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6 of 6 people found the following review helpful:
5.0 out of 5 stars
Never as the good as the first time? Not with Alabina!, February 3, 2002
After an unqualified success like their eponymous album, is a second helping worth it? Well, yes! The opening track, "Salma Ya Salama" shows that they haven't lost their gypsy/Arabic fusion style or touch. And if Miami Sound Machine retained or expanded their Cuban stylings instead of making a kamikaze dive towards mainstream pop and emphasizing Gloria Estefan's name, they would have given American pop a much needed shot of international flavor.There is a slight veering towards pop in the ballad "Me Encuentro En Tu Desierto (Sahara)." Ishtar sings some verses in English here. It sounds like something Ofra Haza might have done in Kirya. "Azima Leyla" is one song where Ishtar's vocals come first, and when she sings for an extended period, one can appreciate the vitality of her vocals. "Lolole (Don't Let Me Be Misunderstood)" is a cover of the Santa Esmeralda disco song "Please Don't Let Me Be Misunderstood." It's the other track where Ishtar sings in English. This doesn't get overly pop like its original counterpart--in other words, there's enough Alabina flavoring to prevent it from being a carbon copy of its progenitor. If she ever breaks into the English-language market like Shakira, I'm worried that the Americans, spoonfed with comfortable mainstream sounds, won't accept her. The truth is, Ishtar can sing rings around Mariah, Celine, Britney, and Christina. The real booty shaker here is "Somos Gitanos" complete with horns. This song is like a party in high gear and is alone worth getting this album. Ishtar's absent from this song and it shows that Alabina does not fall into the trap of "It's-all-about-the-lead-singer" Syndrome. Ishtar gets her solo bit in the ballad "Shir Ha'Keshet (The Rainbow Song)", adapted from Concerto D'Aranjuez. It's a cousin of "En Aranjuez Con Tu Amor" on Sarah Brightman's Time To Say Goodbye. Her voice really reminds me of Ofra Haza here. Another of the album's great moments. The "Alabina Megamix" contains excerpts of "Alabina," and "Lolai," and the original version of "Baila Maria." There seems to be no difference in the new version here compared to the original, except for the backing vocals in certain places. Symmetry plays a part in this album. The last two songs are the first two songs (albeit different versions) in reverse order. Personally, I prefer the Arabic version of "Salma Ya Salama" to the Spanish version. With the ballads and only the slightest glance towards pop, Album II succeeds in not being a complete rehash of the first album. It's still worth its weight in spice and stands head and shoulders over any American mainstream slop artists.
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