International

Latin music is a catch-all term for a number of diverse styles from different regions and countries in Latin America. Often, the term refers to Latin pop -- either dance-based or pop oriented-music sung in Spanish or Tejano. Tejano has a number of different styles, from romantic ballads to the narrative nortenos, and they're usually performed by... [+] Continue Latin music is a catch-all term for a number of diverse styles from different regions and countries in Latin America. Often, the term refers to Latin pop -- either dance-based or pop oriented-music sung in Spanish or Tejano. Tejano has a number of different styles, from romantic ballads to the narrative nortenos, and they're usually performed by large groups with acoustic instruments and horns. In the '80s and '90s, Tejano has also adopted smooth production techniques from American pop-rock and soft rock. Latin America is also known for such dance music as salsas and sambas, which have layers of percussion, blaring horns and an infectious sense of style. A related style to salsa is the bossa nova, a cool, laid-back style that crossed dance music with jazz. With the exception of tejano and mariachi, which is folk and pop based, most Latin music is defined by its strong rhythms. [-] Hide

Reggae is a music unique to Jamiaca, but it ironically has its roots in New Orleans R&B. Reggae's direct forefather is ska, an uptempo, rhythmic variation based on the New Orleans R&B Jamaican musicians heard broadcast from the US on their transistor radios. Relying on skittering guitar and syncopated rhythms, ska was their interpretation of R&B... [+] Continue Reggae is a music unique to Jamiaca, but it ironically has its roots in New Orleans R&B. Reggae's direct forefather is ska, an uptempo, rhythmic variation based on the New Orleans R&B Jamaican musicians heard broadcast from the US on their transistor radios. Relying on skittering guitar and syncopated rhythms, ska was their interpretation of R&B and it was quite popular in the early '60s. However, during one very hot summer, it was too hot to either play or dance to ska, so the beat was slowed down and reggae was born. Since then, reggae has proven to be as versatile as the blues, as it lends itself to a number of interpretations, from the melodic rock steady of Alton Ellis and the rock and folk-influenced songwriting of Bob Marley to the trippy, near-psychedelic soundscapes of dub artists like Lee "Scratch" Perry. It has crossed into the mainstream through the bright, bouncy "reggae sunsplash" festivals and pop-oriented bands like UB40, but more adventurous reggae artists, such as Marley and Perry, have influenced countless reggae, folk, rock and dance artists. Their contributions resonate throughout popular music. [-] Hide

Chucho Valdés
Genre: International
Decades: 7680
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The son of the noted musician Bebo Valdes, Chucho began playing piano when he was three and by the time he was 16 he was leading his own group. In 1960 his father defected from Cuba but Chucho stayed behind. In 1967, he formed the Orquesta Cubana de Musica Moderna and, in 1973, he founded Irakere, the top Cuban jazz orchestra; among its original... [+] Read More

The son of the noted musician Bebo Valdes, Chucho began playing piano when he was three and by the time he was 16 he was leading his own group. In 1960 his father defected from Cuba but Chucho stayed behind. In 1967, he formed the Orquesta Cubana de Musica Moderna and, in 1973, he founded Irakere, the top Cuban jazz orchestra; among its original members were Arturo Sandoval and Paquito D'Rivera. Valdes has been Irakere's musical director almost from the start and has recorded with the full band, in small groups, and as an impressive solo pianist. He remains one of the top jazz musicians living in Cuba. ~ Scott Yanow, All Music Guide [-] Hide

Gilberto Gil
Genre: International
Decades: 7936
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Multi-instrumentalist, singer/songwriter Gilberto Gil joined his first group, the Desafinados, in the mid-'50s and by the beginning of the 1960s was earning a living as a jingle composer. Although known mostly as a guitarist, he also holds his own with drums, trumpet, and accordion.

He began playing the accordion when he was eight,... [+] Read More

Multi-instrumentalist, singer/songwriter Gilberto Gil joined his first group, the Desafinados, in the mid-'50s and by the beginning of the 1960s was earning a living as a jingle composer. Although known mostly as a guitarist, he also holds his own with drums, trumpet, and accordion.

He began playing the accordion when he was eight, and he listened to street singers in the marketplace around Salvador. By the end of the 1950s, Gil was studying business administration at Savlador's Federal University and playing with a group called Os Desafinados. At this time he heard singer and guitarist João Gilberto on the radio and was so impressed that he immediately bought a guitar and learned to play and sing the bossa nova. He spent the early '60s composing songs for TV ads, and in 1964, he was in Nos Por Exemplo, a show of bossa nova and traditional Brazilian songs directed by Caetano Veloso. In 1965, he moved to São Paulo, and after singing and playing in various shows, he had his first hit when singer Elis Regina recorded his song "Louvacao." He began to establish himself as a singer of protest songs, and he became very popular with Brazilians involved in the Tropicalia movement, which opened up native Brazilian folk music to other kinds of influences. The success of the single "Louvacao" inspired Gil to record an album of his own material with the same title.

Gil made his first self-titled recording in 1966, but his first hit single didn't come about until 1969, with "Aquele Abraco." His musical fusion of bossa nova, samba, and other styles was so revolutionary it frightened the country's military dictatorship into arresting him, and that's when he headed to Great Britain. (He and Caetano Veloso were placed in solitary confinement while authorities figured out what they wanted to do with the pair.) After three years in England, where he had the chance to work with groups like Pink Floyd, Yes, the Incredible String Band, and Rod Stewart's band in London clubs, he returned to Brazil in 1972. He recorded Expresso 2222, which spurred two hit singles in Brazil, "Back in Bahia" and "Oriente." After playing at the Midem Festival in France in 1973, Gil recorded Ao Vivo in 1974. A year later, he recorded with Jorge Ben for the album Gil & Jorge. In 1976, he toured with Veloso, Gal Costa, and Maria Bethânia and released the Doces Báraros album. For most of the rest of the 1970s, he recorded for a variety of Brazilian record companies until signing an international deal with the WEA group of labels in 1977. He toured U.S. colleges in 1978 and firmly established his place in the international jazz world with his albums Nightingale (1978) and Realce (1979) . He also released a double live album in 1978, Gilberto Gil ao Vivo em Montreux, recorded during his performances at the jazz and blues festival in Switzerland. In 1980, Gil teamed up with reggae musician Jimmy Cliff. The pair toured Brazil, and Gil's cover of Bob Marley's "No Woman, No Cry" climbed to number one, selling 700,000 copies.

Gil followed up in 1981 with Luar (A Gente Precisa Ver o Luar), one of his most acclaimed recordings. In 1982, he performed again at the Montreux Festival, but this time with Jimmy Cliff. He followed up with Um Banda Um (1982), Extra (1983), and Raça Humana (1984), the last recorded with Bob Marley's Wailers.

In the late '70s, Gil became a prominent spokesman for the black consciousness movement then taking place in Brazil. In 1982, he had huge crossover success with "Palco," which became popular in dance clubs and led to stadium tours of Europe. Meanwhile, back in the U.S., he would play mid-sized jazz clubs in New York City and Los Angeles. Gil celebrated his then two-decade career in 1985 with the album DIA Dorim Noite Neon (released in the U.S.), and released Gilberto Gil em Concerto, recorded live in Rio, in 1987.

The early '90s saw Gil continuing his involvement in social and political causes in his native country, finding widespread support for his political stances, and he was elected to office in the port city of Salvador, his hometown, aka the Black Rome.

A leader of the Tropicalia movement in Brazil in 1967 and 1968 along with artists like Caetano Veloso and Gal Costa, he and other musicians mixed native styles with rock and folk instruments. Because Gil fused samba, salsa, and bossa nova with rock and folk music, he's recognized today as one of the pioneers in world music. Among Gil's other albums are Refazenda (1975), Gilberto a Bahia (1985), and Parabolic (1992). He released Acoustic for the Atlantic Jazz label in 1994. On Acoustic, he's joined by Carlos Fonseca on acoustic guitar and Jorges Gomes on drums and mandolin. ~ Richard Skelly, All Music Guide [-] Hide

Selena
Genre: International
Decades: 3072
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The tragic shooting death of Tejano singer Selena spawned a reaction within the Latino community that can be compared to the reactions to the deaths of Elvis Presley and John Lennon. An enormously popular singer in Latino communities across North America, her music crossed cultural boundaries to touch the lives of young and old alike. A... [+] Read More

The tragic shooting death of Tejano singer Selena spawned a reaction within the Latino community that can be compared to the reactions to the deaths of Elvis Presley and John Lennon. An enormously popular singer in Latino communities across North America, her music crossed cultural boundaries to touch the lives of young and old alike. A flamboyant, sexy stage performer, sometimes hailed as the Latina Madonna, Selena was nonetheless considered a role model for off-stage she was family oriented, active in anti-drug campaigns and AIDS awareness programs.

She was born Selena Quintanilla to Mexican-American parents in Lake Jackson, TX. Before her birth, her father Abraham had been a member of Los Dinos. When Selena began performing at the age of ten, her father became her manager and Los Dinos became her backing band. In 1983, she made her recording debut in 1983 after appearing on popular the radio show of L.A. deejay Johnnie Canales. While Selena grew up understanding Spanish, English was her first language. Her first records were recorded in Spanish and she sang the words phonetically. After her music began to catch on, she began learning Spanish formally and by the time of her death, she was fluent in the language.

