risk-taking hasn't always endeared him to longtime fans, his last two albums — the excellent Ahi Vamos and Fuerza Natural — returned him to mass appeal, with their emphasis on solid melodies and jangling rock.

On May 16, Cerati suffered a stroke after performing in Caracas, Venezuela. He's currently in a hospital in Argentina, and at this stage, his prognosis is unclear — major brain damage is a certainty. We send un fuerte abrazo to his family and fans and celebrate his storied career with a playlist designed to introduce you to some of his biggest hits as well as the hidden gems that reveal his range.

Playlist: A Guide to Gustavo Cerati

Summer Music Guide

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Once again, summer is upon us. And whether you're throwing a burger on the BBQ or stretching out beneath the sun on a beach somewhere, you'll need the ultimate soundtrack. Be it big, bold party jams, carefree soul or anthemic pop songs, we've got you covered. Below you'll find the ultimate guide to summer music. We have a preview of this season's biggest releases, plus hot summer jams from past years, a guide to summer festivals and a look at the underground Southern Soul circuit. Dig in and enjoy!

Summer Releases


Your guide to the hottest upcoming summer albums
Play!
Summer Festivals


Enjoy this crib sheet to the best summer music festivals
Play!
Summer Jams


Discover what makes the summer hits sing
Play!
Southern Soul


Go inside the Southern soul concert circuit.
Play!
Summer Dance Mix


Get down with these summer dance jams
Play!
Classic Summer


Listen to summer pop classics
Play!

Upcoming Summer Releases

20100601-upcoming-summer-albums-575x225.jpg Listen to all your favorite artists whenever and however you want with your Rhapsody subscription. If you don't have one, click here to sign up for a free trial and see what we're all about.

It's that time of year again. The weather is hot, the water is warm and the tunes are smoking. Here we've assembled what we think are the most promising prospective releases for the summer of 2010, broken out by genre. Some of these are future classics, some will inevitably be duds and some will probably never be released at all. In the comments field, let us know your expectations for them, and whether there are some albums that you're looking forward to that aren't on this list.


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Celebrate Cinco de Mayo with all the music you could possibly need with your Rhapsody subscription. If you don't have one, click here to sign up for a free trial and see what we’re all about.


No other holiday has inspired so many momentous breakups, ill-advised hookups and mariachi-laced tabletop dance sessions as Cinco de Mayo (OK, St. Patrick's Day might be in the running). The day is hardly a blip on Mexico's holiday-happy radar, but in the U.S. this memorial to an 1862 Mexican battle with the French army has practically assumed July 4th proportions, except without the barbecues and flag-waving. The party recipe calls solely for tequila, tequila and more tequila — perhaps with a side of Dos Equis.

We asked some musicians to tell us how they celebrate this most idiosyncratic of holidays, and we heard back from a few — among them Cajun artist Marc Broussard, Uncle Kracker and Nortec Collective's Clorofila. We got it all: recipes for their favorite drinks, favorite drinking songs and their weirdest Cinco de Mayo memories. Looking for the quintessential margarita recipe? Broussard's got one. Wondering who found himself half-naked astride a pony singing "La Cucaracha" one fateful Cinco de Mayo night? Keep reading.

But as Arizona prepares to criminalize anyone who looks Latino, it might be time to bring some of that fighting spirit back. If Mexico could vanquish the French, surely we can vanquish the forces of intolerance. This Cinco de Mayo, don't just raise a glass to your lips. Raise a fist for civil rights. Viva la raza!

grupo_fantasma_bbq.jpg Grupo Fantasma is arguably Austin's favorite Latin band, a group who's remained close to its roots even as Prince came knocking and the Grammys beckoned. They've gained a following thanks to their dynamic live shows and their purposefully unpolished approach to their cumbia-funk-Latin-soul-salsa hybrid. (The members are musically promiscuous: they also loan their talents to various other outfits, including Ocote Soul Sounds and Brownout.) The band's new album, El Existential, was just released on National Geographic Records, and it's a humdinger: salsa great Larry Harlow guests, as does a Meat Puppet. (Read on to find out which one....) We spoke with band member Greg Gonzales about what it's like to play at Prince's house parties versus Iraq -- they've done both -- and even got the lowdown on a dream day spent out and about in Austin.

 

Click here to listen to start listening to El Existential. Or check out a playlist of some of the band's favorite songs by other people. And if you want to sign up for Rhapsody and get access to all this great music and more, all the time, do it now!

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Joe Cuba, Tito Puente and every other artist mentioned in this article are yours to rock out to whenever and however you want with your Rhapsody subscription. Click here to sign up for a free trial and see what we’re all about.

