World Dance Music

This is one of those albums that you only like a track or two at first, but once you give it a couple run-throughs, it is very pleasant to the ear. I really have been enjoying most of the tracks. It is very danceable - taxsim, veil, group, solo - most of the songs are very useable.

This is an utterly enchanting release, which merges the voices & musical instruments of Bachir Attar and the Master Musicians of Jajouka with the electonica vision of Talvin Singh.

Singh utilizes a vast landscape of clubland beats, but the selections never stray from the warmth and rhythms of the Master Musicians.

While the focus is on the folkloric history passed down through generations, the production points to the future through intelligent production and a presence of mind to truly let the music do the talking.

This is one of those albums that you only like a track or two at first, but once you give it a couple run-throughs, it is very pleasant to the ear. I really have been enjoying most of the tracks. It is very danceable - taxsim, veil, group, solo - most of the songs are very useable.

Both T.Singh and B. Attar are too timid on this cd. They tiptoe along trying not to "step on" the ethnic vitality of the Jajouka Musicians. While there are moments of brillance the cd feels unfinished at best, psychotic at worst. Neither the cuts or cd (as a whole) have any kind of flow. Either take the traditional music to a modern level or just leave it all traditional! They should take a hint from the fellow who remixed the wonderful bonus track..."the magic of peace"...

This disc offers up a palate of unique sounds concocted by the Master Musicians of the Jajouka, a group of monks from the mountains of Morocco. It is produced by Talvin Singh. He was born in England but matured as a musician in a classical tabla academy in India. Later he would make dance music that fused what he had learned through his experiences with Indian music with contemporary dance music. It makes sense that the Master Musicians of the Jajouka would choose him to produce an album for them. Bachir Attar states in the cd insert that the sound of the album was from a new generation of musicians of the Jajouka. This contrasts with the prior work by the Master Musicians that had been with classic rock stars. Rock and Roll dinosaurs Mick Jagger and Keith Richards both get thank you's in the cd insert. Talvin Singh's earlier work under the Future Sound of India moniker was mostly drum-and-bass music with his signature speedy tabla play. Later Talvin Singh would play tabla on albums by The Future Sound of London, Bjork, and others. He has recently remixed Madonna's "Nothing Really Matters" and collaborated with the material girl on "Cyberragga" the b-side to her single "Music". It contrasts with the previous work of Talvin Singh in its approach. There is much more organic instrumentation of indigeonous instruments. About half of the tracks on this disc are recordings from the jam sessions with Master Musicians and Bachir Attar with some input on the tabla from Talvin Singh. These tracks succeed in acheiving an authentic third world timbre, but little else. Many ethnic or indideonous instruments from the bendir to the conch shell are present here. Each is more or less comprised of a repeated horn, vocal, or other instrument melody and complicated percussion work. This is shown on the ten minute track "The Truth Forever" and on "The Blessing for the World from God Only". The other tracks have Talvin Singh adding a synthetic studio touch to the organic music of the monks. Talvin Singh adds synthesizers, vocoders, and programmed drums into a potent mix. " You Can Find the Feeling" and "The Magic of Peace" fit into this mold. These tracks are easier for me to listen to and nearly resemble Talvin's earlier work. This work, however, does not stand up to Talvin Singh's earlier albums "Anokha: Soundz of the Asian Underground" or "OK", which had more vocals and faster beats. This album seems content to settle for the type of world music that can be heard at a local farmers market. In conclusion I would suggest this album for older people who want some eclectic music to play in the backgound of an office.

Before the internet, when people bought music at record stores, I bought this CD because the store guaranteed I'd like it or I could return it and get my money back. The store got to keep my money because I kept the CD and never thought once of returning it once I listened to it. Decades later I still love playing it and it has become one of my all time favorite CDs.

A Great Album at a time when hair bands and heavy metal were the rage. Something fresh and different and inventive. Hard to believe this album is 20 years old. It came out at a time when Pepper had it's 20th anniversary. It hold's up as well as anything.

