not my thing but it may be yours
instrumental and those are so hard to sing along to
listened because someone here mentioned them
I do love the latin rhythms
wondering if Trace might like, with the Cuban connection
I saw these guys on one of the late nights a while ago
fun to watch
1.3 from me and a converted 2.4 from the pros at allmusic
from the album - Diablo Rojo
released Jan 24th, 2012
Bio - from allmusic
Before they became the most visible flamenco duo of the early 2000s, guitarists Rodrigo Sanchez and Gabriela
Quintero bonded over heavy metal while growing up in Mexico City. They combined their talents for a time in the
metal group Tierra Acida, playing around D.F. in the roughest clubs the city had to offer. Though they recorded
some material, Tierra Acida never hit it big, and an album was never released. Instead, Sanchez and Quintero
concentrated on learning more guitar styles, teaching lessons during the day, and playing bossa novas in hotel bars
at night. Bored and frustrated with their chances in the Americas, the two decided to try their luck in Europe
Rodrigo y Gabriela traveled to Dublin, where a friend had offered them a place to stay. The musicians spoke no
English, carried little money, and upon their arrival found that their offer of European hospitality had vanished.
The pair soon turned toward busking on the streets of Dublin, a move that enhanced their reputation and helped land
them several contacts. Among their newfound friends was fellow busker Damien Rice, who soon asked them to accompany
him on tour. The Mexican duo had, by this time, developed a large repertoire of original material in a variety of
styles, and they released their debut record with 2003's Re-Foc. A concert album, Live: Manchester and Dublin,
followed one year later.
Rodrigo y Gabriela became the newest fixture of the world music circuit, known for their nimble-fingered guitar
work and diverse background (few flamenco guitarists could boast a background in metal music). Their third album,
Rodrigo y Gabriela, was released in 2006 and debuted atop the Irish charts, beating out Arctic Monkeys for the
number one spot. They continued to tour, making their way through Japan (as evidenced by their second live album,
Live in Japan) and America, and 11:11 expanded their discography upon its 2009 release. The duo went on a touring
hiatus in September 2010 due to stress injuries to Gabriela's hand. In January of 2011, they collaborated with film
composer Hans Zimmer on the score for Pirates of the Caribbean: On Stranger Tides, which was released in May of
that year, followed by Live in France, a document from the 11:11 tour that like the studio album, mixed Rodrigo y
Gabriela's dazzling nylon-string guitar chops with electric six-strings for a dueling shredfest.
Since their inception, the pair had always envisioned working in Cuba. They recruited pianist and arranger Alex
Wilson to come up with charts for a new set of songs. Wilson and the duo worked out a set of tunes, rhythms, and
charts in three days in Mexico City, then Wilson went on to Cuba to hire a band. From June through September, the
duo recorded with Wilson and C.U.B.A. (Collective Universal Band Association) in Havana, with producer Peter Asher.
A number of special guests joined the proceedings as well, including Anoushka Shankar, flamenco and jazz bass
legend Carlos Benavent, former Testament and White Zombie drummer John Tempesta, Le Trio Joubran, and Los Van Van
drummer Samuel Formell Alfonso. The resulting album, Area 52, was released in January of 2012.
Album Review - from allmusic
From Re-Foc, their very first release in 2002, post-nuevo flamenco guitar duo Rodrigo Sanchez and Gabriela Quintero
thumbed their noses at purist notions of flamenco. Having initially come from heavy metal, they wedded their new
music to metal's pyrotechnics and the various folk styles of their native Mexico, creating a new genre in acoustic
music. That said, Area 52 is unlike anything they have recorded before. The album began as simply an orchestral
overview of tunes from their catalog to issue while they wrote new material, but it became something wholly other.
Along with producer Peter Asher and arranger Alex Wilson (whose charts here are almost too fantastic to believe),
they employed C.U.B.A., a 13-piece Cuban orchestra, and the diverse talents of several guests. Recording mainly in
Havana, the duo, with C.U.B.A., set about completely reinventing RyG's songs. Take opener "Santo Domingo," with Los
Van Van's Samuel Formell in the drum chair. Here, those acoustic guitars are augmented by strings, a whomping funky
electric bassline, a full brass section, saxophone, and flute. They travel through fiery Afro-Cuban montunos and
charging descargas wed seamlessly to their brand of flamenco. "Hanuman" features metal drummer John Tempesta in a
frenetic son layered over flamenco before Santana-esque lead guitars and a full-fledged timba take the lead. Sitar
great Anoushka Shankar helps out on "Ixtapa" by playing an illuminating solo amid the acoustic guitars and
percussion section, before they force her to up the ante and improvise Latin style, touching on guaguanco. She
responds fluidly and imaginatively; eventually, flamenco gets moved all the way over into salsa and Afro-Cuban jazz
à la Machito! "11:11" highlights the gorgeous upright bass playing of guest Carlos Benavent (formerly of Paco de
Lucía's group) and the chanted vocals of Carlota Teresa Noriega in call and response with the band. Sanchez's
acoustic steel-string and electric lap steel guitar solos are delicious, too. The oud playing of Palestinian Le
Trio Joubran on "Master Maqui" stands in contrast to Wilson's big horn charts (which are a dead cross between
Gerald Wilson's and Tito Puente's). The ouds and guitars exchange fours and eights, getting kissed by a flute.
Before things get too sweet, the horns blast in, ushering in a duel between ouds and guitars melding Middle Eastern
and Latin musics. "Tamacun" reprises Tempesta on drums. It commences as a frenetic big-band flamenco with guitars,
drums, and flute up front before things get whompy, and danzon and rumba make entrances and exits. While it would
seem that nothing on Area 52 should work, it all does. What started out as simply an orchestral retrospective has
become an entirely new Rodrigo y Gabriela album, one that showcases an even more startling range of musicianship.
In sum, this album expands the very definition of musical collaboration.
1) Santo Domingo
5) Master Maqui
6) Diablo Rojo
8) Juan Loco