African American and Latin American musical influences had been commingling at least since Dizzy Gillespie hired Havana conga drummer Chano Pozo in the late '40s, and have continued to do so ever since — through fairly recent genres like reggaeton and urban bachata, for instance. But no other such hybrid has ever sounded as unhinged as the Latin boogaloo music that exploded out of New York City's outer boroughs and Spanish Harlem through the mid- to late '60s — in fact, in a decade of crazed garage rock and cold-sweating funk (both of which boogaloo absorbed), this may well have been America's wildest dance music of all. An excellent new Joe Cuba compilation on Fania, El Alcalde Del Barrio, is only the latest evidence.

All the President's Jams

presidents_jams_575x225.jpg We all knew music was gonna be big in the Obama administration. After all, Will.I.Am almost single-handedly secured the youth vote in 2008 with that "Yes We Can" video. Then the First Couple had Beyonce serenading them at the inaugural ball, a kind of insane prom fantasy writ large. And they make no secret of their passionate love for Stevie Wonder. Obama even shared his iPod with Rolling Stone during the campaign, though it turns out he wasn't the first candidate to do it. (Bush had that distinction: 250 songs on a 10,000 capacity gadget. What does it mean?) Half the country fell back in their seats, saying to themselves, "He's got Jay-Z on his iPod too?" It made you feel like you could maybe ... maybe have a beer with the guy.
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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

A lot of debate has occurred over the course of music history about whether music itself can really effect political change. In real life, the connection between music and change often seems tenuous at best -- the dream of an aging hippie or an over-eager musicologist -- in the face of more direct or even violent means of revolution. But then, every so often, you hear a voice like Mercedes Sosa's, and all that skepticism washes away. Sosa's songs weren't always political, nor were her performances always even necessarily connected to revolutionary movements (despite the Argentinean government's opinions to the contrary). And she herself said, "Artists are not political leaders. The only power they have is to draw people into the theater." But the weapon the woman had at her disposal, which she often called the "voice of the voiceless," was precisely that: her powerful, compelling voice, a voice rich enough to convey her convictions, a voice capable of inspiring people and giving them strength.

Born in 1935 to a poor family in San Miguel de Tucuman (in Argentina's sugarcane country), Sosa won her first singing competition at age 15 and went on to help pioneer the musical-political nueva cancion movement that swept Latin America in the 1960s. The movement shed light on the concerns of the working people and the disenfranchised in the face of oppressive dictatorships. Though she was not known as a songwriter, Sosa put her own distinctive stamp on many of her peers' tunes, imbuing their tales of struggle and protest with her versatile style (which drew from not only Argentinean folk traditions, but also a wide range Latin genres), her bombo drum and, especially, her evocative contralto voice. In the 1970s, the ruling military junta took notice of her influence (as well as her connections to leftist groups), and the government's harassment forced her into exile. She lived for several years in France and Spain, brokenhearted and working as a musician and a teacher. When she returned to Argentina in 1982, she discovered that she had become a folk hero for her oppressed countrymen. She retained that esteemed position for the rest of her career.

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A few of the thousands of mourners who came out to pay their respects in Buenos Aires

Over the course of her career, Sosa released 70 albums (several of which won Grammy and Latin Grammy awards), performed in venues like Carnegie Hall and the Coliseum, collaborated with artists ranging from Caetano Veloso to Pavarotti to Joan Baez, and served as a UNESCO goodwill ambassador. When she passed away on October 4 due to liver, kidney and heart problems, we lost one of Latin America's most beloved singers and a compassionate musical visionary. But the mark that powerful voice left on the world is indelible and prolific.

Take a listen to a few of the late, great Mercedes Sosa's most powerful moments below. Or Rhapsody users can listen to a full selection of her best work on this tribute playlist, a mere tip of this artist's considerable iceberg of work:

Playlist: R.I.P. Mercedes Sosa, 1935-2009

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From left: Pitbull, Shakira and Nelly Furtado

single-phile: The latest singles, dissected and discussed.

Industry insiders and music critics have been predicting for years that Spanish-language pop is poised for a massive crossover -- the kind of infiltration that would not only challenge the domination of English on the American charts, but also break down the division between mainstream (read: black and white) pop and Latin pop. And yet for many years, what happened instead was that the industry was paying attention to -- and working to grow -- a powerful but separate Latin pop market. That market has its own constellation of stars, many of whom (like Shakira or Ricky Martin) have crossed over into the mainstream -- but only by also switching languages. Until recently, the presence of Spanish on the pop charts basically consisted of "Livin' La Vida Loca."