In 1987, she was named Female Vocalist of the Year and Performer of the Year at the Tejano Music Awards. Two years later she signed with EMI Latin and in 1990, she and Los Dinos released their eponymous debut album. Later that year she released a singles compilation, Personal Best, and she also released Ven Conmigo. In 1991 the title track of the latter became the first Tejano record to go gold. Selena also released two more albums, including one of Cumbia music, Baila Esta Cumbia that year. Selena married Los Dinos' lead guitarist Chris Perez in April of 1992. Other group members included her brother, Abraham Quintanilla, III, who played bass and penned many of her songs, and her sister Suzette, the drummer. She won her first Grammy in 1993 for Best Mexican American Performance for her album Selena Live. That same year, she released an album of love songs, Quiero, and she also opened Selena Etc, a clothing manufacturing business. In 1994, she made her feature-film debut in Don Juan DeMarco, in which she played a singer. Later that year, she and her band embarked upon a tour of New York, LA, Argentina, and Puerto Rico. Amor Prohibido was released in 1994; the record's title track won a Grammy and went gold. In 1995, Selena began preparing to make her breakthrough into the American pop mainstream.

In the spring of that year she was working on her first English-language album, when she went to a motel room in Corpus Christi, TX, to fire 34-year-old Yolanda Saldivar, the woman who managed Selena's boutique in San Antonio, and the founder of the Selena fan club. A few days before the confrontation Selena's father had unearthed paperwork proving that Saldivar had been embezzling from the fan club. Saldivar and Selena argued and as the singer left, she was shot in the back. Selena didn't die right away and managed to stagger into the lobby where she named Saldivar as the killer. An hour later, Selena died in a local hospital.

It was a death that rocked the entire Latino music industry. Saldivar was convicted for the murder of Selena in November, 1995 and sentenced to at least 30 years in prison.

A special service was held in the Los Angeles Colliseum where she was to give a concert. Less than a month later, Texas governor George W. Bush declared April 16, "Selena Day," in her honor. Dreaming of You, her final album, was released posthumously in the early summer. It became the first Tejano album to reach number one in America and was double platinum by the end of the year. ~ Sandra Brennan, All Music Guide [-] Hide

Ricky Martin
Genre: International
Decades: 6144
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Ricky Martin was one of the biggest teen idols in Latin America during the '90s, and a major figure in American pop music by the end of the decade. A lead singer of Menudo, Martin was blessed with good looks and a nice voice, which helped him become a Latin music star. He also became an actor, earning praise from the Mexican motion picture... [+] Read More

Ricky Martin was one of the biggest teen idols in Latin America during the '90s, and a major figure in American pop music by the end of the decade. A lead singer of Menudo, Martin was blessed with good looks and a nice voice, which helped him become a Latin music star. He also became an actor, earning praise from the Mexican motion picture industry and starring on the American soap opera General Hospital, where he played Miguel Morez, a bartender who sings on the weekends.

Ricky Martin (b. December 24, 1971) was born and raised in San Juan, Puerto Rico. As a child, he sang in the choir and performed in school plays. When he was six, he began acting in television commercials. Shortly afterward, he took professional singing and acting lessons, which paved the way for his auditions for Menudo. In 1984, when he was 12 years old, he became a member of Menudo. For the next five years, he was the lead singer of the group, helping it to become an international sensation. Once he outgrew Menudo in 1989, he went back home to Puerto Rico, where he completed high school. After graduation, he moved to New York, where he simply relaxed for several months.

Following a few months of inactivity, he began to work his way back into the entertainment industry. He returned to Mexico, where he acted on stage for a year before returning to the music industry. In 1991, he released his self-titled debut album, which he co-wrote with his fellow Menudo alumnus Robi Rosa, who would become a regular collaborator over the course of Martin's career (often credited as Ian Blake). The album became a sizable hit on the Latin charts. Two years later, he followed it with the Juan Carlos Calderon-produced Me Amaras, which was an even bigger hit, launching him to superstar status in Latin America.

In January 1994, he joined the cast of the soap opera General Hospital, playing Miguel Morez. His recurring role was so successful that it landed him a role on Broadway, where he played Marius in Les Miserables. He left General Hospital to perform in the production and stayed with the play for about a year.

In 1995, he released his third album, A Medio Vivir, a record that had a harder rock edge, yet also featured such Latin styles as flamenco and cumbia. In early 1998, he released his fourth album, Vuelve. His first English-language pop album -- which like his first long-player also happened to be titled Ricky Martin -- was released in the spring of 1999; it made him an international superstar thanks to blockbuster singles including "Livin' la Vida Loca" and "She's All I Ever Had." A year later, Martin sizzled again with the release of Sound Loaded. His biggest Spanish-language hits were collected on 2001's La Historia, while 2003's Almas del Silencio was an album of new Spanish material. Life, from 2005, was a return to English-language pop. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Los Huracanes del Norte
Genre: International
Decades: 6144
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One of the most popular norteño groups, Los Huracanes del Norte has consisted of a group of relatives from the extended Garcia family -- Chuy, Eraclio, Francisco, Guadalupe, Jesus, Lupillo, Pancho and Rocky -- plus other members such as Wico Lopez and producer/songwriter Martín Ruvalcaba. The group has released dozens of albums, for Garmex, Luna...

One of the most popular norteño groups, Los Huracanes del Norte has consisted of a group of relatives from the extended Garcia family -- Chuy, Eraclio, Francisco, Guadalupe, Jesus, Lupillo, Pancho and Rocky -- plus other members such as Wico Lopez and producer/songwriter Martín Ruvalcaba. The group has released dozens of albums, for Garmex, Luna and Fonovisa. ~ John Bush, All Music Guide [-] Hide

Pérez Prado
Genre: International
Decades: 960
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Universally known as the King of the Mambo, Pérez Prado was the single most important musician involved in the hugely popular Latin dance craze. Whether he actually created the rhythm is somewhat disputed, but it's abundantly clear that Prado developed it into a bright, swinging style with massive appeal for dancers of all backgrounds and... [+] Read More

Universally known as the King of the Mambo, Pérez Prado was the single most important musician involved in the hugely popular Latin dance craze. Whether he actually created the rhythm is somewhat disputed, but it's abundantly clear that Prado developed it into a bright, swinging style with massive appeal for dancers of all backgrounds and classes. Prado's mambo was filled with piercing high-register trumpets, undulating saxophone counterpoint, atmospheric organ (later on), and harmonic ideas borrowed from jazz. While his tight percussion arrangements allowed for little improvisation, they were dense and sharply focused, keeping the underlying syncopations easy for dancers to follow. Prado played the piano, but was often more in his element as the focal point of the audience's excitement; he leaped, kicked, danced, shouted, grunted, and exhorted his musicians with a dynamic stage presence that put many more sedate conductors and bandleaders to shame. With this blueprint, Prado brought mambo all the way into the pop mainstream, inspiring countless imitators and scoring two number one singles on the pop charts (albeit in a smoother vein than the fare that first made his name) as the fad snowballed. He was a star throughout most of the Western Hemisphere during the '50s, and even after his popularity waned in the United States, he remained a widely respected figure in many Latin countries, especially his adopted home of Mexico. Prado is often best remembered for his softer, more commercial work, which has an undeniable kitschiness that plays well with modern-day lounge-revival hipsters. Unfortunately, that has served to obscure his very real credentials in the realm of authentic, unadulterated Latin dance music, and to this day he remains somewhat underappreciated.

Damaso Pérez Prado was born in the heavily Afro-Cuban area of Matanzas, Cuba, on December 11, 1916 (though he habitually gave his birthdate as five years later). According to custom, he carried both his father's and mother's last name; his earliest recordings were issued under the name D. Pérez Prado, but the "D." was dropped on his American releases, and in 1955 he had his full name legally shortened to Pérez Prado. Starting in childhood, Prado studied classical piano, and by the time he finished school, he was good enough to play piano and organ professionally in local clubs and movie theaters. He moved to Havana around 1942 and freelanced for a number of smaller orchestras over the next year or so. Chiefly a pianist at this point, he also landed an arranging job with Gapar Roca de la Peer, which sometimes supplied material to the highly popular Orquesta Casino de la Playa. The orchestra's lead vocalist, Cascarita, liked Prado's work, and soon they hired him as arranger and pianist. This was the early platform Prado needed to develop his own arranging style, and after-hours jam sessions around Havana were already influencing his rhythmic concepts. Seeking to bring more excitement into the well-established rumba rhythm, Prado began to experiment with the hard swing of American jazz, influenced especially by the harmonically sophisticated big-band music of Stan Kenton. He also sought to build new Afro-Cuban-derived rhythms, including a pattern that was dubbed the mambo, whose early forms were traced back to Arsenio Rodriguez and Orestes Lopez.

Prado's innovations were greeted with outright hostility from Cuba's conservative musical establishment, which resisted the incursion of jazz on their native music. No longer able to find arranging work, he left Cuba in 1947 to try his luck in Puerto Rico. He eventually joined a touring group that swung through Argentina, Venezuela, Panama, and Mexico, and emerged as their star attraction. In 1948, he relocated to Mexico City and set about putting together his own orchestra, which featured a core membership of Cuban expatriates. One of those was singer Beny Moré, who performed and recorded with Prado (among several other bandleaders) through 1950; the association helped make Prado's orchestra a top draw in Mexico City, and set Moré on a path to becoming one of Cuba's best-loved singers. RCA's Mexican division signed Prado as an artist in his own right in 1949, and his first 78 rpm record, "Que Rico el Mambo" b/w "Mambo No. 5," was a hit across much of Latin America. In 1950, RCA reissued it in the U.S., with the A-side's title changed to "Mambo Jambo"; it had moderate success there too. Over 1950, Prado released numerous singles in Mexico; most of them were titled in tribute to a broad range of social classes and occupations, which helped make them wildly popular. Additionally, Prado appeared in several Mexican films, generally playing himself and spotlighting his stage act.

