| | Air Mail Music: Ceylon CD
Sri Lanka Air Mail Music: Ceylon Music Air Mail Music: Ceylon Songs | 1. | Nuwara Dalada Maligawa |
| 2. | Dala Maligawa II |
| 3. | Gangodawila Bera Pujama |
| 4. | Gini Pagime Utsewaya |
| 5. | Ambalangoda Adahana |
| 6. | Nagayaksha Natuma |
| 7. | Sinha Natuma |
| 8. | Gouroulouraksha Natuma |
| 9. | Pirit Gayana |
| 10. | Pansil / Trincomalee Shiva Gantare |
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Air Mail Music: Ceylon Review
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Purchase Air Mail Music: Ceylon CD To buy, Click on price to add to cart | Pink Martini Splendor In The Grass CD (2009) Digipak
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Pink Martini follow the around-the-world-in-a-dozen-songs thrills of HEY EUGENE! with SPLENDOR IN THE GRASS, a mellower, simpler set of small pleasures. These are relative terms, however; the group's music is still well-traveled, with China Forbes singing in five languages (English, Spanish, Neapolitan, French, and Italian) instead of the six or so on ...
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Claude Challe's Buddha-Bar, Vol. II compilation has elements of Far Eastern spirituality, African song, European electronica, and Spanish spice. The first album, Buddha-Bar, is very mellow for the most part. Deepak Chopra and Demi Moore, far and away the most recognizable names on the album, do a spoken word ditty on love and self-worth. People who are not fans of new age doctrine will appreciate artists such as Oliver Shanti and Consuelo Luz, both of whom contribute songs that manage to sound musical, spiritual and ethnic at once. The second album varies from hallucinatory to groovy to fairly high-energy. "Tears Inshalla" will appeal to fans of Eastern-influenced trance. Lyrics are of almost no importance on the album. They do exist on most tracks, but they bounce around from English to Portuguese to Arabic. Bits and pieces and snatches of phrases come through here and there -- just enough to make a listener feel in sync with it all. This music is intended to be an ambient ...
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Keali'i Reichel's third album E O Mai is a lovely mixture of contemporary and traditional Hawaiian music. It's a loose concept album about water, particularly in how it relates to love and life, and Keali'i keeps it together by balancing his poetic gifts with soaring music, both modern and ancient. The result is a truly original and moving listening experience. ~ Rodney Batdorf
Keali`i was born and raised on Maui, growing up in Lahaina and spending weekends and summers at his grandmother's house in Pa`ia on the windward side of the island. His passion for the language ...
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But after "Garota," O Samba Pocone begins to slide toward the merely professional. "Sem Terra" goes back to punchy ragga and "Os Exilados" starts strong, but both wind up not leaving much of an impression. "Um Dia Qualquer" fares better with snappy horns and another unexpected rockabilly guitar touch like the one that popped up in "Ze Trinidade." Manu Chao is on three tracks and O Samba Pocone is a good but not outstanding disc. Even at its best, you never really feel like you're dealing with heavyweights with Skank, but the music is well-crafted and you never doubt that it matters ...
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This is part of LuakaBop's World Psychedelic Classics series.
Ignored upon its release in 1974 and celebrated upon its reissue in 2001, Shuggie Otis' fourth and last album Inspiration Information exists out of time -- a record that was of its time, but didn't belong of it; a record that was idiosyncratic but not necessarily visionary. It was psychedelic soul that was released far too late to be part of any zeitgeist and it was buried at the time. Yet no matter what Luaka Bop's grand poobah David Byrne claims on the sticker -- he says Shuggie's "trippy R&B jams are equal to Marvin's and Curtis', but somehow more contemporary sounding...closer to D'Angelo meets DJ Shadow" -- this isn't revolutionary. It can occasionally sound modern, such as on the rolling head trip "XL-30," but only because it's the kind of groove Shadow would sample and build on; the slow, liquid instrumental head trips sound the same way. Perhaps that's why it can seem more contemporary -- contemporary ears are more attuned to these relaxed, warmly trippy soundscapes. Otis crafted all of this essentially alone, playing each instrument himself, and it's quite clearly ...
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