Jazmin Lopez 300x300.jpg Ms. Jazmin Lopez is an up-and-coming star of duranguense -- the Mexican regional music that is a kissing cousin of the Southwest's brassy banda and the accordion-driven norte�o, but also grew up in Chicago. Even this early in her career, however, Lopez's resume is already impressively diverse: She also hosts MTV Tr3s's ReMexa and is a connoisseur of both the regional Mexican music that program showcases and the urban dance and hip-hip sounds on rotation at MTV Tr3s's parent station. Her self-titled debut is a tribute to her wide-ranging interests and experiences:

Jazmin Lopez: Jazmin
Banda and duranguense have always seemed like long shots for breaking Mexican regional into the pop mainstream. And yet the oom-pah-ing horns and synth beats of these genres share a common ground with the dance beats of the pop charts -- and Jazmin Lopez may have homed in on it. Jazmin is ebullient and infectious, like both good banda and good dance pop are. But like her paradigm-challenging predecessor Yolanda Perez, the savvy Ms. Lopez also manages to work in more mainstream pop elements, intertwining her husky "Oo! Oo!"s and throaty vocals with R&B flourishes ("La Carcacha") and hip-hop beats ("Tu").

Further Listening
Playlist: Jazmin Lopez Picks the Hits, a playlist of her inspirations and favorites
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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

So many fabulous albums have come out in the last few weeks that we decided to dispense with the thematic format on this week's SoundTreks and focus instead on surveying a hodgepodge of new releases. Sound good? Well, of course it does -- just listen to the playlist of material discussed in this post!




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With not nearly enough exceptions, loud guitar rock has been a notorious dancefloor wallflower for the past 30 years or so: Pretty much ever since disco scared its syncopations stiff. Kind of weird, for a genre originally steeped in the blues and r&b. But one of hard rock's secrets has long been Latin counterrhythms in its closet. The following playlist -- honoring conga-metal from both sides of several different borders -- is all the proof anyone should require.




soundtre.JPGSoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

The last few weeks have seen some great moments as well as some sad moments in world music. First things first. R.I.P. to Coumba Sidibe, the great Mali-born singer who pioneered the Wassoulou sound and who died last week at her home in the Bronx. While Sidibe never gained an international following on the scale of that of Oumou Sangare (who was once a backup singer for her), she was a trail-blazing musician who began making music at a time when women were a rare commodity in Mali's music industry. She passionately devoted herself to adapting the traditional music of her Fulani heritage into the Wassoulou sound, as well as composing and recording her own work. She was just a wonderful singer. I don't think anybody is quite sure when she was born, but she died May 9, 2009.

On a happier note, Federico Aubele, the tango-tronica hero who enjoyed so much crossover success with Gran Hotel Buenos Aires, is back with another album. It's called Amatoria, named for Ovid's Latin tract on how to pick up (and retain) chicks, the Ars Amatoria. So yes, if you think Aubele might be trying to sex you (or somebody) up, you're right. It's also a further departure sonically for Aubele, who seems to have grown dissatisfied with his electronic meddling with tango; this is his second album that's seen him moving toward a nearly acoustic sound. He sings on every track, accompanied by guests like Miho Hatori (Cibo Matto) and Sabina Sciubba (Brazilian Girls), but I found that after about five songs everything sounded more or less the same. Aubele's got a great sensual growl going, but, as my dad might say, writing a good melody is hard work. Lovely as the album is, Aubele's still got a ways to go in that department.

On the other hand, Marcio Local's new album -- his first to release in the States as far as I know -- has no problem with melodies: he just lifted them wholesale from Jorge Ben. But ... okay. If you're going to steal, you might as well steal from one of the greatest artists of the twentieth century. And he didn't exactly steal the melodies -- just the feel. Local's gruff-voiced Brazilian funk had steam pouring out of my headphones, and it also had me dreaming, weirdly, of beach volleyball. What do I care for beach volleyball? Nothing. But such is the power of Local's evocative sound: it makes you want to play beach volleyball even if you look terrible in a thong and can't walk two feet without using an inhaler. And it came out on Luaka Bop, David Byrne's label, if that holds any weight for Talking Heads fans out there.

Finally, if you haven't read it yet, check out Rachel Devitt's take on Afterquake, a collaboration between Abigail Washburn (noted banjo player and Bela Fleck's girlfriend!) and the Shanghai Restoration Project. The album is devoted to exploring life after last year's devastating earthquake in Sichuan province, China. Have a listen to the album, too; it's for a good cause.
 
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M.I.A.