The early '50s were a busy time for Prado, who mounted a number of international tours as the mambo sound spread like wildfire. In Peru, Catholic authorities threatened to deny absolution for anyone who participated in mambo dancing, to little discernible effect. Prado's first U.S. tour came in 1951, with Beny Moré accompanying him; because of musicians' union rules, he was often forced to hire local musicians in place of his Mexican personnel, and train them rigorously in a very short period of time with little knowledge of English. The tour was a smashing success, however, especially on the West Coast, and RCA started releasing his records on their main RCA Victor imprint, rather than consigning them to a specialty subsidiary. In late 1953, Prado caused a stir when he was abruptly deported by Mexican officials to Havana; his sudden disappearance (he was arrested in a backstage dressing room) sparked rumors of kidnapping before he finally resurfaced to explain that he had forgotten to renew his visa.

Prado returned to the U.S. in 1954, embarking on another hugely successful tour of the West Coast. He then made his way to New York, where his orchestra played several upscale venues that helped make mambo all the rage among upper as well as lower classes. Spurred by mambo nights in clubs across the city, mambo was pushing its way into the pop mainstream, as traditional pop crooners and R&B/blues artists alike recorded Latin-flavored novelty items paying tribute to the emerging fad. Seeing that his music could cross over to the lucrative white market, Prado began to tailor it for mainstream consumption, scoring minor hits with covers of the theme from the Italian film Anna and the South African tune "Skokiaan," which signaled the beginning of a more polished studio sound. He finally scored a breakout pop hit in early 1955 with "Cherry Pink and Apple Blossom White," which was used as the theme to the Jane Russell film Underwater!. Ironically for the Cuban-born El Rey del Mambo, his first major hit was an adaptation of a French song ("Cerisier Rose et Pommier Blanc"), and its underlying rhythm was a cha-cha. Powered by a dramatic, swooping trumpet lead by Billy Regis, "Cherry Pink and Apple Blossom White" spent an astounding ten weeks at number one on the pop charts, making it one of the biggest instrumental hits of all time. The accompanying album, Mambo Mania, was Prado's first full-length 12" LP, and mostly featured material he'd recorded during his time in Mexico.

Prado took advantage of his success to attempt more ambitious compositions during this period. His first effort in this vein was 1954's The Voodoo Suite, an impressionistic tone poem for Afro-Cuban big band that incorporated elements of jazz and exotica. West Coast trumpeter Shorty Rogers helped out on the arrangements, and the results often recalled Stan Kenton's progressive big-band mood music, albeit with a Latin sound. The 1956 album Havana 3 A.M. was a wilder excursion that ranked as probably the purest, most authentically Latin record of Prado's commercial period. Of course, there were many commercial projects too; the biggest was 1958's Prez, which fell just short of the Top 20 on the pop LP charts. That same year, Prado scored his second number one single with the self-composed "Patricia," a slinky if subdued instrumental spotlighting his organ playing. The tune was later used in a steamy, controversial sequence in director Federico Fellini's classic La Dolce Vita. The follow-up single, "Guaglione," just missed the Top 50.

Determined not to become a one-trick pony, Prado had begun to experiment with new rhythms and dance forms as early as 1954. A rhythm he called "La Culeta" was his answer to the cha-cha, adding violins to the required instrumentation. Several others -- the suby and the pau-pau (both mid-'50s), La Chunga and El Dengue (both early '60s) -- failed to catch fire with the public as mambo had. In the early '60s, Prado began to flirt with rock & roll dances, adding Twist-type rhythms and tempos to albums like 1961's Rockambo and 1962's The Twist Goes Latin (the latter featured Twist reworkings of his two chart-topping singles). However, he wasn't simply chasing trends during this period; 1962 brought another compositionally ambitious tone poem, The Exotic Suite of the Americas, which added strings and a movie-soundtrack feel to an Afro-Cuban big band. Unfortunately, Prado was running out of commercial steam, his early thunder largely stolen by rock & roll. His last American album for RCA, Dance Latino, was released in 1965, and by the early '70s, he had returned to Mexico City permanently.

Despite his declining fortunes in the U.S., Prado remained an icon in much of Latin America, and he continued to tour successfully in Mexico, South America, and Japan during the '70s. He also released records in those markets, and appeared frequently on Mexican television. In 1981, he appeared in a musical revue, Sun, that enjoyed a lengthy run in Mexico City. A false report surfaced in 1983 that Prado had died in Milan, Italy, but it was actually his younger brother, Pantaleón Pérez Prado, who had passed away; Prado had been forced to sue Pantaleón in 1956 for impersonating him and using the performing name Pérez Prado to draw audiences in Europe. Prado himself started grooming his son, Pérez Prado, Jr., to take over the reins of his orchestra in the mid-'80s. Prado returned to America for a final concert at the Hollywood Palladium in 1987; although age and ill health had taken its toll on his stage demeanor, the appearance was a sold-out success. He passed away in Mexico City on September 14, 1989, after suffering a stroke. Prado's music has lived on in popular culture in the years since his death: "Guaglione" was a near-number one hit in England in 1995 after being featured in a Guinness beer commercial; "Patricia" was adopted as the theme for the HBO documentary series Real Sex; and "Mambo No. 5" was adapted into the unnervingly catchy novelty hit "Mambo No. 5 (A Little Bit Of...)" by Lou Bega in 1999. Prado Jr. continues to direct his father's orchestra in Mexico City. ~ Steve Huey, All Music Guide [-] Hide

Sly & Robbie
Genre: International
Decades: 7680
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Theirs is the ultimate musical marriage, a partnership that, once formed, re-etched the very landscape of not just Jamaican music, but the entire world's. Such hyperbole is oftentimes rolled out by publicity machines whenever two musical talents come together, but in the case of drummer Sly Dunbar and bassist Robbie Shakespeare, it really was an... [+] Read More

Theirs is the ultimate musical marriage, a partnership that, once formed, re-etched the very landscape of not just Jamaican music, but the entire world's. Such hyperbole is oftentimes rolled out by publicity machines whenever two musical talents come together, but in the case of drummer Sly Dunbar and bassist Robbie Shakespeare, it really was an earth-shattering union. Their rhythms have been the driving force behind innumerable songs -- one statistician estimated that together they've played on approximately 200,000 tracks, and that doesn't count remixes, versions, and dubs. As a production team, the pair has been the equivalent of a creative storm, the cutting edge of modern dub, ragga, and dancehall.

Dunbar and Shakespeare linked in 1975, but by then they'd already become established figures on the Jamaican scene. Lowell Charles Dunbar was nicknamed Sly for his adoration of Sly Stone, and in his teens had begun his career in the late '60s playing in studio bands. For a while he was a member of the RHT Invincibles, a group led by Father Good'un which included such talents as Lloyd Parks, Bertram McLean, and Ansell Collins. The group cut several singles, but none were particularly successful. Dunbar would have better luck with his studio work and made his recorded debut with the Upsetters on the single "Night Doctor." Producer Lee Perry was obviously impressed with the young drummer and consistently used him in the studio. Even so, Dunbar continued with his outside interests, joining Skin Flesh & Bones, a group led by Al Brown that boasted the drummer's old compatriot Lloyd Parks. In 1974, the drummer and fellow bandmember Ranchie McLean launched a short-lived label, Taxi, which focused mainly on the group and its members' own material. Meanwhile, Shakespeare was also making a name for himself. He, too, had launched his career as a sessionman in his teens and, by the early '70s, was a member of producer Bunny Lee's house band the Aggrovators.

Inevitably, the two youths had crossed paths during this period -- both were Kingston born and bred and were only a year apart in age (Dunbar is the elder). Over time, both had worked with virtually all the major (and minor) artists on the island. It was producer JoJo Hookim who eventually brought them together when the two separately joined his studio band the Revolutionaries in 1975. Their partnership grew slowly and their first work together was on Jimmy Cliff's Follow My Mind that same year. The duo then, oddly enough, was also asked to produce the established French singer Serge Gainsbourg's new album, Aux Armes Et Cetera, in 1975. It was a bizarre pairing for all concerned, but the sessions went so well that the duo not only produced the singer's next album, they also agreed to accompany him on his French tour.

1976 was even more dramatic. Sly & Robbie oversaw Culture's seminal Two Sevens Clash album, one of the greatest albums of the roots age. The pair's productions were slowly beginning to gain international acclaim, and joining superstar DJ U-Roy's backing band for his U.K. tour brought them further recognition. Before the year was out, the duo had also appeared on Peter Tosh's Natty Rebel album, inaugurating a four-year relationship that saw them accompany the former Wailer on tours around the States and Europe. Meanwhile, their session work back in Jamaica with Hookim continued apace, while Shakespeare also continued playing with the Aggrovators. However, their rising prominence is made clear by Leroy Smart's 1977 Super Star album, whose musician credits proudly boast Robbie Shakespeare & the Aggrovators and Sly Dunbar & the Revolutionaries. The Heartbeat label has released two compilations that feature the Revolutionaries' phenomenal work for Hookim's Channel One label. 1989's Hitbound! The Revolutionary Sound of Channel One features some of their most legendary work with artists like Horace Andy, Junior Byles, the Mighty Diamonds, the Meditations, and Black Uhuru. The Mighty Two, ostensibly a compilation of Errol Thompson and Joe Gibbs' greatest productions, also features the group at their best, backing the likes of Peter Tosh, Dennis Brown, Prince Far-I, Culture, and many more. 1978 brought the legendary One Love Peace Festival, where the Revolutionaries accompanied Tosh's electrifying performance. The set was recorded for posterity and released in 2000 by the JAD label.