Is this album is at the mercy of the seven deadly reviews? I hope not - it's one of my favorites... You might fault it for its many shameless 60's rock references, and its preach-it-brother tone might not be your cup of tea, but the songs are alternately clever and poignant, and evokes a post-punk angry-young-man-grows-up-and-smells-the-flowers vibe that this reviewer finds irresistable.

I always loved this album, since it came out way back when CD's were just beginning to replace the beloved vinyl LP. The album, happily, has held up very well. My favorites are the excellent "Ship of Fools", still applicable today. The haunting "All Come True". A pretty good remake of Dylan's "All I Really Want To Do". And the superb final track, a scathing piece of introspection "It's All Mine". Karl Wallinger was/is a good lyricist, in same vein as Dylan/U2/Waterboys. Musically he was fairly experimental on this, going from the straight ahead rock of "Ship Of Fools" to other tracks in a more Prince like musical feel. Highly enjoyable.

This was World Party's debut, and featured their almost-hit "Ship Of Fools," which deserved to be a bigger deal, and I believe is the band's only charting single in the US. No matter... there are some other great songs on this rock tinged with new wave album, including World Party, Private Revolution and The Little Man Within. Karl Wallinger left The Waterboys to do his own thing, World Party, and this first release certainly set the bar high. Of course, longtime fans know that World Party completely delivered with their next album, Goodbye Jumbo, which is a true classic rock record that anyone calling him/herself an enthusiast should have.

I gotta say this album holds a special place in my heart. I know that might sound corny but it's true. I got into Falco's music after seeing Rock Me Amadeus on VH1's Pop Up Video. That song caught my attention right away and I wondered who the hell is this guy. I've got to hear more of his music. It took me awhile to find/buy this cd. I have the German version of Falco 3 (the version with his signature on the front, red cover).

Let me breakdown the tracklisting for ya. I'll give commentary for tracks I really enjoy.

1. Rock Me Amadeus--5 stars. This song is so amazing and so catchy. It will definitely stay stuck in your head. Hell, I'd label this song as the best song that came out of the 80s. It is seriously that good.
2. America-3.5 stars
3. Tango The Night--4 stars
4. Munich Girls--3.5 stars
5. Jeanny--5 stars--I'm surprised this song didn't catch fire over here in the states. I was pretty young in 1986 so I honestly didn't know who Falco was/didn't know what people were saying about Falco during his bit of popularity here in the US. I'd wager a guess and say people thought Falco was a bit of a campy artist. Amadeus (the movie) was popular at the time and people enjoyed Rock Me Amadeus because of that fact. Lightning will never strike for this guy twice, ya know? It's sorta disappointing if that was the thought going on at the time. I'm not saying Falco didn't have campy videos or campy scenes in his videos. I'm just saying that it's songs like Jeanny that makes me think a lot of people just didn't give the guy enough credit.
6. Vienna Calling --5 stars--Another incredibly catchy song
7. Manner Des Westens-Any Kind Of Land --5 stars--Another damn good song that's incredibly catchy
8. Nothing Sweeter Than Arabia--5 stars--lol, same thing. It's a catchy song imo.
9. Macho Macho-5 stars--This is a rather light song. I did some prejudging when I read the title Macho Macho. It sounded like it'd be a stupid song. I listened to it and I immediately enjoyed it.
10. It's All Over Now Baby Blue --2 stars--I imagine this song is a touchy point among Falco fans. Some people probably think this is the best song he ever recorded. I have to confess and say I think it's a weak song. I'd rather have Urban Tropical on the cd instead of this song.

I am sorry but I cannot get enough of Falco. I will get every single recording that remains out there. Yeah, I am not discriminating. Since he is no longer here I want all I can get. Even the bad stuff. This is really great!!!!

Falco 3 Falco you are wunderbar! I bought this CD in Germany when it first released after having seen the videos for Rock Me Amadeus and Jeanny. This is my favorite album of Falco's and I think this is his best although I love all of his music. If someone is looking for the extended version of RMA it is available elsewhere and is great, but I also enjoy this short version. If you can only have one Falco CD then this one is the one. Rest in Peace Hans!

