Beto sierra discos sinaloenses mujeres
In 2005, mere months after releasing the blockbuster first instalment of her ambitious Fijación Oral double album, Colombian pop superstar Shakira unleashed Oral Fixation, Vol. 2, dipping back into her English lyrical arsenal for a fresh jolt of buzzing rock ‘n' roll. Both records were meticulously curated from a dizzying batch of 60 songs that included guest producers and performers such as Argentine rock legend Gustavo Cerati, Rick Rubin and Wyclef Jean. To a certain degree, the project aimed to recapture the poetic grittiness of her raging, raven-haired ‘90s work while applying the pop crossover lessons picked up during her incandescent Laundry Service era, four years prior. While Fijación Oral, Vol. 1 oscillated between earnestness and camp, Oral Fixation, Vol. 2 aimed to translate Shakira's famed poetic introspections for her growing English-speaking fan base. On groovy pop fantasy “Dreams for Plans”, she yearns for days spent doing everything and nothing with a paramour. For the show tune-esque “Hey You”, she takes a more assertive approach, brassily lusting over a lover via a series of silly, suggestive metaphors. Later, on the orchestrally majestic “Your Embrace,” she again muses about companionship—this time, pondering the void created by an increasingly distant partner. In signature Shakira fashion, Oral Fixation, Vol. 2 teems with genre diversity, layering a children's choir over throbbing disco on “Timor” and invoking Gregorian chants for the biblically themed “How Do You Do”. A guest spot from guitar legend Carlos Santana bolsters the sinewy soul ruminations of “Illegal”, while Wyclef Jean's effusive verse on “Hips Don't Lie” helped Shakira secure her first Billboard Hot 100 No. 1. A Latin Pop melange, the song features samples from salsa great Omar Alfanno and merengue master Luis Días, as well as a rework of Jean's own “Dance Like This”—a booming celebration of pan-Caribbean multiculturalism.
When Fijación Oral, Vol. 1 hit stores in 2005,
- Sinaloa — with its sounds, visuals,
I wrote this a couple years ago for Maura Magazine; I reprint it here with their kind permission.
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“He’s really good,” said my librarian Fatima, handing me the new Noel Torres CD. She’d seen him live in Chicago a few months back. I’d never heard of the guy — when it comes to library CDs, I have no standards and few expectations. La Estructura, featuring Torres’s perfectly trimmed hair and penetrating scowl, immediately moved to the top of my stack.
Fatima knew what she was talking about. When you hear La Estructura, the most appropriate response is awe, followed by abject humility and despair because you will never create anything as good or alive or technically accomplished, as upending of your expectations. “I can’t even fathom what his band is doing,” went my first attempt at an explanation. Torres is a young man from the northwestern Mexican state of Sinaloa. He sings, plays the accordion, writes most of his songs, and leads a four-piece norteño band as well as an occasional brass band. His unadorned singing gets the job done; at all other tasks he is a motherfucker. Tossing off blazing accordion riffs with the “top this!” spirit of ‘80s hair metal, he leads his band through variations on polkas and waltzes. But while much Sinaloan norteño music simply bounces along, arid and sparse, the Torres band fills every instant with rambunctious noise. Tuba and bajo quinto fall all over each other, the drummer bashes like he’s playing on a John Zorn record, and somehow all this craziness congeals into steady pulses and familiar forms. My second attempt at explanation was one word: “brutal.”
After grappling with the musical achievement of Noel Torres, the next natural response is to Google him as you would any inexplicable phenomenon. You’ll quickly learn that he likes to pose for pictures with his accordion, faceless women, and a big fucking arsenal of guns. This is not un
2007 in Latin music
Overview of the events of 2007 in Latin music
This is a list of notable events in Latin music (i.e. Spanish- and Portuguese-speaking music from Latin America, Latin Europe, and the United States) that took place in 2007.
Events
Number-ones albums and singles by country
Awards
Albums released
First quarter
January
Day Title Artist Genre(s) Singles Label 1 Pedro Mariano Pedro Mariano MPB Mercury, Universal Music 5 Más Grande Que Tú Miguelito Reggaeton Machete Music, D & W Records 9 El Papa de Los Pollitos Los Tucanes de Tijuana Norteno Universal Music Group 29 Acústico MTV Lenine MPB Sony BMG Music Entertainment 30 Recio, Recio Mis Creadorez Los Creadorez del Pasito Duranguense de Alfredo Ramírez Polka, Ranchara, Cumbia, Corrido, Norteno Disa Lobo Domesticado Valentín Elizalde Norteno Universal Music Group, Regio Te Voy a Mostrar Diana Reyes Universal Music Latino El Amor Que Nunca Fue Conjunto Primavera Conjunto "¡Basta Ya!" Fonovisa Records, Universal Music Group February
Day Title Artist Genre(s) Singles Label 5 Un Día Más Daniel Calveti CanZion Gitano Rolando Villazón Opera Virgin Classics, EMI 6 Amantes Sunt Amentes Panda Alternative Rock Movic Records, Warner Music Mexico Las Mejores Canciones del Mundo Ricardo Montaner Soft Rock, Pop Rock "Hoy Tengo Ganas de Ti" EMI Televisa Music 13 Puro Dolor Paquita la del Barrio Mariachi, Bolero Musart Los Mejores Corridos El Potro De Sinaloa Corrido Machete Music 14 Los Hijos del Maiz Kinto Sol Conscious Univision Records Tambor De Fuego Los Muñequitos de Matanzas Guaguanco, Rumba Bis Music 15 El Sueño del Elefante Strings For Kids 16 Mart'nália em Berlim ao Vivo Mart'nália Samba, MPB Discmedi, Blau 27 Puro Sierreno Bravo Los Cuates de Sinaloa Regiona .
- Listen to music by Shakira on