Having worked ceaselessly over the last couple of years, Sly & Robbie had carefully put aside every penny they could. Now they finally had enough to open their own label, Taxi, the name nicked from Dunbar's long-defunct first co-effort. A studio needs a house band and the men built it logically enough around members of the Revolutionaries. The Taxi All Stars (aka the Roots Radics) included guitarist Rad Bryan, percussionist Sticky Thompson, and keyboardists Ansel Collins and Winston Wright. The label was inaugurated with Black Uhuru's "Observe Life," the start of another crucial relationship. Taxi quickly garnered its first chart hit with Gregory Isaacs' classic "Soon Forward." From thereon out, Taxi was an unstoppable force on the Jamaican scene. The Island compilation Present Taxi showcases a dozen of the label's early singles and includes Junior Delgado's masterpiece "Fort Augustus" and the hit "Merry Go Round," the Wailing Souls' "Sweet Sugar Plum" and "Old Broom," alongside crucial cuts from Dennis Brown, Gregory Isaacs, the Tamlins, former Unique Jimmy Riley, DJ General Echo, and more. Notable omissions include the duo's work with Max Romeo and Prince Far I.

Sly & Robbie weren't content to merely produce other artist's work, however, and the pair continued their outside session work. Before the decade was out, the Riddim Twins, as they were now being called, were providing the pulsing rhythms for albums from such legendary vocalists as Bunny Wailer, the Mighty Diamonds, Jacob Miller, and myriad of DJ stars including General Echo, Ranking Dread, and Barrington Levy. And this still wasn't enough for Dunbar, who also released several solo singles and a pair of solo albums, Simple Sly Man and Sly, Wicked and Slick. However, their most crucial work was in conjunction with Black Uhuru, who, throughout this period, had recorded a stream of seminal singles for Taxi -- "Shine Eye Girl" and "Plastic Smile" amongst them -- which would be gathered up for the group's Showcase album. Across the group's powerful albums -- Sinsemilla, Red, and Tear It Up Live -- Dunbar's heavy beats, and Shakespeare's sinuous bass, the heart and soul of the Revolutionaries' sound, lay at the core of Black Uhuru's music, while the duo's throbbing, deeply dread production perfectly twined round the group's own phenomenal vocal performance. This partnership reached an epiphany on 1982's Chill Out, the album that rocketed the Riddim Twins to international renown and took them on a tour opening for the Rolling Stones as part of Black Uhuru's backing band.

Meanwhile, as the new decade had dawned, Sly & Robbie inked a Taxi distribution deal with the Island label. Island head Chris Blackwell then hired the Jamaicans to work with avant-garde singer Grace Jones. The results -- a sparse, funky, dubby, but robotic sound, led by Dunbar's fascination with the new Syndrums -- set fire to dance clubs around the world and impacted across the new wave scene. The pair's fascination with dub was also growing, with their first excursions into the genre appearing on the flip sides of singles released in 1981. The following year's Crucial Reggae Driven By Sly & Robbie compiled an album's worth of instrumentals and deadly dubs onto one convenient disc. This was followed in 1985 by the equally devastating A Dub Experience, another bundle of earth-shattering rhythms. Across the early part of the decade, Sly & Robbie worked with a dizzying array of artists, including the cream of the DJ crowd. Frankie Paul, Sugar Minott, Charlie Chaplin, and Half Pint all released seminal cuts overseen by the duo, while their work on Johnny Osbourne's 1983 Osbourne in Dub is of particular note.

In 1984, the U.K. CSA label brought together this set with Black Sound Uhuru's Love Crisis dub companion, Jammy's in Lion Dub Style, which was also remixed by the duo. Even the re-formed Skatalites came knocking at their door and the end result was The Skatalites With Sly and Robbie and the Taxi Gang. Sounds of Taxi, Vol. 1 arrived in 1984, a label sampler of Taxi singles, B-sides, and dubs; a second and third volume would follow over the next two years. The Heartbeat label would later release the Taxi Fare compilation, an excellent entry into the world of Sly & Robbie, while Sonic Sounds' Many Moods Of focuses the spotlight on the duo's dubs from this period. The pair's close connection to the dancehalls and their ever more experimental electronic sounds, coupled with Dunbar's virtual desertion of his drum kit for Syndrums, foreshadowed the rise of ragga, and in reality, Sly & Robbie's productions provided the blueprint for the eventual rise of ragga and the digital revolution. This was particularly evident on the pair's own instrumentals, credited to either Sly & Robbie or the Taxi Gang and often titled in reference to Taxi itself -- "Unmetered Taxi," "Taxi Connection," "Maxi Taxi," and the witty "Rent a Car." Here the pair show off their genius, perfectly welding together rocksteady tempos to a totally contemporary sound. Dunbar's mechanized beats were so far afield from what others were creating as to be off the map entirely, while Shakespeare's sinuous bass adds a rich organic feel to the sound. Together the two created a style utterly unique, with rhythms taut and menacing enough to rampage through the dancehalls, but still so organic as to hold the roots' crowd in its thrall.

The duo were quick to champion upcoming talent, notably Ini Kamoze, and were there to assist producer Bobby Digital's rise to stardom. Their generosity also helped launch George Phang to fame, for in return for a favor, the Riddim Twins gifted the producer with a clutch of their own rhythms. With them, Phang would create such hits as Barrington Levy's "Money Move," Sugar Minott's "Rydim," Frankie Paul's "Winsome," and many more. Sly & Robbie threw their weight and rhythms behind many more producers during the latter part of the '80s. Gussie Clarke, Phil "Fatis" Burris, Clive Jarrett & Beswick "Bebo" Phillips, and Myrie Lewis & Erroll Marshall all owe much of their success to the duo's deadly rhythms, which helped their releases to flood the dancehalls and the charts. However, the pair continued to garner attention on vocalists. Sly & Robbie were an integral element of Toots Hibbert's Toots in Memphis album and co-produced with Bunny Wailer Marcia Griffith's "Fever" single. But their attention was not focused exclusively on Jamaicans, and over the years, Sly & Robbie have consistently worked with artists far removed from the reggae scene. The duo has employed their talents with such unlikely artists as Joe Cocker and Joan Armatrading, Ian Dury and Bob Dylan, Robert Palmer, the Rolling Stones, and Herbie Hancock.

The breadth of their productions and playing seemingly knows no boundaries. Arguably the best showcase for this diversity can be found on the Hip-O label's compilation Sly & Robbie in Good Company, part of the label's Ultimate Collection series. The album boasts 17 tracks that hit virtually all the pair's poles, from roots to dancehall, DJs to veteran vocalists, and on to their more unusual assignments over the years.

Meanwhile, even as the ragga scene gained steam, Dunbar continued to play live drums, but not for much longer. 1988's The Summit was the last album from the duo to do so. This was just one of a long line of albums of Sly & Robbie's own work that had spilled forth since the beginning of the decade. The duo's debut, Sixties, Seventies + Eighties = Taxi, appeared back in 1981. As its title slyly suggests, the album boasted a surprisingly eclectic batch of covers from the earlier two decades. Sly-Go-Ville and Kings of Reggae followed swiftly on its heels over the next two years. Both were excellent albums, but 1985's Language Barrier was a more acquired taste. Overseen by Bill Laswell, Sly & Robbie's integral rhythms clash unhappily with Laswell's creative productions that offer little sympathy for beats. Better were The Sting and Electro Reggae, which followed Language over 1986 and 1987. The following year, Sly & Robbie joined forces once again with Laswell in another masochistic studio exercise which resulted in the very aptly titled Rhythm Killers. Much more entertaining was Taxi Connection Live in London, which arrived that same year. 1988 brought the aforementioned The Summit, overseen by Fattis Burrell, a game plan for the electronic revolution that was about to shake the entire dancehall scene. The next year's Silent Assassin was equally prescient, a deadly dub-rap hybrid, which featured a guest appearance from hip-hop heroine Queen Latifah.

The new decade opened with DJ Riot, a title that accurately summed up the album's intent. In 1992, Dunbar formed a new production team with Peter Turner and Maureen Sheridan and a second one with Bedrose & Malvo. With the former pair, he would oversee such artists as Junior Reid and Sabre, while the latter grouping would work with the likes of such up-and-coming DJ stars as Spragga Benz, Mad Cobra, and Snagga Puss. In a very different vein, Dunbar would also oversee a clutch of revivalist religious recordings. But even with all this outside activity, Dunbar and Shakespeare's relationship remained solid and extremely active. The pair has produced some of dancehall's leading lights, overseeing hit singles and albums by Shabba Ranks, Chaka Demus & Pliers, Beenie Man, and Luciano, amongst many, many more. 1996's Hail Up the Taxi conveniently bundles up the best of the pair's productions and session work from the first half of the decade. Their own recordings have remained equally strong. Perhaps as a brief respite from the dancehalls, in 1992 the pair released Remember Precious Times, a sublime album of covers of roots and reggae classics. Still under the spell of Laswell, Sly & Robbie joined him yet again for Mysteries of Creation, but for those who have yet to acquire a taste for the producer, the mystery remains why the pair continue recording with him.

