Customer Reviews

Cantina

5 star:		(16)
4 star:		(4)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

I agree with the other reviewers.... this is one is also my favorite Lila Down's album...quite surprisingly. I am more taken by the proposal of other albums like Tree of Life, with their emphasis on less well known regional music from Oaxaca. Conversely....when I saw the song line-up, I thought...what a joke - these songs & styles have been done over & over again.... the last thing I need is another Ranchera & Norteno CD. But then I listened....was impressed....and bought it.

My favorites are the two cumbias she wrote (Cumbia del Mole & Agua de Rosas), the lyrics are smart, the arrangement is tight, and alive with dark, ominous harmonies.... light years away from the sappy cumbias put out by the mainstream conjuntos.

And then the Jose Alfredo songs.... well I might dare to call hers the definitive versions. I think we all understood that the magical surrealism of Juan Rulfo's body of works and Jose Alfredo's rancheras had a common influence...but at the same time, the sappy Mariachi accompaniments that condemed them (in the commerical sphere) robbed them of their soul. In this album... they are laced with an austere, nostalgic acoustic guitar acommpaniment (like a Ranchera should be interpreted)... much in the vein of Bribiesca & Chavela Vargas...but with the timely inclusion of a short surrealist poem.... overall works to the point that you really think this is the way these pieces of music should have been interpreted all along.

Finally, I am very grateful to her for the inclusion of a cancion cardenche (Yo Ya Me Voy)...a truly rare, almost extinct gem of Mexican musical traditional. I first came across a cancion cardenche in an album by the great folk band Los Folkloristas... and it was a definite deja vu experience...I immediately recognized the influence of this polyphonic, acappella music (think Gospel like) on the melodic construction of songs from the Laguna region & the mining towns in Northern Mexico. My next exposure to it was a CD produced by Mexico's INAH (Instituto Nacional de Arte e Historia)...and had not encountered another version until this album. From my understanding...there are still some old timers that remember hundreds of songs....I am hopeful that they are cataloged, recorded, preserved & refreshed.

Overall...I am quite pleased by Lila's singing on this album... its more natural, less exhibitionist... and less of the trying too hard syndrome which diminished her previous album's "listenability"


Para mi gusto, este es el mejor album de Lila. Empezando por sus dos cumbias con toques oscuros...muy pero muy superior a lo que nos ofrecen los conjuntos conocidos.

Luego en las canciones de Jose Alfredo...logra imponerles un toque del surrealismo magico de la obra de Juan Rulfo, en base a un acompanamiento nostalgico, simple per satisfaciente a la Antonio Bribiesca y Chavela Vargas. El escuchar estas versiones se me occure que haci es como se deberian ser interpretadas las Rancheras.

Finalmente nos regala una cancion cardenche (Yo Ya Me Voy), tradicion casi muerta cuyo origin es de la region de la Laguna... y los pueblos mineros del norte. Estoy muy pero muy agradecido por su esfuerzo para difundir esta impresionante muestra de nuestra tradicion musical.

... I can give five stars.

For me, discovering the music of Lila Downs has been like discovering the Beatles, Elton John or Bob Dylan some twenty years ago. It was an awakening to a whole new world. Her first four studio albums, La Sandunga, Arbo de la Vida, La Linea and Una Sangre have proven exquisite milestones in the history of ambitious latin music; frankly: if she would have done nothing else, her place in latin- and world-music history is already cemented and secured.

Here in her new effort, she deviates from her previous approaches. She leaves the socially critical words largely at home, and also some of the unique lyrical qualities of many of her interpretations are coming short. Instead, it's party time, and she puts her dance shoes on. Always hip and with a mix of sentimental undertones in her voice, and adding some slightly psychedelically distorted e-guitars, she delivers are strange mix of carricature, easy listening and clichee; but it is the ever lingering sonoric charme of her fantastic voice, paired with the irressistible harp, that in my mind save the day (or better, the evening in the cantina). And if you are traditionalist who loves ranchera classics the classical way, you are going to drop your Cohiba: In Tu Recuerdo Y Yo, she hip-hops her way through the macho bar like a Mexican storm pulling out the roots of their own heritage.

Two notable exceptions do exist here, of course: the polyphonic Yo Ya Me voy, and Amarga Navidad; these are in the best tradition of the Lila we know, the one of La Sandunga or Tree of Life.
Especially the incredible quality of Yo Ya Me Voy makes me think: Maybe next time a more demanding a-capella-album?

Looking forward to more in her so far all in all fantastic journey.