I spend part of my work week crafting thematic playlists -- artist overviews, label profiles, irreverent flights of fancy -- many of which turn up here on the blog. (You can see all of them on my page at Playlist Central.) Usually the topic is up to me, but occasionally I'm given an assignment like last week's, which asked editors across all genres (mine is electronic music) to come up with a decade-specific list. 

Obviously, that poses a challenge for a genre already so closely identified with just a couple of decades. Electronic music wasn't born yesterday, to be sure: the Theremin was invented nearly a century ago, and synthesizers and tape-splicing were in use by the 1950s, leading to an explosion of activity, from Stockhausen to sci-fi soundtracks (to the Chipmunks). By the '70s, disco, electro-funk and hip-hop were all recasting popular music in a purely electronic form, paving the way for the synth-pop, industrial and house music of the '80s. And I don't think I really need to remind anyone of the way all manner of electronic music exploded in the '90s.

By this point, '80s and '90s recaps are bound to cover familiar terrain (although I must say that I am eager to see a reappraisal of the minimalist and ambient electronica of the early '90s -- Seefeel, Sun Electric and the like -- as more of it becomes available online). I thought it might be more interesting to focus on an aspect of the present decade -- and a development, moreover, that's really only emerged since the turn of the '80s. From where I'm sitting -- in Berlin, to be specific, after years-long stints in Barcelona and San Francisco -- the obvious candidate is electronic music's growing global consciousness.

Electronic dance music has always been an especially mobile form, thanks in part to the diminished role that vocals (and hence languages) play. But as house, techno, hip-hop and other electronic forms have continued to spread worldwide, they've sprouted up in new, unusual forms just about everywhere they've touched down. It's only fitting that a music whose roots dig into the soil of at least three continents should produce further mutations in Argentina, Brazil, South Africa and Angola, to name just a few points on an increasingly crowded map.

M.I.A.'s "Paper Planes" was just the tip of the iceberg (or perhaps that should read, "nose of the jetliner"?). Her international smash shares DNA with kuduro, kwaito, cumbia, funk carioca and every other proudly mongrel style that has come from local kids getting their hands on samplers and rewriting the rules to suit their own purposes.

My decade playlist, "Global Beats for the '00s," salutes those circuit-benders and margin-walkers -- along with their allies from America and Europe -- helping to spread the global gospel. It includes 29 tracks from the likes of Buraka Som Sistema, Ghislain Poirier, DJ Mujava, Radioclit, DJ Rupture, Filastine, Mexican Institute of Sound and more, with detours via Cesaria Evora (as remixed by Carl Craig), Juana Molina and everyone's favorite Chilean-German DJ, Ricardo Villalobos. Click here to eavesdrop on these beatmakers' global game of "telephone."

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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

One of my favorite albums of 2008 (so far) has been En Este Camino by Pistolera. I've described this New York band's sound as Mexican regional, Latin alternative and American indie stitched together in a sonic tapestry that is at once comfortably familiar and chicly cutting edge. Rhapsody's Latin editor Sarah Bardeen was a bit pithier: "previously at-odds elements like accordion and indie rock drink a Corona and lime together." The band itself, which has made nice with the likes of Lila Downs, Ozomatli and the Mexican Institute of Sound, gets even more succinct, referring to themselves as simply "alt-folklorico."

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this post.]

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Ximena Sariñana has gone from precocious -- acting in films and novelas since childhood -- to prolific -- contributing to movie soundtracks, jamming out with her old jazz band Feliz No Cumpleaños, and surrendering to her emotions like a young Fiona Apple en español on her debut album Mediocre, for which she has received multiple Latin Grammy nods: Artist of the Year, Best Alternative Song ("Normal") and Producer of the Year (along with Soda Stereo collaborator, producer Tweety Gonzalez). The songs on Mediocre (irony noted) have a smokey cabaret feel -- sharp, jazzy, cynical, with a bourbon sting -- but can be equally appreciated crying your heart out over a heap of dirty dishes -- speaking to everyday heartbreak, tapping into the most common of love-related insecurities, and the need to escape from it all. Basically, the heart's inner monologue.

"The album is 100 percent real," says Ximena. "The thing that I wanted the most was to be as honest as I could and not to stop myself from talking about things -- about how I felt. At some point, I felt like I wanted to run away from something, and I was gonna talk about it. And at some point, I felt that I was afraid of being forgotten, and I was gonna talk about it. It's kind of like an experiment. It wasn't all something that I was going through at the time, but it was something that had struck me as interesting. Or something I wanted to put it out in the open. I thought that, the more honest you are, the stronger you are, because there's nothing hiding, there's nothing in the background that people don't know. The more you show, the stronger you are. At least, that's what I thought at the time." Here,  Ximena speaks on becoming an accidental producer, finding her voice, shooting in Iceland and much more.