A flood of albums appeared during the rest of the decade. The Punishers, Mambo Taxi, Babylon I Rebel, Reggae Dancehall, Friends, and Present Taxi Christmas were all released between 1996 and 1998, as Sly & Robbie took on movie and TV themes, dub, and dancehall, brought their mates into the studio, and celebrated Christmas to boot. In 1999, they entered a strip club videocam in hand for Strip to the Bone which married striptease to devastating dub. Dub was also the point of entry for Massive and Dub Fire. From there it was into jazz, when the pair collaborated with Monty Alexander for the Monty Meets Sly & Robbie album. The Riddim Twins have also continued to record on a regular basis, both as the crucial bottom end for others' work as well as their own music. ~ Jo-Ann Greene, All Music Guide [-] Hide

Wailing Souls
Genre: International
Decades: 7680
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The consummate roots band, the Wailing Souls may never have gained the international reputation of their compatriots, at least not at the height of the genre's popularity, but they did outlive most of them. Their very survival has been their greatest strength, that and their ability to diversify over time. Today they are one of the most popular... [+] Read More

The consummate roots band, the Wailing Souls may never have gained the international reputation of their compatriots, at least not at the height of the genre's popularity, but they did outlive most of them. Their very survival has been their greatest strength, that and their ability to diversify over time. Today they are one of the most popular live acts around and they continue to release provocative and popular albums. A roots band they may well be, but their history actually stretches back long before the birth of that genre, as far back as the heyday of ska. The Wailing Souls' story begins with Winston "Pipe" Matthews. As a youth living in Kingston in the early '60s, Matthews learned to sing at the feet of Joe Higgs. Higgs, although himself barely out of his teens, was already a veteran vocalist with a string of hits to his name, and coached up and coming talent in his tenement yard. His most famous protégés were, of course, the Wailers. Higgs' training stood Matthews in equally good stead and by 1963, the aspiring singer and his vocal group the Schoolboys had come to the attention of Prince Buster. The group cut a handful of singles for the producer over the next year, "Little Boy Blue" and "Dream Lover" included. In 1965, the Schoolboys folded, but Matthews was soon back with a new group, the Renegades. This vocal trio comprised Matthews, Lloyd "Bread" McDonald, and George "Buddy" Haye, both of whom were also alumni of Higgs' vocal classes. Initially, the group hooked up with guitarist Ernest Ranglin appearing on a number of singles with him, before they finally debuted on their own with "Lost Love." It was at this point that the trio came to the attention of Coxsonne Dodd and the Renegades embarked on a fruitful career at Studio One. Over the next three years, the group released a clutch of singles on this label. Their debut for Dodd was "Back Out With It," a fine effort, but it was a later cut, "Fire Coal Man," recorded to the rhythm of the Silverstones' hit "Burning in My Soul," that eventually had the biggest impact. Although a number of the Renegades' singles were local hits, the trio never really excited much attention elsewhere during their lifetime.

In 1968, Haye departed, in his place came two new singers, Oswald Downer and Norman Davis. Such a seismic shift of lineup prompted the group to totally cut ties with the past, and the they changed their moniker to the Wailing Souls. In many ways, though, the quartet merely picked up where the trio had left off and continued recording popular singles -- "Thou Shall Not Steal," "Dungeon," and "Pack Your Things," included. Although only a handful are now recalled by fans from these earliest days, the group would re-record a number in later years under new titles, and these seminal re-cuts are still part of the group's most treasured canon. Amongst these are such classic songs as "Feel the Spirit" (originally released as "Soul and Power") and "Back Biter" ("You Should Have Known Better"). Studio One would eventually release two compilations of recordings from this period, The Wailing Souls and Soul and Power, which together wrap up most of the quartet's best work with Dodd. And while song titles would change in the future, back then the quartet was appearing under enough aliases to fill an FBI sheet. When the group recorded "Gold Digger for Lloyd Daley, the single was credited in the U.K. to Little Roys. Elsewhere, they appeared as Atarra, the Classics, and even Pipe & the Pipers. Apparently their was some concern in Britain that people might confuse the Wailing Souls with the Wailers. The Wailers themselves certainly didn't think so, and in 1970 the quartet moved to the Tuff Gong label. More crucial singles followed, including "Walk Walk Walk" and "Harbour Shark," all backed by the Tuff Gong All Stars of course, aka the Wailers themselves.

The group's career seemed to be on track, but in 1974, the Wailing Souls suddenly underwent a swift series of cataclysmic lineup shifts. Davis and Downer both departed, with former Renegade Hayes and former vocal teacher Higgs taking their place. Higgs' stay was short-lived, however, and he too soon departed to take part in a U.S. tour with Jimmy Cliff. In his stead came founding Black Uhuru member Rudolph "Garth" Dennis. Such dramatic changes in personnel usually heralds the rapid decline of a group, but surprisingly enough, the Wailing Souls were now about to enter their strongest era. The new group joined forces with producer JoJo Hookim at his Channel One studio, and backed by Sly & Robbie's Revolutionaries proceeded to cut classic song after classic song. "Jah Give Us Life," a re-recorded version of "Fire Coal Man," "Back Biter," "Things and Time" (also re-recordings of old songs, but with new titles attached), and "War" featuring DJ Ranking Trevor, all impacted across the Jamaican roots scene. Across the Atlantic, the Ulster punk band Stiff Little Finger were as taken by the music as fans in Jamaica, and recorded their own phenomenal version of "Fire Coal Man, helping further excite interest in the group abroad. In 1984, the British label Empire gathered up many of the group's masterful singles with Hookim on the compilation The Best Of.

By 1977, the Wailing Souls were ready to have a go running their own record label, which they named Massive. It was a prescient moniker and their debut release, the seminal "Bredda Gravalicious," was a smash hit and remains a firm favorite to this day. Their follow-up, "Feel the Spirit," another one of their old Studio One cuts given new life, did equally as well. The success of these two singles prompted Island Records to pick up world rights to the group's debut album, 1979's Wild Suspense. (In reality, their eponymous Studio One album was their first, and was released three years earlier, but this was the group's first album of new material.) The record boasts some of the heaviest roots of the Wailing Souls' career, and along with the two singles, it also features the equally classic "Very Well." Even though Massive had proved just that, the quartet continued recording for other labels. They rejoined Sly & Robbie at their Taxi label for the sublime "Sugar Plum Plum" and "Old Broom," both of which were huge hits. With Sly & Robbie and their Roots Radics in tow, the Wailing Souls returned to Channel One, and cut a stream of exceptional singles for producer Junjo Lawes. The infectious "Firehouse Rock," the exquisite harmonies of "See Baba Joe," and the mighty "Kingdom Rise Kingdom Fall," followed, as the group released a stream of hits across 1980 and into 1981. All three of these singles featured on the Wailing Souls' next album, the magnificent Firehouse Rock. Produced by Lawes, ignited by the Roots Radics, and mixed by Scientist, the set remains a high water mark of the roots age, with the band's tough rhythms perfectly aligned with the singer's own soulful delivery. Their follow-up, 1982's Inchpinchers, is nearly as good, although its dancehall vibes didn't always sit well with the purer roots crowd. In the interim, the group also released Wailing, and cut a number of other notable singles with other producers, including such hits as "Who No Waan Come" and "Rude Boy Say Him Bad."

In 1981, the Wailing Souls were on the road, and embarked on a short tour of California, so enjoying the experience, they spent most of the next three years in the States. However, they continued releasing singles, several of them self-productions, and a number were cut in collaboration with DJs, including "Take We Back," which saw them reunite with Ranking Trevor, and "Take a Taste," with Ringo. During this period, the group also released two albums, 1983's On the Rocks and the following year's Stranded. And for a moment, they were indeed stranded. Garth Dennis had now elected to reunite with his old band Black Uhuru, and Haye refused to leave L.A. Matthews and McDonald were not finished yet, however. They returned to Jamaica, and continued the group as a duo. The now-shrunken Wailing Souls joined up with producer Delroy Wright for 1986's On the Line, an apt title, considering the situation. It was evident that the pair had yet to find their footing, but their follow-up, Kingston 14, found them back on track, abetted by yet another reunion with Sly & Robbie, who provided sublime rhythms. And if there were doubts, they were put to rest with "Full Moon," another smash hit. In 1988, the Wailing Souls recorded a new album, again in conjunction with Sly & Robbie, along with a slew of seminal session men and overseen by Wright. However, the record was not released at the time. Their next full-length, the fabulous Stormy Night, would not appear until the following year, and found the duo now working with King Jammy. Amazingly, Stormy Night was never given a Jamaican release, although it created quite a stir around the rest of the world. Even odder, the recordings didn't spawn a sole hit single.

Understandably, the Wailing Souls were losing patience. They'd wasted a year recording an album that never saw release, and now their new record was unable to even find a Jamaican label willing to put it out. In truth, the hits were drying up, although the group's work remained as strong as ever, the vocals as heartfelt, and harmonies as exquisite as they'd always been. Styles had changed, and at home, interest had flagged. By 1991, Matthews and McDonald had made the momentous decision to quit Jamaica, and returned to the States. And there, the previously unreleased Reggae Ina Firehouse was finally mashing up the dancefloor. It might have arrived three years late, but there was no disguising the record's mastery. Even so, the duo were unhappy at its unexpected and tardy arrival, but they shouldn't have been. The album is filled with phenomenal songs, fabulous roots music, and some of the pair's best vocals. However, the Wailing Souls did have some reason for concern, as they were about to embark on a musical journey that would make their old roots fans mouths drop. Recruiting vocalist Maisha, the trio inked a deal with the Sony label's Chaos subsidiary and began work on a new album. Along for the ride was a club's worth of guest musicians, backing vocalists and even a pair of DJs (including U-Roy). The result, 1992's All Over the World, deservedly earned the group a Grammy nomination, and is a genre buster extraordinaire. Running from deep roots to funk, R&B to country, it was enough to give older rastas a heart attack. But the the Wailing Souls were unrepentant, and continued on their merry way. They followed up with the Live On live set, which did not live up to Sony's expectations, but there was little time for tears, and the group happily made their way for the indie labels. Tension arrived in 1997, with Psychedelic Souls quickly following the next year. The latter again boasts Sly & Robbie's tough rhythms, and finds the group venturing ever deeper into the rock world. The pair stayed on board for 2000's Equality, which returned Wailing Soul to their rootsiest roots, yet is shot through with a modern electronic sound and American stylings. The duo remain defiant, refusing to play the role of elder statesmen; they've remained forward looking, and over time their biting cultural lyrics have not softened an iota. The Wailing Souls continue to tour, and we can expect more intriguing releases guaranteed to mix-up the music and shake the dancefloors. ~ Jo-Ann Greene, All Music Guide [-] Hide

Inner Circle
Genre: International
Decades: 7680
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Inner Circle is, of course, best known for "Bad Boys," a ubiquitous crossover hit thanks to its use as the theme song for the long-running Fox TV reality series Cops. But the band had a lengthy history prior to its international breakthrough, dating all the way back to the late '60s. They hit the big time in Jamaica during the '70s as a... [+] Read More

Inner Circle is, of course, best known for "Bad Boys," a ubiquitous crossover hit thanks to its use as the theme song for the long-running Fox TV reality series Cops. But the band had a lengthy history prior to its international breakthrough, dating all the way back to the late '60s. They hit the big time in Jamaica during the '70s as a danceable yet rootsy Rastafarian reggae outfit, fronted by the charismatic singer Jacob Miller. Miller's tragic death in a car accident in 1980 put the group on hiatus for several years, and when they finally regrouped in the mid-'80s, they began to temper their rootsiness with elements of pop, R&B, and dancehall. Originally recorded in 1987, "Bad Boys" became a worldwide smash in the early '90s, and the group soldiered on into the new millennium amid several personnel changes.