Falco 3 is a classic 80's album, because it incorporates everything you associate with the era - the rock, synth, electic drum with the trademark Falco wacky, but so precise lyrical delivery.

The tracklist ranges from classics to cheesy rock/pop, in particular the tracks 'Munich Girls' 'Manner Des Westerns' and 'Macho Macho' may fall into the latter category, but they are addictive tracks that keep you singing and bopping along - in particular behind the wheel!

Falco 3 is the soundtrack of the 80's generation,it's production is slick, and for these reasons I think it's his best album.

Even though Falco's "3" was the absolute definitive height of his career (commercially speaking). This by no means is his best release. Bloated and pretentious, Falco's singing gets lost in endless techno-poly rhythms and synth overlays. Thus boring the listener with extreme dance oriented schlock in it's purest disco-tronic 80's form. "Rock Me Amadeus" was a three and a half minute video and radio ditty. Here it's presented in pompous "Solieri" mode, clocking in at some eight and a half minutes. Making the listener long for the vinyl 45 version. "Vienna Calling", another three and a half minute radio and video gem is also given the same treatment (the "Metternich Arrival" mix). Rendering the listener with some very mis-leading results. Meaning; you're not really sure the extensions were all that enticing, let alone necessary. This outing is worth the price of admission for the snot kicking ("get down on your knees and pray") "Macho Macho" alone. "Munich Girls" is also a highlight of this 1985 release.

However, to avoid the monotony of it all...his 1999 "Greatest Hits" (Budda Records) package is perhaps a better value for your money and also contains the overrated (yet under-appreciated video translation) "Jeanny" and the radio edits of Rock Me Amadeus and Vienna Calling.

(note; this review is for the original 1985 A&M "U.S." CD release.)

olofpalme63

Abe Schwartz was an American klezmer pioneer who discovered such talents as Dave Tarras and Naftule Brandwein as well as inspiring the contemporary klezmer revival bands. Don't miss this collection of his original recordings.

Listening to the 25 old but timeless cuts on this set of remastered Yiddish greats provides many layers of enjoyment. In hearing these long-forgotten tunes, one enjoys clarinet and violin strains influenced by ancient melodies and traditions. And some will recognize varied renditions of old favorites. The 6th cut, for example, Dovid'l Bazetzt die Kalleh, is engrained into my memory from Jewish Music, a Benedict Silberman recording, circa 1955, of Yiddish orchestrations.

The music is all decidedly Eastern European. The Roumanian Doina, for example, played by Abe Schwartz (violin) and his daughter, strongly resembles the brilliant Rom music generated by the same region.

No wonder. Born in Bucharest, Romania, Abe Schwartz (1881-1963) emigrated to the U.S. with his parents in 1899 and became the most influential composer, fiddler and bandleader to shape and define modern U.S. klezmer groups. He arrived in the musical establishment via an acquaintance from small jobs with David Nodiff, a part-time composer and so-called A&R (for artist and repertoire) man for Columbia Records, who helped bring klezmer and other ethnic musicians to record companies. Nodiff hired Schwartz in 1917 to find new Jewish talent and head up instrumental recording sessions.

This recording provides some of the time and style progression of Yiddish American music from 1917, when Schwartz recorded Russian Scissors for Columbia with the Oriental Orchestra. In 1927, he recorded the same tune again as Russishe Shehr, in a brassier rendition played by his own orchestra. Still a later 1935 version can be heard in Russian Sher National Dance, the 22nd cut, recorded with the Orkestr Novinka. (And that is the most recent recording here.) The musical and stylistic progressions from 1917 and 1918 through 1935 are admirably explained in an accompanying 8-page pamphlet.

This is not the jazzy stuff many will remember from the 1940s and 1950s. It came before the Barry Sisters, before Naftule Brandwein and Dave Tarras. Abe Schwartz was their mentor.