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this post.]

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SoundTreks: A regular feature on the music the other 97 percent of the globe is listening to.

Buena Vista Social Club returned from the dead (almost literally) last week, and this week Puerto Rican rappers/provocateurs Calle 13 took on the living, breathing lyrical fire. (Colombian rock outfit Aterciopelados wasn't far behind on that front either.) Plus, a sneak preview of songs from a hotly anticipated Bollywood flick, and Los Lobos guitarist David Hidalgo goes folkloric ... again?

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this edition of SoundTreks.]

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SoundTreks: a regular feature on the music the other 97 percent of the globe is listening to.

Wow -- what a great week for world music. The globalized economy may be crawling into a McMansion-sized hole right now, but you've gotta admit, while globalization may suck for mortgage-backed securities, it's been damn good for music. It's like an all-you-can-eat international buffet this week, only the portions are small and all the food is cooked by those grumpy French slow-food guys who burn down fast food joints while wearing hats set at a jaunty angle. On the menu: indie-pop from Argentina's ardently odd songstress Juana Molina, Ethiopian dub reggae (yes, you read that right) from Dub Colossus, psychedelic '60s Amazonian surf-pop from Juaneco y Su Combo, and a Brazilian who's obsessed with Japan and duets with West Coast underground rappers. Viva cross-pollination!

[Click the "Continue Reading..." link to listen to a playlist featuring the music discussed in this edition of SoundTreks.]

by Angela Bruno

Paramore
The very gracious Paramore.

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Objective: Survive. Status: Just barely. [Ha!] As I began to ponder the last few days, I now know why celebs need to be bathed in unicorn's milk and massaged thrice weekly: Parties. Open bars. Free food. Late nights. No-problems-at-the-door. The sense of entitlement. Expensive hotels -- with turndown service and peanut butter cookies. What a tough life. [Sigh.]  Fame (or, well, the mere observation of it, in my case), you are a fickle mistress. But just like that -- the VMAs are over. You watched the show, you be the judge. There will be no VMA punditizing here. Just behind-the-scenes moments of the big day from the Patagonial regions of the red carpet. Walk in my (luckily flat) shoes -- for 12 hours on the Paramount lot.

by Angela Bruno

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Vmalogo_blog_3 Objective #1. See Calle 13. Status: Achieved. Objective #2: Sidle up next to Kim Kardashian. Status: Pending. Perhaps our paths will cross this weekend, but by the time I had arrived at Level 3 for the MTV Tr3s party, she and the rest of the VIPs that RSVP'ed had already departed (with the exception of possibly some dude from this season of Project Runway, Jade from ANTM, Judy Reyes of Scrubs fame and rapper Malverde -- all of which were on the dance floor).

Foolish, because they missed avant-garde emcees Calle 13. Oh, how I love thee. Let me count the ways: frontman Residente is fly (wife me!) and tatted up in a seemingly illogical way à la Marc Jacobs; their lyrics stand for something; they infuriate my mother with their X-rated euphemisms. And, oh yes, Colby O'Donis performed, too. (Check out his exclusive Rhapsody playlist here.) Semi-grown women stormed the stage. And quivered. The bumpin' and grindin' in my periphery made it impossible to get a good shot of him. A little, um, disturbing, but that is neither here nor there. Read on for few highlights and WTH (what the hell; trying to keep it clean) moments, both good and bad.

Q&A: Plastilina Mosh

by Sarah Bardeen

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Despite their sporadic releases and refusal to cleave to one genre, Plastilina Mosh has become known as a major influence on the Latin alternative scene. In the 1990s, they were part of the first wave of rock bands to emerge from Monterrey, Mexico, an industrial city some critics have dubbed the Seattle of Mexico. They innovatively fused rock, hip-hop and electronica in ways that are still influencing newer bands like Kinky. Their standing was only cemented when they recently signed with Nacional Records, home to alternative heroes like Manu Chao and Nortec Collective. We caught up with lead singer Jonaz Gonzalez a week after All U Need Is Mosh dropped. He waxed eloquent on video games (loves them), his favorite bands (many), and who would win a fight to the death -- Plastilina Mosh or new Latin alt sensation Ximena Sariñana, who sings on their new release (guess who wins).

by Piotr Orlov

Fania

Dance music's 21st century rhythmic globetrotting is simply a new-destination update of past travels. There is, for instance, the trip that New York’s Fania label took ‘70s dance-music on, the one that began with a variety of Afro-Cuban- and Caribbean-influenced styles (rumba, mambo and boogaloo, among many); and after mutating into salsa, injected Latin tinges into disco and much of what followed. As is the norm nowadays, anything that was once great is ripe for a remake, and so too is the Fania catalog, on I Like It Like That. But if you want a quick taste, here’s an unreleased remix by Ashley Beedle, adding some bottom to the smooth disco-salsa come-on of Ricardo Marrero’s “Feel Like Making Love.” It’s a late-night thing, once perfect only for the Bronx, but now accepted 'round the world.