Inner Circle was originally formed by brothers Ian (bass) and Roger Lewis (guitar) in 1968. The group's other charter members were guitarist Steven "Cat" Coore, keyboardist Michael "Ibo" Cooper, and multi-instrumentalist Richard Daley. Initially, they made their living playing in hotel lounges. When the rest of the band split to form Third World in 1973, the Lewis brothers assembled a new lineup that included keyboardists Bernard "Touter" Harvey and Charles Farquharson (the latter of whom didn't stick around for long), and drummer Rasheed McKenzie. Inner Circle recorded a couple of albums for Trojan over 1974-1975, Rock the Boat and Blame It on the Sun, which relied to some degree on smooth American soul covers. They also had a small hit single with "I See You."

Inner Circle's musical outlook changed with the arrival of vocalist Jacob Miller in 1976. Miller, a devout Rastafarian and a successful solo artist in his own right, made the band into a more spiritual, socially conscious outfit, and they quickly signed with Capitol Records. Over the next few years, Miller penned hits like "Tenement Yard," "Forward Jah Jah Children," "Tired Fe Lick Weed in a Bush," and "All Night Till Daylight" (some of which were credited to Miller, but nonetheless featured the whole band). Capitol issued two LPs, 1976's Reggae Thing and 1977's Ready for the World; sometime during this period, the group also recorded a bit with disco stars KC & the Sunshine Band.

At the peak of their early popularity in Jamaica, Inner Circle performed at the legendary One Love Peace Concert in 1978, along with Bob Marley and many others. Heartland Reggae, the film documentary of the concert, helped introduce them to international audiences, and landed them a new deal with Island Records. Their 1979 label debut, Everything Is Great, was a hit in Europe, and the disco-tinged title track made the U.K. Top 20 and the French Top Ten. Several more singles, including "Stop Breaking My Heart," "Mary, Mary," and "Music Machine," helped consolidate their success. Tragically, just as the band was poised for a major international breakthrough, Miller was killed in a car accident on March 23, 1980. Devastated, the rest of the band broke up. Ian Lewis and Harvey moved to Miami and opened a recording studio, and Roger Lewis joined them several years later.

Roger's arrival in Miami sparked a renewal of the old Inner Circle chemistry, and soon the band decided to re-form, recruiting new lead singer Carlton Coffie and drummer Lancelot Hall. They recorded the comeback album Black Roses for Ras in 1986, updating their old roots style with elements of contemporary dance music, R&B, pop, and the emerging dancehall sound. The follow-up, 1987's One Way, was a generally acclaimed effort that followed much the same blueprint, and contained the original recording of "Bad Boys." The group mounted a successful tour in support, but took several years to come up with another album, finally returning in 1991 with Identified.

Meanwhile, the Fox television network chose "Bad Boys" as the opening theme song for its police reality show Cops, which premiered in March 1989. As the program swelled into a hit, "Bad Boys" became a household pop-culture reference. Cops was syndicated throughout the world, including Sweden, where "Bad Boys" was released as a single in 1991 and topped the charts. From there, it became a hit in several other European countries as well. "Bad Boys" was finally issued in the U.S. in 1993, and vaulted into the pop Top Ten. An album of the same name was quickly cobbled together from existing material; most of it was from the group's 1992 party-reggae album Bad to the Bone, which supplied the sexy follow-up single, the Top 20 hit "Sweat (A La La La La Long)." Bad Boys won a Grammy for Best Reggae Album, and its title song eventually sold over seven million copies worldwide.

Inner Circle quickly recorded a follow-up album, the pop-oriented Reggae Dancer, which was released in 1994. Its lead single, "Summer Jammin'," was featured in the Eddie Murphy comedy Beverly Hills Cop III, but the enterprise failed to sustain Inner Circle's momentum as a pop-culture phenomenon. In 1995, "Bad Boys" was again used as a title song, this time for the Will Smith/Martin Lawrence action comedy of the same name. Around that time, however, Coffie was hospitalized with a serious illness, and was forced to take leave from the band. When he recovered, he decided to start a solo career, and was officially replaced by his substitute, singer/toaster Kris Bentley. Bentley made his debut on the 1997 set Da Bomb, which was issued in America one year later in a slightly reconfigured version titled Speak My Language. The band mounted extensive world tours over the next few years, and continued to release new albums, including 2000's Big Tings. ~ Steve Huey, All Music Guide [-] Hide

Shabba Ranks
Genre: International
Decades: 3072
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During his heyday, Shabba Ranks was arguably the most popular dancehall toaster in the world. He was a massive crossover success in the U.S., thanks to an openly commercial hybrid of reggae and hip-hop, and also to prominent duet partners like Maxi Priest, Johnny Gill, and KRS-One. All of this brought him several hit singles and albums on the... [+] Read More

During his heyday, Shabba Ranks was arguably the most popular dancehall toaster in the world. He was a massive crossover success in the U.S., thanks to an openly commercial hybrid of reggae and hip-hop, and also to prominent duet partners like Maxi Priest, Johnny Gill, and KRS-One. All of this brought him several hit singles and albums on the R&B charts in the early '90s, and made him the first dancehall artist to win a Grammy. Ranks' distinctive, booming growl of a voice earned him many imitators, and his sex-obsessed lyrics -- while drawing criticism for their unrelenting "slackness" -- made him one of dancehall's hottest sex symbols. Ranks' early success also helped pave the way for even bigger crossovers by artists like Shaggy and Sean Paul.

Shabba Ranks was born Rexton Rawlston Fernando Gordon on January 17, 1966, in Sturgetown, Jamaica. When he was eight years old, his family moved to the Kingston ghetto of Trenchtown, where Bob Marley had grown up. By age 12, he was fascinated by the sound system DJs who spun records in local clubs, and often chatted on the mic over the backing tracks. His early inspirations included Charlie Chaplin, General Echo, Brigadier Jerry, Yellowman, and especially Josey Wales. He soon tried his hand at performing as a toaster, and spent the early '80s working under Admiral Bailey at the Roots Melody sound system. Paired with a record selector dubbed the Navigator, Ranks initially called himself Co-Pilot. Under that name, he cut his first single, "Heat Under Sufferer's Feet," in 1985. He soon changed his name to Shabba Ranks, and caught the attention of his idol Josey Wales, who took the young toaster under his wing.

Wales introduced Ranks to some of the producers at King Jammy's studio, and Ranks soon began recording there, debuting with the single "Original Fresh." He collaborated with Chaka Demus, and recorded a large quantity of singles, none of which gave him a breakout hit. The 1988 single "Needle Eye Punany" marked the beginning of his notorious sexual explicitness, which he would soon ride to tremendous popularity in Jamaica. More crucial, though, was his move to King Jammy engineer/producer Bobby Digital's new studio and label, Digital B, in 1989. Having known each other for some time, the duo's chemistry was immediate, and Ranks quickly vaulted to stardom that year with a series of hit singles and an electrifying stage show (at one point, Ranks arrived on-stage via helicopter).

From 1989-1991, Ranks recorded some 50 singles, mainly with Bobby Digital but also with producers Gussie Clarke and Steely & Clevie. He scored hit after hit, including the massive "Wicked Inna Bed," "Roots and Culture," "Live Blanket," "Mama Man," and "Peeny Penny," among others. His album Rappin' With the Ladies featured covers of songs by female reggae artists, and gave him another big hit with a new version of J.C. Lodge's smash "Telephone Love"; it was also one of his first successes overseas, proving quite popular in the U.K. Gussie Clarke produced his 1989 LP Holding On, which spawned major hits in "Pirates' Anthem" (a collaboration with Cocoa Tea and Home T), "Twice My Age" (a duet with Krystal), and "Mr. Loverman" (a new version of Deborah Glasgow's "Champion Lover"). He also cut several other tracks with Cocoa Tea and Home T, including "Who She Love," "Stop Spreading Rumours," and "Your Body's Here With Me." A subsequent album, Golden Touch, proved to be another U.K. success.

Ranks' burgeoning popularity led to a major-label deal with Epic in 1991, and it was clear from the start that he aspired to crossover stardom. His Epic debut, As Raw as Ever, featured a high-profile duet with the then-hot Maxi Priest, "Housecall." "Housecall" made the Top Five on the R&B charts, sending As Raw as Ever all the way to number one on the R&B album listings. Another duet, "The Jam" -- this time with rap legend and reggae enthusiast KRS-One -- topped the hip-hop singles chart in 1992. As Raw as Ever was awarded a Grammy for Best Reggae Album, making Ranks the first dancehall artist ever to notch a win. Later in 1992, "Mr. Loverman" was re-released as a single in the States, following its appearance in the film Deep Cover; it went all the way to number two on the R&B charts. Ranks released his follow-up album, X-Tra Naked, the same year, and notched yet another duet hit with the Johnny Gill collaboration "Slow and Sexy," his third R&B Top Fiver. X-Tra Naked also featured other minor hits: "Muscle Grip," "Ting-a-Ling," and a duet with Queen Latifah, "What 'Cha Gonna Do?"; it also won Ranks his second straight Best Reggae Album Grammy. Ranks was so popular that two compilations of his earlier Jamaican hits, Rough & Ready, Vol. 1 and Mr. Maximum, both charted in the U.S. in 1992 as well.