What you get here is a time warp, filled with early 20th century Jewish musical genius. Alyssa A. Lappen

Abe Schwartz and his orchestra developed and defined klezmer music in America from the mid-1920s up until the 1940s and early '50s. If the beginning sounds of American roots klezmer music is of interest, this is the CD you want. I find that half-way through, my mind wanders. It sounds too schmaltzy for me. I love Central European and Balkan style music ... this CD has diluted versions of this styling. This CD contains Central/East European "cross over" music that is becoming Americanized. In reality it is not quite either, besides the violin, there is the requiste clarinet, other instruments are saxaphone, tuba, piccolo, alto sax, bass sax, drums, and other percussions. The music occasionally sounds like a Balkan Brass band ... fortunately the longing and nostalgia of the klezmer sound, the Jewish roots are evident in all the tracks. The 'sher', 'doina', and 'hora' are types of dance music played by this famous composer, bandleader, and fiddler. My favorite is "Escorting the Parents of the Bride and Groom Home" ("Fihren Di Mechutonim Aheim-Tanz') which features Naftule Brandwein on the clarinet. His improvisations and glissandos are brilliant. The famous klezmer clarinetist, Dave Tarras, is also featured on many of these recordings. "Hasidic Melodies" ("Ch'sidishe Nigunim") is one of my favorite examples of his playing. His command of the clarinet and the creative musical phrasing is phenomenal. "The Greenhorn Girl Cousin" ("Die Green Couisine") is famous for the music, lyrics, and message which brought to the public's attention the bad working conditions in the sweatshops, the first job of immigrants arriving in the USA. It is a catchy tune with Abe Schwartz featured on the violin and Abraham Moskowitz singing the vocals. Spin-offs of this song were written by many including one by Benny Goodman. Overall, if discovering and investigating early klezmer roots music is your goal, this CD will meet your criteria with highest expectations. Otherwise, give me "The Klezmatics", "The Klezmer Conservatory Band" or any modern klezmer group which expresses the music in a more explosive and exciting manner. For me, the modern sound is much more appealing than the early roots which is on this CD. Erika Borsos (erikab93)

If you've ever heard new groups like the Yiddish Cup Klezmer Band and The Klezmatics and marveled at how they got all those great old tunes, look no further. Abe Schwartz, the Klezmer King is now available on CD. Before this, 78 RPM records these were remastered from was the only place you could hear him.

The Klezmer King album is old, both in sound and style. But keep in mind that clarinet klezmer is more of an American thing. This music is a generation or two removed from the original originals. Songs called Russian Sher and Roumanian Doina indicate that, just like today, wedding musicians from the old country were jamming the hits of the day as well as the "Jewish" stuff.

But it was guys like Schwartz, Dave Tarras and the Musiker Brothers, whom the new wave learned from. But unlike the younger versions, these melodies don't seem to have jazz-like improvisation. They are straight ahead rollickers, heavy on catchy rhythm and melody. There are a total of twenty-five tracks on the album and most are short and fast.

The instruments employed are the violin, played by Schwartz, the clarinet and horns. The beat is so danceable that you forget there's no percussion. That's traditional, because back in the old country, if the klezmorim had any percussion at all it was just a bass drum.

For you Yiddish speakers, The Klezmer King is not all instrumental. There are tracks that start with lively shouts as well as straight singing pieces like Mameniu Liubeniu or the satirical Hurra Far Unzerheld Levine.

Then there's Die Bolbriker Chasseneh, which has Schwartz introducing a bride and groom in between slow music. He raises his voice, half speaking and half singing in rapid-fire Yiddish. Then he gasps out that the couple is now officially married and the band breaks into fast, bouncy jamming. Close your eyes and you can imagine you're one of the guests. That goes for most of the tunes here.

If you didn't know the difference between a bulgar and freilach and nigun before, you better start learning. Abe Schwartz taught long of young folks about what it takes to be a king of klezmer. Companion CDs of Dave Tarras and the Musiker Brothers are available from Legacy Recordings.