Further Downloading:
Ricardo Marrero, "Feel Like Making Love (Ashley Beedle Remix)"
Rhapsody Free MP3s

Q&A: Allá

by Angela Bruno

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Allá – multi-instrumentalist and mastermind Jorge Ledezma, brother, found-soundsmith and master drummer Angel and chanteuse Lupe Martinez – are kraut-centric Latin psych-poppers bent on a musical and cultural revolution. Jorge, a longtime kraut aficionado who cut his teeth with the now-defunct Chicago band Defender, became a part of legendary Can frontman Damo Suzuki's network of jam-session fiends after meeting in 2001, fanning Jorge's creative fire.

Allá's debut labor of love, Es Tiempo, took four and half years, an ever-evolving troupe of musicians, studio time in Sweden and about $50K out of Jorge's own pocket (!!!) to complete. Pointing to inspirations as varied as Café Tacuba, Beatles-esque experimentation and Marvin Gaye's message, Allá's hypnotic blend of kraut and Os Mutantes-brand tropicalia is anchored by an anvil of an agenda. Under the pastiche and stardust, the ethereal Es Tiempo honors the band's Mexican roots. With song titles like “El Movimiento” ["The Movement"] and lyrics like “no duermas mas” ["stop sleeping"], Allá’s message is subtle yet palpable.

“‘El Movimiento,’ that’s the old rally cry from the Chicano movement," says Jorge. "We wrap it in a cool psychedelic package and it’s poppy and it’s cute and a little scary at times – but it’s there.” Here, Jorge talks about Allá's evolution, his meticulous-meets-mayhem production tactics, and what the hell really happened in all those years between conception and fruition.

by Chuck Eddy

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When somebody tells you a new dance-pop album (or really, maybe a new anything album) is mind-blowing because it “mixes up lots of different genres,” take their claim with a grain of salt. Not that mixing genres is bad; it’s just that that’s what dance-pop has always done - usually without making a big whoopdydoo of it. This year, for instance, the self-titled debut by Philly-to-Brooklyn hipster heroine Santogold will inevitably finish the year near the top of critics’ polls. Which is fine, because it’s a pretty good record. But it’s no more “eclectic” than the significantly more lively and songful self-titled debut by suburban L.A. Mexican-American quinceañera-pop duo Prima J, which will struggle to get reviewed in any magazine not targeted at Latin teen girls.

Video: Orishas, "Bruja"

by Sarah Bardeen

Orishas fanaticos -- check out the cubano hotties in a some-discretion-advised video for "Bruja" from the band's upcoming release Cosita Buena. It sounds pretty cool, but who could pay attention to the music with all this fantastically trashy action. It's modeled on the cult classic Faster Pussycat Kill Kill by Russ Meyers -- lots of voluptuous women, random violence and frightened men -- and it features Spanish actress Rossy de Palma. Oh, and Yotuel takes his shirt off. Check it!

by Angela Bruno

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Grammy-winning Colombian pop star Fonseca made a name for himself by following in the great tradition of vallenato revivalists like Carlos Vives. His third album, Gratitud, still delivers those classic sounds and vivid love stories but also takes on a more experimental slant, channeling influences like Guns N' Roses and Metallica. In an exclusive interview with MTV Tr3s, Fonseca shows that he's a simple man ("If I can get some Seinfeld, I'm a big fan of Seinfeld") who just wants to hit the road: "It’s like magic," he says. "When things go live ... it has a special magic that happens with music and being on stage. For me, it’s like the best price I can get for doing what I do and it’s my dream come true. When I was a kid ... I was already dreaming about being on stage and that was my biggest dream." Fonseca also speaks on Colombian cohorts Shakira and Juanes and their giant philanthropic efforts with ALAS (the non-profit Shakira launched with Gabriel García Márquez to fight poverty in Latin America) and Paz Sin Fronteras.