1994 brought Ranks another decent-sized hit in the Addams Family Values soundtrack contribution "Family Affair," a rap/reggae version of the Sly & the Family Stone hit. He completed his third Epic album, A Mi Shabba, in 1995, and it produced several minor hits in "Ram Dancehall," "Let's Get It On," and "Shine Eye Gal." However, it didn't match the phenomenon of its predecessors, and Ranks fell mostly silent afterwards. He did return to Jamaica to record some more material for King Jammy during the late '90s, some of which was released on the hodgepodge album Get Up Stand Up in 1998. However, no new major-label offerings appeared, and Sony issued several compilations around the turn of the millennium. ~ Steve Huey, All Music Guide [-] Hide

Toots & the Maytals
Genre: International
Decades: 7936
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The Maytals were key figures in reggae music. Comprised of leader Frederick "Toots" Hibbert, Nathaniel "Jerry" Mathias and Raleigh Gordon, all natives of Kingston, the Maytals are said to have been the first group to use the word 'reggae' in a song title with their Leslie Kong-produced "Do the Reggay."

Formed in the early '60s when... [+] Read More

The Maytals were key figures in reggae music. Comprised of leader Frederick "Toots" Hibbert, Nathaniel "Jerry" Mathias and Raleigh Gordon, all natives of Kingston, the Maytals are said to have been the first group to use the word 'reggae' in a song title with their Leslie Kong-produced "Do the Reggay."

Formed in the early '60s when ska was hot, the Maytals had a reputation for having strong, well-blended voices and a seldom rivaled passion for their music. Hibbert's soulful style led him to be compared to Otis Redding. They first recorded with producer Clement "Coxsone" Dodd and the resulting album, Hallelujah, offered a blend of gospel-style vocals and soul sung to a horn-driven Jamaican beat. They were popular from the start, but after recording a few sides with Studio One, they left Dodd in favor of Prince Buster. With him, they soon gained a bigger Jamaican following and also became popular in Great Britain. The Maytals began working with Byron Lee in 1966. Hits from this era include "Dog War," "Daddy" and "Broadway Jungle." That year Lee and his Dragonaires backed the Maytals at the premiere Jamaican Festival Song Competition. Their song, "Bam Bam," won the contest and began a rapid ascent to real stardom. Occasionally, the Maytals would record with other producers, who perhaps to keep from having to pay royalties, would put different band names on the labels such as the Vikings, the Royals and the Flames. The Maytals were reaching the height of their popularity towards the end of 1966 when Hibbert was arrested for smoking and possessing ganja and was sent to prison for 18 months. Fortunately the other two Maytals, who were best friends with Hibbert and realized that they could not possibly recreate their unique sound with another front man, waited for him.

When Hibbert was released, the band started working with legendary producer Leslie Kong. This was a time of transition in Jamaican popular music and ska was being replaced by the angry, violent music of Rude Boys, and this in turn was becoming reggae. The Maytals changed accordingly, but still kept that soul and gospel-influenced sound that made them unique. While in prison, Hibbert had honed his songwriting skills. Their first Kong single "54-46 That's My Number," a reference to Hibbert's prison number, recounted his experiences and suggested that he was jailed on a trumped up charge because he was a Rastafarian. It became a huge hit in both Jamaica and England and has since become a rocksteady standard. Other major songs from this time include the scathingly funny "Monkey Man," and "Sweet and Dandy," which provided the Maytals with a second win at the 1969 Festival song Competition. One of their all time great hits, "Pressure Drop," from the soundtrack of the definitive reggae film The Harder They Come. By 1971, they had not only become the biggest act on the island, they were also (thanks to signing with Chris Blackwell's Island Records) international stars. Then Leslie Kong died. They moved on to producer Byron Lee, and though the hits continued, things began to slow down. It was Lee who renamed them Toots & the Maytals. Hibbert and the group broke up in 1981. From there Hibbert began working with producers Sly Dunbar and Robbie Shakespeare. He had international success through the '80s. Hibbert created a new Maytals in the early '90s and continued touring the world with them. A major-label comeback, 2004's True Love, found Hibbert signed to V2. ~ Sandra Brennan, All Music Guide [-] Hide

U-Roy
Genre: International
Decades: 7936
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Known as the Originator, U-Roy wasn't the first DJ, nor even the first to cut a record, but he was the first to shake the nation and he originated a style so distinctly unique that he single-handedly changed his homeland's music scene forever. Born Ewart Beckford in Jones Town, Jamaica, in 1942, he received his famous moniker from a young family... [+] Read More

Known as the Originator, U-Roy wasn't the first DJ, nor even the first to cut a record, but he was the first to shake the nation and he originated a style so distinctly unique that he single-handedly changed his homeland's music scene forever. Born Ewart Beckford in Jones Town, Jamaica, in 1942, he received his famous moniker from a young family member unable to correctly pronounce Ewart and the nickname stuck.

U-Roy's rise to fame was slow, and took almost a decade. He began back in 1961, DJing at the Doctor Dickie's Dynamite sound system. Eventually, he moved onto the Sir Mike the Musical Thunderstorm outfit, and then in 1968 to the Sir George the Atomic sound system. The DJ was then lured away by Coxsone Dodd; however, soon tiring of playing second fiddle to longtime veteran King Stitt, he returned to Sir George. Around this same time, he met up with another royal figure, King Tubby, then working as a disc cutter at Duke Reid's studio. The mechanic was just beginning his musical experiments that eventually led him to develop dub, and at the moment he was giving his proto-dub experimental discs to a handful of his favorite DJs. The following year, King Tubby launched his own Hi-Fi sound system and brought in U-Roy as his top DJ. By then, the DJ had established himself as one of the premier talents of the sound system scene. Producer Keith Hudson was the first to recognize the possibilities and took U-Roy into the studio in late 1969 to cut the song "Dynamic Fashion Way." However, the tape lay in the studio while the producer went off on a trip to the U.S. and the DJ went off to try his luck elsewhere. Lee Perry paired U-Roy with Peter Tosh and recorded "Selassie," a version of Ras Michael & the Sons of Negus' "Ethiopian National Anthem." The single was originally credited to the Reggae Boys and on its subsequent reissue, under the title "(Earth's) Rightful Ruler," it was then credited to Peter Tosh and Hugh Roy, a spelling the DJ would adhere to for the next several years. U-Roy cut one more single with Perry ("O.K. Corral") then moved on to Keith Hudson, for whom he recorded "Dynamic Fashion Way," and Bunny Lee, with whom he cut "King of the Road." He next linked with producer Lloyd Daley for two singles, "Scandal" and "Sound of the Wise," which like their predecessors,created a stir amongst the grassroots sound system crowds, but barely registered beyond them.

John Holt would change all that. One night early in 1970, he attended a sound system party and caught U-Roy DJing. The singer was blown away, not least of all because the chatterer was exhorting the enthusiastic crowd over Holt's own hit "Wear You to the Ball." The next day the singer went around to see Duke Reid and adamantly stated that the producer must record the DJ. Reid was convinced and U-Roy was promptly put into the studio to cut two songs, over classic Treasure Isle singles, of course. The first release, "Wake the Town," did exactly that and an aroused Jamaica swiftly sent the single to the top of the charts. That song was a version of Alton Ellis' "Girl I've Got a Date"; the next, "Rule the Nation," was cut over the Techniques' "Love Is Not a Gamble," and that single was as prophetic as the first. It, too, slammed up the chart, as did its follow-up, "Wear You to the Ball." For a month and a half, all three singles boldly stood astride the top three spots in the Jamaican charts. U-Roy went on to cut another 29 songs with Reid, all versions of Treasure Isle's most beloved singles. The Frontline label's 1970 compilation Version of Wisdom bundled up much of the DJ's classic work for Reid, bringing together two previous albums: Versions Galore, initially released by Trojan in 1971, and Frontline's own 1979 compilation With Words of Wisdom. The British Attack label also sports a slew of this material on 1974's U-Roy, while Trojan's Ace From Out of Space grabs up 30 of them. The definitive collection comes from France's Esoldun label and Super Boss boasts all the classic cuts the DJ recorded for Reid. "Versions galore, you can hear them by the score," U-Roy exclaimed on "Versions Galore," and indeed you could.

Every producer in town was now vying to record DJs, pillaging through their back catalogs for appropriate rhythms. In U-Roy's wake came a flood of young hopefuls, Dennis Alcapone, I- Roy, Big Youth, Scotty, Lizzy, U-Roy Junior, and many, many others. Many of these early progenitors of the DJ scene, U-Roy included, can by found on the Trojan label compilation With a Flick of My Musical Wrist. U-Roy himself would never again place three singles at the top of the chart, but he continued to have smash hits and made his way happily around the studios. He recorded a number of notable songs for producer Alvin Ranglin, including "Way Down South" (a version of Billy Dyce's hit "Take Warning") and "Nana Banana." Working with Glen Brown, he cut "Number One in the World" over the much-versioned "Dirty Harry" rhythm, while also recording intriguing offerings for Niney Holness and Lloyd Daley.

