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La Cantina
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Price: $7.94
Price subject to change!
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To view Amazon.com's best price click on the above link. Please note that you are under no obligation to buy. If you decide to add your selection of "La Cantina" to your Amazon shopping cart. You may then return to CD Nature.com to shop for additional New Age Music or continue shopping at Amazon.com.
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Binding: Audio CD
EAN: 0094633424821
Label: Narada
Manufacturer: Narada
Number Of Discs: 1
Publisher: Narada
Release Date: 2006-04-04
Studio: Narada
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Customer reviews of La Cantina
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Customer Rating: 
Summary: GRAN ARTISTA DE MEXICO, OAXACA Y DEL MUNDO
Comment: 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
Customer Rating:
Summary: Encantada
Comment: Not being a huge fan of Mexican music, except those old favorites from the forties and fifties, I have become enchanted with her voice and purposes and her showmanship. The production, by her husband, Paul, was first rate - love those electric drums!
She has exceptional voice control. As a University of Minnesota grad in Music and Anthropology, she learnt plenty in addition to her native talent. I first heard of her from a poster outside a used record store on JFK Street near Harvard Square in Cambridge, Planet Records. She had a gig at Passim, the hole in the cellar on Church Street where Joan Baez once sang.
These songs are nearly hypnotic - you won't be able to take your iTunes program off repeat this album. The one I didn't like was one that might fall in the PC category for her: the group vocal sung after harvest. I wanted to hear her voice, not anyone else's.
There are songs she wrote, traditional songs, and others. Even if you are a Yankee, you'll love this. Fix yourself some tequilla, kick off the shoes, and luxuriate in her sound.
Customer Rating: 
Summary: Hard to get around her voice
Comment: Jack of all trades, master of none, I've never been able to get around Lila Downs' voice. Like Sade on Prozac.
This album has some of my all time favorite songs, specifically Cama De Piedra, which still makes me cry when I hear it. But this version is just annoying.
Bravo to her for tackling some new things though and I do wish her success. It's just that it's hard going for me getting around her voice and interpretations of songs.
For comparison, and to see where I'm coming from, compare the Spanish singer, Maria Dolores Pradera's interpretation of Pa' Todo El Ano to Downs'. Or Amalia Mendoza's interpretation of Amarga Navidad.
Customer Rating:
Summary: too clever, I really mean it
Comment: While there is no shortage of talent, her style and the overall production is a little too tongue in cheek for me. I wish she had performed these songs with less affectation. More heart and less concept would have made this a more lasting album and a greater achievement. She's a gifted artist, but she needs to trust the music more and not try to trick it out like this. The result sounds like parody even if her intentions towards the music were more honorable than that.
Customer Rating:
Summary: Lila Down's la cantina
Comment: I love Lila Down, but not being mexican, this is not my type of music. My mexican friends of certain age (not very young) give it 5 stars.
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Editorial Reviews:
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As a follow-up to her 2005 Latin Grammy win, Mexican-American diva Lila Downs has chosen to release a loving tribute to canciones rancheras, the heartfelt ballads ubiquitous in cantinas throughout Mexico. With their merry accordion riffs and perky snare-led rhythms, the tunes can be reminiscent of Cajun music or Colombian cumbias, but even the cheeriest numbers harbor fate-haunted undertones. The singer’s darkly sweet, resonant voice interprets each the fifteen tracks to a fare-thee-well. Her fiery South-of-the-border exhibitionism and touches of dry humor are mirrored by assorted comedic whiz-bang sounds that surface amid the mostly acoustic mix. Third generation accordionist Flaco Jimenez, the doyen of Tex-Mex conjunto (a working class style descended from an older but still extant groove known as norteño,) weaves in and out among bass, harps, mariachi-like fiddles and assorted guitars. Peppered with antique-sounding bytes, dramatic spoken poems and even an in-your-face rap (during "Tu Recuerdo Y Yo", track four), the album plays like a slightly surreal movie that is no less affecting for being nearly untranslatable. --Christina Roden
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