I came to Klezmer music via Izaak Perlmann's "In the Fiddler's House," which is one of my all time favorite CDs. I'm just learning about the genre, via other Amazon reviewers, so have just recently arrived at this and other "Klezmer roots" CDs (Dave Tarras, as another reviewer mentions, is also excellent). It's just exceedingly harmonious, well orchestrated, tightly knit music, transported from the old world to the new. The tradition lives on, and an increasing number of us goyim are coming to appreciate it. Sound quality, these can't compete with modern recordings like those of the Klezmer Conservatory Band, or the Klezmatics, but it will definitely give you an idea of where they learned from. Mazaltov!!

BK

This CD is an infectious, rhythmic, sometimes soaring collection of songs melding more traditional Turkish music and contemporary sensibilities. With only one exception, the songs absolutely draw you in and make a fan of you. My first experience with Tarkan. I hope his other albums can live up to this first impression.

I know that this CD was released almost a decade ago but I am still not tired of listening to the "Turkish Prince," as many people tend to call him. Tarkan has been singing for over 17 years which is rare for his category of music. He is also formally trained and you can hear it on this album. He has versatility and style. I was impressed with his attempt to fuse traditional Turkish elements with a modern appeal. There are also two plainly traditional Turkish songs on this CD. If you want them you must buy this CD from the AMAZON vender in France or Germany because the U.S. Amazon does not offer all of the songs that originally came out on this album. This is mainly due to the fact that there are more Turkish people in Europe than in the U.S.A. I would love to hear Tarkan sing these songs in Arabic!

Tarkan has taken his traditional music and has mixed it with a new sound. If you like Turkish music and dance music you will love the combination that this cd has to offer. Tarkan has a beautiful voice.

There are three songs that I like out of the whole CD. I don't understand Turkish, so the melody sounds a bit more like Indian. The CD was worth what I paid for: $6 plus $5 S&H.

I was totally turned off by the preview of the first song "Simarik" which is an absolute ripp-off of Australian Holly Valance's first smash hit "Kiss Kiss". All that's changed is the language and the addition of some Middle-Eastern instruments. Beat pattern, speed, melody, style are all essentially still the same. And... Not a credit or mention anywhere!

Makes me seriously wonder about a few of these other pieces that sound familiar...

This entire series is really impressive to me. I mean you take some of the most awesome artists and fuse them into this collection of amazing tracks and you get THE Buddha Lounge series. "Dancing for a Vision" is brilliant! Every one of these that I get I wonder if it's going to stand up to the last and then, lo and behold it does beyond what I had hoped! I'm a happy listener.

This album is a mixture of world beat including asian, indian and middle eastern rhythms and melodies, with an electronica feel. It is in the same vein, but softer than Dum Dum Project's mix of indian chants. I highly recommend it for meditation or yoga, but also just to relax while studying for a test or having to deal with any stressor. It is not sticky sweet, or cloyingly annoy as something like Enya (not all songs, but some) can be...You won't go use this for aerobics or running, so if you are looking for more up beat electronica with world sounds you should try the new Reboot- Music for the next generation from Om Records. Benefits from both CDs also go to charity, so that's bonus. For what this music is intended, i.e. lounge type chill with a world beat influence, it does an excellent job, and I highly recommend it.

Very intoxicating, very smooth, very sexy. Love the chill electronica and elements of brilliant instrumentals. You have to take a listen! This is one of my favorites to put on when my brother comes over, he LOVES this kind of lounge downtempo sound and is always thrilled to listen. (I'll have to get if for him!) Another one that I love is World Groove Mix, Vol. 1.

This entire album is simply amazing. You can put it on quietly and feel soothed and relaxed in it's lush sounds or crank it up for some serious intoxicating vibes to loose yourself in. Doesn't get a whole lot better than this! Well unless its one of the other great Buddha Lounge disks - Buddha-Lounge, Buddha Lounge, Vol. 5, etc...!

I really like dance electronica. That said, there's only so much of it that's different. This compilation is the best of the stuff that makes me move and relax, at the same time. I never get tired of this series. Same goes for every one of the Buddha-Lounge albums by Sequoia Records.

