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Las Caras Lindas - Flor De Toloache

Titel : Las Caras Lindas

Artiest(en) : Flor De Toloache

Genre : Diversen

Medium : CD

Jaar : 2017

Label : Chulo

€ 25,00


First all-female group to win best Ranchero/Mariachi album with their 2017 album "Las Caras Lindas".
1. Long Gone Girl (3:04)
2. Dulces Recuerdos (3:36)
3. Ruiseñor (3:35)
4. Éste Vacío (4:00)
5. Las Caras Lindas (feat. Velcro & Pedrito Martinez) (4:13)
6. Regresa Ya (4:10)
7. No Hay Vuelta Atrás (3:45)
8. Puro Teatro (3:52)
9. Juan Ga: Se Me Olvidó Otra Vez / Costumbres / Me Gustas Mucho (4:59)
10. Beso Asesino (1:13)
11. Huapango Medley: Malaguena Salerosa / El Pastor / La Cigarra (6:54)
“Whatever women do,” observed the feminist pioneer Charlotte Whitton, “they must do twice as well as men to be thought half as good. Luckily, this is not difficult.” No surprise that when Flor de Toloache became the first all-female mariachi band in New York City—and a rarity on the wider mariachi stage—they encountered skeptics. But the group’s first album earned a Grammy nomination and their second, Las Caras Lindas (The Pretty Faces), won the 2017 Grammy for Best Ranchero/Mariachi Album. The women who form the group’s core—Mireya Ramos, Shae Fiol, Julie Acosta and Eunice Aparicio—sing elegant harmonies with abundant exuberance and charm. And though their passion may make singing and songwriting look easy, they literally worked their way up, playing early gigs in the New York subways. Mariachi has a historic protest vein and Las Caras Lindas is no exception: The title track is a hymn to the beauty, music and struggle of Afro-Latinos; “Long Gone Girl” (the only track they sing entirely in English) is a gotta-get-up feminist statement. But the women focus mostly on love or its absence, spicing traditional mariachi with pinches of tango, salsa, cumbia, jazz, rock, country and hip-hop. Plus magic, musical and metaphorical: Toloache is a Mexican moonflower, used in love potions since Aztec times, that also has an intoxicating effect in songs like “Dulces Recuerdos” (Sweet Memories), the ballad of a summer romance and a last dance; “Ruiseñor” (Nightingale), in which a songbird offers counsel and solace to a lonely woman; and “Éste Vacío” (This Emptiness), draining the last drop of yearning from a glass once full of ardor. No doubt a few breakups paved the way to breaking the glass barrier to the stage on which Flor de Toloache now stands tall. —