Further Reading:
Exclusive Entrevista: Fonseca Loves Red Kicks

by Angela Bruno

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Just in time for open-toe-sandal and drop-top-convertible season comes "What You Got," the debut single from MTV Tr3s Descubre & Download artist Colby O'Donis. The 20-year-old Queens-born, Orlando-bred crooner/multi-instrumentalist went the way of a quasi-Disney baby, taking singing, dancing and guitar lessons from the time he was a wee one. At age nine, he was signed to Full Force, the hitmakers responsible for freestyle gods Lisa Lisa and Cult Jam and penning hits for Britney Spears, Backstreet Boys and more. At 10, he sang on the Stuart Little soundtrack, and about three years ago, O'Donis met his label boss Akon. "I played him my demo, which is actually a demo I recorded when I was 15," he says. "And he loved it. There were a lot of people in the room, so he was like, 'Yo, I want to set up another studio session for us,'  to get together to see how chemistry worked. The chemistry was just crazy. And from there, he was like, 'Yo, I got this new label called Konvict Muzik and I want you to be a part of it.' … Now, it’s history in the making."

by Angela Bruno

A little bit Homer's Odyssey (i.e., the sirens), Gabriel García Márquez's Love in the Time of Cholera (i.e., nautical love affairs) and Joseph Conrad's Heart of Darkness (i.e., weird, mystical stuff happening on a river). Calle 13's Residente puts his 1001 not-so-subtle-yet-always-clever sexual euphemisms aside to whisper sweet somethings in your ear on this new video for "Un Beso de Desayuno," which translates into "A Breakfast Kiss." Dig in and buen provecho.

by Chuck Eddy

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In this installment: Alcoholics of sundry economic and musical stripes, Latin rap groups and Southern rock bands who both like reptiles, white '20s country-blues crossovers, and more.

by Sarah Bardeen

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For the last decade, Julieta Venegas has remained one of Latin pop's most independent and creative stars -- without ever even seeming to break a sweat. "El Presente," the premier single from her first and highly anticipated forthcoming Unplugged album, dropped today. Venegas stopped by the MTV Tr3s studios to dish on some of her favorite songs. Wanna know what floats this singer's boat? Keep reading to check out her picks -- in English and Spanish -- and peep her live MTV Unplugged performance of "El Presente" after the jump.

by Angela Bruno

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Electioneering08_thumb People en Español reports that reggaetón's Don Omar is backing Barack Obama and will be participating in a as yet unidentified documentary in support of the candidate. The Puerto Rico Democratic primary, one of the last before Montana and South Dakota, will take place on June 1 -- even though residents of Puerto Rico are barred from voting during general presidential elections. (Factoid: Puerto Ricans who live on the island statistically participate in elections at much higher rates than mainland voters.) 

by Sarah Bardeen

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Señor Flavio, aka Flavio Cianciarulo, is a founding member of Los Fabulosos Cadillacs, one of the greatest rock bands on any continent, from any era. (Not that we're biased.) With Los Cadis on long hiatus, the good Señor has taken to releasing solo albums under the name the Flavio Mandinga Project, and his latest, Supersaund 2012, is a blast from the same ska-reggae-rock furnace that made the Cadillacs so great. The veteran rocker took some time to answer a few questions about himself, his favorite songs and what the heck "mandinga" means.

Best of 2007: Latin

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Comebacks, reunions and tributes made for some of the best Latin music in 2007. New bands showed that bilingual was more beautiful than ever, Juanes set a digital record, immigration remained in the headlines, and everyone kept leaning like a cholo. Here, in no particular order, we revisit some of the most notable music and moments of 2007.

By Angela Bruno

 

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MTV Tr3s Descubre & Download featured artist The D.E.Y. are South-Bronx bred MC Divine, songstress Elan, capable of channeling Asha Bhosle (thanks to her vocal training in East Indian pop) and Christina Aguilera, and Miami-based, Spanish-language spitter, Yeyo. Theirs’ is a unique, symbiotic brand of fusion, one where all the elements are decipherable yet inseparable. At first listen, their sound is as frenetic as a game of pinball – a ricocheting of rhythms, cultures, harmonies and flows. Their debut single, “Give You the World” takes on Earth, Wind and Fire’s “Fantasy,” and Timbaland has lent his Midas touch to the forthcoming single “I Get the Feeling.” Their debut album The D.E.Y. Has Come is slated for spring '08.

“It’s like the evolution of music,” says Yeyo.

“It’s the hustle, the bustle and the beauty,” adds Divine. “It’s yesterD.E.Y., toD.E.Y. and tomorrow!”

“It’s what’s missing in the whole Latino-urban experience,” says Elan, who like a “Disney baby” (as Divine describes her), has been working since before she can even remember, sharing studio time with a pre-“Hit Me Baby” Britney and performing in Paul Simon’s Broadway production, The Capeman. She also penned “Fuego” with J.R. Rotem for The Cheetah Girls.

The trio, who has been relentlessly compared to The Fugees, have got plenty to say about the legendary hip-hop outfit, Weezy, Timbo, J. Lo and more.