I like about half of these tracks, which makes this better than most cd's I've heard in the past few years. The rawness/energy is like that of early 80's hip hop/electro-funk or mid 80's bass. It definitely makes you want to move. I'm glad that I own it. Now I just need to find some more of this stuff. Several of the tracks have the same basic rhythm, similar to how multiple artists will release their own version of a dancehall reggae riddim. The overall sound is of bass beats starting and stopping, mixed with traditional(?) Brazilian drums, a little electronica here and there, and energetic raps/chants. Very nice mixture. One of the tracks sounds like a carnival song with drop bass.

this is so dam good....diplo be hip to da shiz also....brazil and 80s and miami bass = good

I like about half of these tracks, which makes this better than most cd's I've heard in the past few years. The rawness/energy is like that of early 80's hip hop/electro-funk or mid 80's bass. It definitely makes you want to move. I'm glad that I own it. Now I just need to find some more of this stuff. Several of the tracks have the same basic rhythm, similar to how multiple artists will release their own version of a dancehall reggae riddim. The overall sound is of bass beats starting and stopping, mixed with traditional(?) Brazilian drums, a little electronica here and there, and energetic raps/chants. Very nice mixture. One of the tracks sounds like a carnival song with drop bass.

This is a really great album with many different sounding songs. I can't even begin to rate the tracks individually because they're all very good in their own ways. I find myself putting this on repeat all the time because it's just that good! If you listen to this and DON'T like it just give it a few more listens and it will probably grow on you. This music makes me wish I had a booty to shake...but I don't. Hehe.

This is a great disc I dj and my friends and I love this disc people dont really know what to do when you first put it on then the bass kicks and the butts bounce so so so much fun!!!!! The music is low tech and it is Rio music not San Palo it is very getto base
If you like latin and hip hop you must try this disc

I'm a fan of both contemporary and traditional Middle Eastern music, and have found this CD to be disappointing on both fronts. It feels muddled and lacks soul. The "folkloric" passages sound forced, and Natacha Atlas' voice can be downright irritating. If you're looking for good Middle Eastern music, this disc is not for you.

2) "Halim" (1997)-Natacha Atlas. There is no excuse for not buying this CD-it's crucial to any world music collection! Less dub stuff than her first CD more singable tunes and a more polished CD. Nothing short of brilliant. She can cover everything from classical Arabic singing to modern dance/dub tunes-her range is phenomenal. Too bad she hid in the shadow of TransGlobal Underground and Jah Wobble for so long. If you like this, you should try her first CD and, while you're at it-check out TransGlobal Underground as they aren't slouches either. Jaz Coleman (Killing Joke/Victorious City) co-produced a few tracks, as did some of her cronies at TransGlobal Underground. The cronies are Hamid Mantu, Neil Sparkes, Alex Kasiek and Count Dubulah. Of interest, John Reynolds and Justin Adams also produce a couple of songs for Natacha. They are the same chaps who helped produced Abdel Ali Slimani's "Mraya". Also, Adams and Reynolds were part of Jah Wobble's- "Invaders of the Heart" (1991). The first track, "Marifnaash" has a dash of Middle Eastern flavour to an otherwise 'pop hit' with strings, accordion and a familiar Wobble bass line along with the searing voice of Natacha. The next cut, "Moustahil" starts with snake-charmer sound on clarinet with Hammond organ backing and gradually builds into something that the TransGlobal guys hijack. Natasha's 'youyous' signal the segue into her next megahit and dance hall favourite-"Amulet". "Amulet" is the cut that most likely will be aired on FM stations. This track enjoyed amazing success here in the Middle East. Moreover, this CD continually sells out over here in UAE. Back to more traditional stuff with "Leyli". This is one of my favourites and is done in dub style-"Kidda". I think it should have been called-"Leish, Habibi, Leish". Good darbuka beats, some ney flute, funky bass line and guitar and violin along with Natacha pouring her heart out in the lyrics-"Why, my love, why? " The gong brings closure to this lovely hit. Back to the Maghreb on track 6, "Sweeter than Any Sweets" and you could easily think imagine that you are in Morocco with the drummers of Jajouka for this beginning. Initially, Robbie & Sly dub sounds take over! Then it's Count Dubulah on bass, Cairo stings and oud that follow the melody line as well as Natacha's powerful voice. Don't be fooled by the Sergio Leone beginning to this next one as it is not music for spaghetti westerns. Strangely enough, "Ya Weledi" has a Cheb Hasni feel to it especially the keyboard work and solo part-way through the track. On tracks 8 and 9, I was wondering why this tune was vaguely familiar-it has Jaz Coleman's signature all over it. Check out the "Victorious City" that he co-produced with Anne Dudley and Killing Joke's "Brighter than a 100 Suns". These two songs are quieter than the earlier stuff and Coleman lets Natacha's voice be the commanding instrument. Track 10, "Gafsa" is a powerful, acoustic piece with Natasha's voice, a Spanish guitar, cello and strings. On "Ya Albi Ehda" we go back to classical music style and back to the studio in Egypt. Essam Rashad and his orchestra accompany Atlas on this offering.