Lila's new album is undoubtely one of her best.. She's ironic, sad, exhalarating, all at the same time. It reflects perfectly the way we Mexicans act and think, always moved by deep-rooted feelings. I loved this album. Y sí, como buen mexicano uno se siente identificado con este disco... con la pena, la ansiedad, la angustía, la alegía y el regocijo que son parte del alma mexicana y que nuestra oaxaqueña universal canta como ninguna. Mueve mucho por dentro. Es perfecto. Gracias Lila por este regalo a tu México y a tu gente.

Desde sus inicios, Lila Downs ha integrado en su actualizacion de la musica folk mejicana alguna muestra de estilos mas tradicionales, y en sus discos no han faltado las versiones, aunque siempre con una perspectiva algo ironica, por no decir desmitificadora.
Esto ha cambiado en su quinto trabajo "La Cantina (Entre copa y copa...)", donde la cantante se ha adentrado de forma casi monogrofica en las llamadas rancheras, las baladas que hablan de rupturas amorosas, traiciones, alcohol y nostalgia, y que habitualmente se cantan en las cantinas, entre copa y copa de tequila.
Sin embargo, que nadie se espere un disco ortodoxo. De acuerdo, Lila aborda tremendas y desgarradoras rancheras clasicas compuestas por el maestro Jose Alfredo Jimenez como "Tu Recuerdo Y Yo", "Pa' Todo El A?o", "La Noche De Mi Mal" o "Amarga Navidad", o popularizadas por grandes artistas de la cancion mejicana como Lola Beltran ("La Cama De Piedra", "La Tequilera"), o Pedro Infante ("Entre copa y copa", rebautizada como "Traigo Penas en el Alma"). Pero aunque cuente con el acordeon de Flaco Jimenez y otros instrumentos tradicionales, aunque luzca una voz espectacular y un sentimiento a flor de piel, siempre introduce elementos que sorprenden agradablemente y ofrecen una nueva perspectiva de estilos tan trillados como la ranchera, el corrido o la cumbia. Asi, se entrecruzan programaciones, guitarras electricas estridentes, recitados poeticos, ritmos quebrados, efectos de sonido ambientales, voces manipuladas, metales atronadores y rapeados.
En esta evocacion de canciones tradicionales, Lila no olvida el caracter reivindicativo de sus anteriores trabajos. Asi, "La Cumbia Del Mole" es un tributo a la magia de la cocina mejicana a traves de la receta del mole, "Tacha" es la historia de una chica que deja su pueblo para triunfar en la gran ciudad, "El Relampago" es una celebracion de la fertilidad de la tierra, y "El Centenario" es un narcocorrido en toda regla.
"La Cantina" es, sin duda, el disco que consagra definitivamente a Lila Downs como la gran dama del folk mejicano del futuro.

A departure of sorts from her previous four excellent discs this one nonetheless does not dissapoint. When I read on her website of this release I went down to Tijuas (Tee-ahhh- wannna to many of you) immediately to get a copy. Two weeks later and I still play it constantly. Now for the music, Lila proves again she is a force or should I say coup de foundre because once you hear her latest effort you will be struck as though by a thunderbolt and love it. There is tradition found in these songs but innovation in their arrangements thanks to her querido Paul Cohen, Aniero Tano,Ernesto Anaya, Michael Ramos and of course the fantastic Lila. Take for example the Jose Alfredo Jimenez(four of his compositions are featured) song "Tu Ruecuerdo Y Yo" that mixes traditional and electric guitar sounds with modern electronic loop elements , puntuated by a distinct Lila hip-hop narrative blending with the more tears in your beers style of the original song for a unique interpretation that pleases. The opening track "La Cumbia del Mole" is off the hook with its cumbia beat with electronica mixed in ala Celso Pina for a delicious treat. Only Lila can sing about food and make your mouth water for reasons unknown. The song is so good she performs it twice, once again in English just for good measure. This is the only song sung in English. Her and Paul did a marvelous job bringing to life the ingredients that make up this exquisite ancient dish.Like the many ingredients needed to create mole this CD combines various styles to serve up a tasty offering. Lila has written several of the songs including "El Corrido de Tacha La Teibolera" that sounds traditional but has that modern electronic phasing infusion. You get the norteno sound with a twist. There is the feel of old Mexico(including gritos) throughout this CD, complete with barking dogs, especially on the traditional songs like "La Cama de Pierda" that finds Lila in fine vocal(she utilizes her range) form sounding like some forlorn Adelita or "El Relamago" the often Mariachi recorded song where Lila undoubtedly will be zapataendo on her current tour as she sings her way into your heart. "La Tequilera" has Lila streching out her notes with some cool electronic loops juxtaposed with the traditional norteno sound. She does a marvelous job on the Jose Alfredo Jimenez compostions, including"Pa' Todo El Ano"(she gave a sneak peak listen of this at her Christmas performance in LA) that has Lila performing a bare bones production number that is primarily her voice and guitar with accompanying clapping and whooping adoration, "La Noche de mi Mal" is in a similar vein where the emphasis is Lila's voice with guitar, violins and harp, the bittersweet "Amarga Navidad" closes out the disc with a song that would make Lola Beltran applaud."Arboles de la Barranca" has that full banda sound that will have you swaying from side to side to the wild horns. I really enjoy this disc for several reasons. First I think Lila Downs is a Mexican Goddess with a voice for the ages, who performs incredible shows and besides I love Mexican music. This is the complete package, tradition and the future mixed together for the adoring fans. This is ranchera music for the twenty first century that captivates with it's suttle electronic arrangements while it weaves in barely perceptible electronica beats to tejano music. Lila is always blazing a musical path, this time she has one foot securely in the past as she is stepping forward in her musical quest. Recommended for people who like adventure along the traditional path.

