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Ry Cooder & Manuel Galban - Mambo Sinuendo
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Artist...............: Ry Cooder & Manuel Galban
Album................: Mambo Sinuendo
Genre................: World Music
Source...............: CD
Year.................: 2003
Ripper...............: EAC (Secure mode) / LAME 3.92 & Asus CD-S520
Codec................: Free Lossless Audio Codec (FLAC)
Version..............: reference libFLAC 1.2.1 20070917
Quality..............: Lossless, (avg. compression: 56 %)
Channels.............: Stereo / 44100 HZ / 16 Bit
Tags.................: VorbisComment
Information..........:
Ripped by............: Somebody on 25/03/2009
Posted by............: Somebody on 25/03/2009
News Server..........: news.astraweb.com
News Group(s)........: alt.binaries.sounds.mp3.metal.full.albums
Included.............: NFO, M3U, LOG, CUE,TAU ANALYZER..
Covers...............: Front Back CD
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Tracklisting
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1. (00:05:00) Ry Cooder & Manuel Galban - Drume Negrita
2. (00:02:54) Ry Cooder & Manuel Galban - Monte Adentro
3. (00:04:42) Ry Cooder & Manuel Galban - Los Twangueros
4. (00:03:29) Ry Cooder & Manuel Galban - Patricia
5. (00:03:52) Ry Cooder & Manuel Galban - Caballo Viejo
6. (00:02:32) Ry Cooder & Manuel Galban - Mambo Sinuendo
7. (00:04:40) Ry Cooder & Manuel Galban - Bodas De Oro
8. (00:04:27) Ry Cooder & Manuel Galban - Echale Salsita
9. (00:04:13) Ry Cooder & Manuel Galban - La Luna En Tu Mirada
10. (00:05:50) Ry Cooder & Manuel Galban - Secret Love
11. (00:04:32) Ry Cooder & Manuel Galban - Bolero Sonambulo
12. (00:04:19) Ry Cooder & Manuel Galban - Maria La O
Playing Time.........: 00:50:30
Total Size...........: 280.43 MB
NFO generated on.....: 25/03/2009 14:55:12
:: Generated by Music NFO Builder v1.20 - www.nfobuilder.com ::
Biography from Allmusic.com
Whether serving as a session musician, solo artist, or soundtrack composer, Ry Cooder's chameleon-like fretted instrument virtuosity, songwriting, and choices of material encompass an incredibly eclectic range of North American musical styles, including rock & roll, blues, reggae, Tex-Mex, Hawaiian, Dixieland jazz, country, folk, R&B, gospel, and vaudeville. The 16-year-old Cooder began his career in 1963 in a blues band with Jackie DeShannon and then formed the short-lived Rising Sons in 1965 with Taj Mahal and Spirit drummer Ed Cassidy. Cooder met producer Terry Melcher through the Rising Sons and was invited to perform at several sessions with Paul Revere & the Raiders. During his subsequent career as a session musician, Cooder's trademark slide guitar work graced the recordings of such artists as Captain Beefheart (Safe as Milk), Randy Newman, Little Feat, Van Dyke Parks, the Rolling Stones (Let It Bleed, Sticky Fingers), Taj Mahal, and Gordon Lightfoot. He also appeared on the soundtracks of Candy and Performance.
Cooder made his debut as a solo artist in 1970 with a self-titled album featuring songs by Leadbelly, Blind Willie Johnson, Sleepy John Estes, and Woody Guthrie. The follow-up, Into the Purple Valley, introduced longtime cohorts Jim Keltner on drums and Jim Dickinson on bass, and it and Boomer's Story largely repeated and refined the syncopated style and mood of the first. In 1974, Cooder produced what is generally regarded as his best album, Paradise and Lunch, and its follow-up, Chicken Skin Music, showcased a potent blend of Tex-Mex, Hawaiian, gospel, and soul music, and featured contributions from Flaco Jimenez and Gabby Pahinui. In 1979, Bop Till You Drop was the first major-label album to be recorded digitally. In the early '80s, Cooder began to augment his solo output with soundtrack work on such films as Blue Collar, The Long Riders, and The Border; he has gone on to compose music for Southern Comfort, Goin' South, Paris, Texas, Streets of Fire, Alamo Bay, Blue City, Crossroads, Cocktail, Johnny Handsome, Steel Magnolias, and Geronimo. Music by Ry Cooder (1995) compiled two discs' worth of highlights from Cooder's film work.
In 1992, Cooder joined Keltner, John Hiatt, and renowned British tunesmith Nick Lowe, all of whom had played on Hiatt's Bring the Family, to form Little Village, which toured and recorded one album. Cooder next turned his attention to world music, recording the album A Meeting by the River with Indian musician V.M. Bhatt. Cooder's next project, a duet album with renowned African guitarist Ali Farka Touré titled Talking Timbuktu, won the 1994 Grammy for Best World Music Recording.
His next world crossover would become one of the most popular musical rediscoveries of the 20th century. In 1997 Cooder traveled to Cuba to produce and play with a group of son musicians who had little exposure outside of their homeland. The resulting album, Buena Vista Social Club, was a platinum-selling international success that made stars of Compay Segundo, Ibrahim Ferrer, and Rubén González and earned Cooder another Grammy. He continued to work on projects with his Buena Vista bandmates, including a collaboration with Manuel Galbán in 2003 titled Mambo Sinuendo. His other work in the 2000s included sessions with James Taylor, Aaron Neville, Warren Zevon, and Spanish diva Luz Casal. In 2005 Cooder released Chavez Ravine, his first solo album since 1987's Get Rhythm. The intriguing My Name Is Buddy followed in 2007.
Review From Allmusic.com
Mambo Sinuendo is a collaboration between Ry Cooder and Buena Vista alum (and formerly of many other groups as well) Manuel Galbán. The album attempts to catch an old style popularized in Cuba by Galbán, and was, surprisingly, never followed up on by anybody after Galbán. It's a guitar-based romp closely based in the pop/jazz crossovers of the 1950s-1960s (Henry Mancini, Nelson Riddle, etc). There's a touch of exoticism here and there, and a larger touch of a relatively Hawaiian feel throughout the whole via the guitar techniques employed by the pair. It's all somewhere in a form between lounge, mambo, and Esquivel's old space-age-bachelor-pad music. In rare instances, there's even a little bit of a house drum loop added in by the percussionists. Aside from the stray spacey chorus in the title track, it's an entirely instrumental affair, which suits the musicians quite well, giving them a chance to show off their full virtuosity along the way. The musicality these guitarists hold, and the interplay between them, is really the treat of the album. For a nice look at the musical genre that never was, but probably should have been, this makes a good show. Newcomers to Cooder should perhaps dig into some older releases to get a feel before coming to this album, but all others should embrace it quickly.
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