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Mexico. Twenty Best Mariachi & Folk Songs - Trio Azteca, De Norte a Sur - CD
The best-known instrumentation in the inner cities is the Mariachi, whose instrumentation initially consisted only of violins and guitars (bass guitar), but in the 1950s a powerful wind section was added, which has become its trademark today. "Mexico - 20 Best Mariachi & Folk Songs" unites two important Mexican groups, the De Norte a Sur and the Trio Azteca, who playfully interpret some of Mexico's most famous songs such as "La Bamba", "La Bikina", "Besame Mucho" and of course "Cielito Lindo".
Mexico - 20 Best Mariachi & Folk Songs" contains the lyrics and guitar chords of all suggested songs.
In the continuous artistic ferment of the American music scene and in its continuous change from Next Big Thing and replicants of old rocks icons an interesting surprise comes to mind every now and then, but only very rarely do you stand in front of songwriters with real breakthrough chances and very often it's just a momentary flash, like Phil Cody did in the 90s with The Sons of Intemperance Offering.
Not a rookie, Boutette has had a good experience, first with a Detroit Punkrock group, then as a soloist. His three previous albums didn't have much resonance, but when you listen to them, you get the feeling that his talent is gradually emerging, and when you read The Piccolo Heart in this sense, his maturity record is a real leap in quality compared to the past.
Listening to this record you have the feeling to stand in front of a singer-songwriter, a span higher than the youngest Ryan Adams and far away from his repeatability, because this record is absolutely sonic and above all musically very diverse. The album begins with a doppelgänger, first with the glowing dime in hand and then with Won't Go Away's wobbly little symphony that begins in the rhythm of the polarka and then turns into a lashing blue, reminiscent of Bob Dylan's Highway 61 including sirens.
Followed by fine ballads like Iva, Girl In Love, where guitars meet the cello, and the beautiful waltz For Smelt, reminiscent of a little "The Band" and a little "Tom Petty". What's striking, however, is the sound care, and in this accomplice of Boutette was both the excellent Adam Druckman in the production as well as the support of some members of the Great Lakes Myth Society who play on the various tracks and especially in the beautiful First Snow Of November, a song that leads us almost loudly to the experimental Tom Waits.
At the end of the album are first the charming walking me home again and the re-reading why no one to Love? from Stephen Foster's song book, then the curvaceous cover supported by John Comfort's accordion that seals an almost perfect record. We don't feel like using the word masterpiece, but without a doubt The Piccolo Heart is a record that will leave its mark.