I read about Lila Downs' new CD, La Cantina, in Victor Cruz- Lugo's article entitled, "Sweet Sorrow," published in the June-July 2006 issue of Hispanic Magazine (page 76).

It is an honor and a pleasure to offer these few reflections on Lila Downs' new CD, La Cantina:

1. The CD cover is awesome, a beautiful and colorful work of art illustrating Lila in a pensive and contemplative mid-air pause with her guitarra ready to rock. It strikes me as an example of the rising feminine in our time, awakening the historically-oppressed feminine from its slumber and into an alto canto of unstoppable and celebratory song.

2. Each track is a lively composition of Mexican corridos and sones impregnated with Lila's lovely voice that makes me feel so proud to be mexicano-chicano-hualahuisense and a member of our precious universal human family.

3. I first was introduced to Lila Downs and her musical talent when I enrolled in writer Juan Felipe Herrera's legendary Manikrudo Summer Arts class at Cal State Fresno in 2000. Juan Felipe invited her to our class room and she impressed us all with her down-to-earth talented voice. Later that night we all saw her in concert at the Tower Theatre in Fresno and I've been a fan of her work ever since.

4. This new CD is indeed a delightful experience. I appreciate that she moved into the corrido, son, etc. genres which makes me appreciate her music so much more. It has so much more appeal to me without bordering on the commercial and superficious. It's authentic and retains its articistic musical integrity. I think that this is a hallmark that we can expect from all of Lila's work. She is a true artist. I've always appreciated her darker and earthier songs in her first two CDs, however, this new stride into popular folk corridos is a movement into another aspect of the heart and soul of the mexicano experience.

5. I am very impressed with Lila's voice and how it has matured since the summer of 2000. There seems to be more color and flair in it and definitely mucho corazon. Ahua! Her solos in "Yo ya me voy," have my soul spinning to the outer edges of infinity.

As Victor Cruz-Lugo writes, "Through it all, Downs' powerful alto voice cuts a path into the deepest pits of your heart, tears something out of there and somewhow we as listeners wind up asking her for more of the same."

This is my favorite of Lila's repertoire. It is my opinion that those who purchase this CD will not be disappointed. Enjoy!

I can't recall the reason I originally placed an order for this Lila Downs CD. I had never heard about the artist nor had any knowledge about Mexican language. I presume I read some reviews and just tried it.

But no regrets I can honestly say. At the moment La Cantina is one of my mostly played CDs and it seems I'll never get bored with it - though I still have just a hint what the songs are about. But the FEELINGS are there; sometimes sorrow, sometimes happiness, sometimes something in between.

No use in praising Lila's voice as it has been done in so many reviews before. So I settle to my headline comment: Absolutely fabulous. Now I have already five Lila Downs CDs but I still consider this as the best one. Whatever your taste in music is - this is good.

I first heard Lila Downs' music on NPR. They were playing "I envy the wind." I was immediately entranced by this rich voice. I looked her up and was interested in hearing more. I found this CD, La Cantina, and now I play it more than any other CD I own right now. Lila's voice is like an orchestra. She can change the quality, texture and tone of it depending on the song she's singing. The musicians that accompany Lila's singing make for a beautiful feast for your ears. I don't know a lot of Spanish, but I can understand some of what she sings. But it doesn't matter. Music is a language everyone can understand. You won't regret this purchase.

De todas las obras de Lila, esta queda mi favorita. Los cuentos de amor perdido, cantada en su estilo tan eclectico, marvillosos!! Cuando Lila canta en su idioma natural (aunque ella habla igualmente perfecto el ingles) su musica vuela arriba por el cielo. Este estilo de "cantina" es su mejor. cinco estrellas!!!!

Solo quiero decir que Lila es una Diosa Oaxaquena, una super persona, gran artista, gran mujer, de ellos queremos mucho mas, hay que abrir los ojos a artistas que ademas cantan nos dan un mensaje en cada una de sus canciones