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Photo by Jerry Lacay

This past Tuesday, December 4, congas sounded across the hemisphere as Cubans everywhere celebrated the day of Chango, the fiery Afro-Cuban deity who rules over the drums. That evening, pioneering Cuban conga player Carlos "Patato" Valdes died at age 81.

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Whether you're a committed Cubaphile or just want to experience the classic Havana sound beyond the folky Buena Vista Social Club, you should be as excited as I am about the digital release of music from the Panart Records catalog.

For Juanes, musical collaborations are a way of exploring new territory. Campino, from the band Die Toten Hosen, added a German touch to "Bandera de Manos," and Juanes broke his Español-only rule for the first time when he sang a duet with Tony Bennett.

On a recent visit to MTV Tr3s Radio, Juanes created a playlist for Rhapsody -- continue reading for his favorite songs by the friends he's made in the studio.

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Juanes loves to share -- when he's not helping out land mine victims in Colombia, he's always eager to collaborate on a song. And the groundbreaking Colombian rocker turned international Latin pop idol did both when he teamed up with Andres Calamaro to spread awareness about mine victims with the track "Minas Piedras," included on his new album, La Vida Es un Ratico.
By Angela Bruno

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For the film adaptation of Gabriel "Gabo" García Márquez’ Love in the Time of Cholera, a tale of an unrequited love that spans 51 years, Shakira contributes three songs to the soundtrack. There's also a score composed by City of God maestro Antonio Pinto. "Pienso En Ti," on which Shaki wails and whimpers like an Andean flute, was originally released on her breakthrough album Pies Decalzos. The new tracks, "La Despedida," a folkloric corta vena that feels like the sonic manifestation of Gabo's trademark magical realism, and is featured in the film's trailer, and "Hay Amores," a sultry bolero, were written when she was studying at UCLA last summer. (Shakira premiered the songs during a live performance in Las Vegas during the Latin Grammys weekend, at a benefit for her charity, Fundación Pies Descalzos.)

by Sarah Bardeen

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I'm at an afterparty in Las Vegas, where a second-rate reggaetón star is giving a dreadful performance before a room that's three-quarters empty. The woman next to me is draped over some guy in a suit who's half her height, and her microscopic red dress appears -- God forgive me if I'm slandering -- to be bursting at the seams with gluteus maximus implants. It's 2 a.m., I'm tired, and this is the culminating experience of my trip to the 2007 Latin Grammys.

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(Photo: Pompi Gutnisky)

The stands of Buenos Aires' mammoth River Plate soccer stadium seemed made of rubber Sunday night as 70,000 Soda Stereo hinchas bounced to "De Musica Ligera," one of 29 career-spanning songs Soda played over three hours. It was the third night of an amazing weekend of sold-out shows, the furia that porteños had been waiting ten years for. I had flown South on a nostalgia trip to see the return of what I can now say for sure was the greatest rock band ever en español, but Soda delivered much more than memories: Gustavo Cerati, as his solo career has proved, is a total monstruo; Charly and Zeta came out of the gate with power and it was clear the three were having as good a time as everyone else was. The shows were huge but intimate, elegant and raw, old but new, visually surprising - actually, a lot like Buenos Aires itself. Soda took off for Chile Monday morning, and after Latin America they'll be playing Los Angeles and Miami. Get there New York fanticos - Cerati says a New York show is not going to happen.

Los Premios MTV 2007

The_cure_buenos_aires_2 The Cure opened last night's Los Premios MTV awards show in Mexico City with "Friday I"m in Love." The song was chosen by viewers in an online vote, and the selection suprised Robert Smith, who in an interview simultaneously translated into Spanish on the red carpet admitted to being "overwhelmed" by the reception from fans in Latin America, where The Cure have been top idols since the Eighties. (At left, a Cure billboard in Buenos Aires promoting the Premios.) Twelve million people went online to vote for artists nominated for Los Premios, MTV Latin America's viewers' choice awards. Performers included audience favorite and song of the year winner Avril Lavigne, Hillary Duff, 30 Seconds to Mars, Molotov and Mexican teen sensation Belinda, who won best solo artist.

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Johnny Pacheco, Fania Records co-founder and leader of the Fania-Allstars, was in the audience at the premiere of Celia, the new musical about the life of Celia Cruz. The audience cheered when the actor playing Pacheco walked onstage, and in his seat the real white-haired father of salsa smiled, which was just the seal of approval the show's producers (who include Daddy Yankee) needed, especially after the backlash that followed this summer's misguided El Cantante, which was badmouthed all over by El Malo himself, Willie Colon. 


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