In 1975, U-Roy teamed up once again with Bunny Lee, cutting a number of songs with the producer. In 1983, the Vista Sounds label released remixes of these cuts as DJ Masterpieces, which also boasts tracks by other DJs, U-Roy amongst them, recorded for the producer. Now the reigning hero of the Jamaican DJ scene, U-Roy would come to international attention via a totally unexpected source. The American soul-lite duo Hall & Oates surprisingly enough recorded a cover of the DJ's hit "Soldering" on their eponymous album. This prompted the Virgin label to sign him and, paired with producer Prince Tony Robinson, U-Roy recorded his debut album (Dread Inna Babylon), backed by the Skin, Flesh & Bones Band. The following year's Natty Rebel, again with Robinson at the helm, found the DJ now backed by the rootsy rhythms of Lloyd Parks and Sly Dunbar, and accompanied by a pair of singers.

U-Roy was now reaching the peak of his power. His toasts were utterly relaxed and conversational, yet always in perfect synchronicity with the rhythms. The DJ had now gained a significant following in the U.K., as well, and in August 1976, visited Britain for the first time. He performed at the London Lyceum, backed by the always excellent Revolutionaries, and the 1978 Live EP was drawn from this phenomenal show. Back in Jamaica, U-Roy began recording his new album, Rasta Ambassador, filling the studio with musicians and singers, 15 strong in all. The Gladiators provided particularly sonorous backing vocals, while the band, led by the rhythm team of Sly & Robbie, created a deep roots sound appropriate to the album's title and accentuated by Robinson's deeply dubby production.

Somehow, U-Roy found time in his busy schedule to launch his own sound system, Stur-Gav, that year. He also continued to run his own labels, Del-Ma and Mego-Ann, which the DJ had set up a few years back. 1978 brought a new album, Jah Son of Africa, arguably U- Roy's best. Again, a deeply rootsy outing; with a superb supporting cast (this time the Gladiators were joined by Ken Boothe), the album showcased the DJ at his cultural height. It was to be his final album for Virgin. In 1991, the label released the Natty Rebel -- Extra Version album, which pulled tracks from both Natty Rebel and Jah Son of Africa, and also included the Live EP. A limited edition three-CD box set Three From the Frontline appeared this same year, and bundled together Version of Wisdom, Rasta Ambassador, and Natty Rebel -- Extra Version.

In the runup to the 1980 election, Stur-Gav fell victim to the violence that swept Jamaica and the sound system was destroyed. Undeterred, U-Roy relaunched it the following year and brought in new DJs, including up and coming stars Josey Wales and Charlie Chaplin. U-Roy would collaborate with the former for the entertaining Teacher Meets the Student, whose tracks date from around this period. But perhaps the DJ was taking on too much between his sound system, labels, and live appearances, for his next album, Love Is Not a Gamble showed a sharp decline in standards. U-Roy seemed to recognize this and subsequently his recorded output slowed to a trickle of singles. He did, however, continue to perform live and on-stage, and his power remained undiminished.

In 1982, he appeared at Reggae Sunsplash for the first time and a song from his powerful set can be heard on the Best of Festival -- Day One compilation. In 1983, the DJ was behind the superb King Stur-Gav Hi Fi Lee Unlimited album, a live session recorded at his own sound system that featured a clutch of crucial DJs from Dillinger to the young Beenie Man, his two favorite protégés Charlie Chaplin and Josey Wales, as well as U-Roy himself. The follow-up, King Stur-Gav Sounds Live at Clarendon J.A., amazingly doesn't feature U-Roy at all, except in the capacity of selector. The next year brought the excellent "Hustling" single, cut for producer Gussie Clarke, "Get Ready" recorded for Ossie Thomas, and a return engagement at Reggae Sunsplash that year, with a second appearance in 1985.

Silence then followed for two years; then as if to make up for lost time, in 1987 U-Roy jumped back into recording with a vengeance. He teamed up with Tappa Zukie for the Line Up and Come album, a stunning return to form that cruelly gained little notice. He also released Music Addict, overseen by Prince Jazzbo, that same year. However, halfway through that latter album, the DJ seems to run out of steam. Afterwards, U-Roy once again lapsed into a lengthy silence, at least in the studio; he found his voice for Reggae Sunsplash the next summer, though, and kept it well exercised for another appearance in 1990. The following year found him back in London, on-stage at London's Hammersmith Palais. But during all this time, the DJ continued steering clear of the recording studio. It was U.K. producer Mad Professor who coaxed him back in during 1991 for the True Born African album. Since then, U-Roy has continued recording under the Professor's aegis. Smile Awhile appeared in 1993 and featured a number of guest stars, including Yabby You, Aisha, Sandra Cross, and lovers rock heroine Susan Cadogan. Incidentally, the album's title was inspired by a line from the DJ's old hit "Flashing My Whip" ("smile awhile and give your face a rest"). Also in 1993, the DJ guested on Nolan Irie's album Work So Hard. In 1996, U-Roy joined Cadogan for a remake of her classic hit "Hurt So Good," which the DJ had previously versioned on Smile Awhile. U-Roy also released his own new album that year (Babylon Kingdom Must Fall). Four more years passed before its follow-up hit the shops. Serious Matter found the DJ toasting over an album's worth of classic songs, accompanied by a host of veteran vocalists, Dennis Brown, Gregory Isaacs, and Horace Andy amongst them. ~ Jo-Ann Greene, All Music Guide [-] Hide

Crime Pays
Artist: Willie Colón
Released: 1973

A short yet well-chosen anthology of Willie Colón's early recordings, Crime Pays includes each of his biggest hits -- "Che Che Cole," "Guisando," "El Malo," "Juana Peña," "Jazzy" -- from the late '60s and early '70s. Though the Colón/Lavoe gangster-style cover earns bonus points for style, most fans of Willie Colón will want all of the...

A short yet well-chosen anthology of Willie Colón's early recordings, Crime Pays includes each of his biggest hits -- "Che Che Cole," "Guisando," "El Malo," "Juana Peña," "Jazzy" -- from the late '60s and early '70s. Though the Colón/Lavoe gangster-style cover earns bonus points for style, most fans of Willie Colón will want all of the LPs these tracks were compiled from. ~ John Bush, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Buena Vista Social Club
Artist: Buena Vista Social Club
Released: 1997

This album is named after a members-only club that was opened in Havana in pre-Castro times, a period of unbelievable musical activity in Cuba. While bandleader Desi Arnaz became a huge hit in the States, several equally talented musicians never saw success outside their native country, and have had nothing but their music to sustain them during... [+] Read More

This album is named after a members-only club that was opened in Havana in pre-Castro times, a period of unbelievable musical activity in Cuba. While bandleader Desi Arnaz became a huge hit in the States, several equally talented musicians never saw success outside their native country, and have had nothing but their music to sustain them during the Castro reign. Ry Cooder went to Cuba to record a musical documentary of these performers. Many of the musicians on this album have been playing for more than a half century, and they sing and play with an obvious love for the material. Cooder could have recorded these songs without paying the musicians a cent; one can imagine them jumping up and grabbing for their instruments at the slightest opportunity, just to play. Most of the songs are a real treasure, traversing a lot of ground in Cuba's musical history. There's the opening tune, "Chan Chan," a composition by 89-year-old Compay Segundo, who was a bandleader in the '50s; the cover of the early-'50s tune "De Camino a la Verada," sung by the 72-year-old composer Ibrahim Ferrer, who interrupted his daily walk through Havana just long enough to record; or the amazing piano playing on "Pablo Nuevo" by 77-year-old Rubén González, who has a unique style that blends jazz, mambo, and a certain amount of playfulness. All of these songs were recorded live -- some of them in the musicians' small apartments -- and the sound is incredibly deep and rich, something that would have been lost in digital recording and overdubbing. Cooder brought just the right amount of reverence to this material, and it shows in his production, playing, and detailed liner notes. If you get one album of Cuban music, this should be the one. ~ Steve McMullen, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing Los Huracanes del Norte
Artist: Los Huracanes del Norte
Released: 1996

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Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing The Man from Ipanema
Artist: Antonio Carlos Jobim
Released: 1963

Issued nearly a year after Jobim's death, this three-CD set is ground zero, the place to start if you don't have any Jobim in your collection or for anyone who wants a single package of his multifaceted art. The set encompasses not only Jobim's own sporadic work for Verve from 1963 until his final 1994 Carnegie Hall concert and the two A&M... [+] Read More

Issued nearly a year after Jobim's death, this three-CD set is ground zero, the place to start if you don't have any Jobim in your collection or for anyone who wants a single package of his multifaceted art. The set encompasses not only Jobim's own sporadic work for Verve from 1963 until his final 1994 Carnegie Hall concert and the two A&M albums of 1967 and 1970, but also sessions led by Stan Getz, Joao, and Astrud Gilberto in which Jobim appeared as a sideman. Guitarist Oscar Castro-Neves, who selected the music for this set, follows a unique game plan, devoting disc one to vocal renditions of Jobim's songs, disc two to instrumental versions, and disc three to multiple comparisons of a few Jobim standards by different performers. The selections are often adventurous, and the programming digs deeply into Jobim's PolyGram catalog for such overlooked gems as the bossa waltz "Mojave," the sly "Captain Bacardi," and the self-mocking "Chansong." For casual listening, discs one and two flow beautifully, and even disc three works, for despite the repetition of tunes, the approaches are varied enough to keep one's attention. Jobim collectors probably have almost everything on the set anyway, as there are no unreleased tracks other than a humorous uncredited rehearsal of "Aguas de Marco" tacked onto the end of "Vivo Sonhando." But they are certain to be attracted by the unique packaging -- a double-spiraled fold-out book containing lots of fascinating interviews and essays, and three discs wrapped in paper cutouts environmentally designed to look like fish, flowers, and leaves. The CD era's most imaginative graphics department has done it again. ~ Richard S. Ginell, All Music Guide [-] Hide

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