Natacha has a beautiful voice. Her every word rings a bell that can be felt in the deepest sea. Words simply cannot express the divinity that is Natacha Atlas's voice. A precious jewel amongst the sand.

I bought Diaspora some years ago, but have always had trouble listening to it in one go. With this fantastic CD I don't have that problem at all. In fact, I could easily push the repeat button to play it again. A strong ethnic CD, but at the same time very friendly to western ears that hear Arabic music for the first time.

Natacha Atlas is born in Belgium on the 20th March 1964 of an English mother and a Jew Egyptian father. She lived during 8 years in the Moroccan suburbs of Brussels where she is immersed in an Arabian and Muslim culture. In 1972, her mother, divorced, took Natacha with her in England... When she is 16 years old, she involved herself in several musical projects and divided her time between England and Belgium. She worked in Arabian and Turkish night clubs as a singer and belly dancer (raq sharki)... She spent a brief stint in a Belgian salsa band called Mandanga. As she shuttled between Northampton and Brussels, however, she began to attract the attention of the Balearic beat crew ¡Loca!, and Jah Wobble, then assembling his Invaders of the heart. In 1991, both these projects bore fruit. Timbal by ¡Loca! started out as a track on Nation Records'Fuse two compilation and became a massive club hit, while Jah Wobble's Rising above Bedlam - five tracks of which Natacha co-wrote - attracted much critical acclaim and a Mercury Awards nomination. The success of Timbal cemented Natacha's relationship with the ground-breaking Nation Records label - label created in order to merge occidental dance music and Indian, Arabic and African musical styles - who introduced her to Transglobal Underground (it is rather a multi-cultural musicians collective that militates in favour of a mixing of all kinds of music than a simple musical group). At that time the group was enjoying Top 40 success with the anthemic Temple head. As chief collaborator, lead singer and belly dancer with Transglobal Underground, Natacha has performed all over the world - playing at Glastonbury, WOMAD, Reading, Phoenix and The Brixton Academy and many international festivals. During the same period, she collaborated with several other musicians, including Apache Indian and Peter Gabriel, and she found enough time to take part in some film soundtracks, for example Stargate, with David Arnold. From 1995, she launched out with the help of Transglobal Underground into a solo career that delights everybody. First success with Diaspora in 1995, converted try in 1997 with Halim, album dedicated to the Egyptian singer Abdel Halim Hafez, uncontested star in the Middle East and whose songs are well known as far as in the Maghreb... In 1999, she dispatches the last recalcitrant people to her charm with Gedida a new great album alike the previous ones and starts a European tour... Natacha's main objective is to conquer the country of which she is fond, source of all her inspirations, her ancestors land: Egypt (Bilaadi)... After several live shows in France, Natacha settled in Cairo in order to win the hearts of Oriental people... She contributed to Jean-Michel Jarre new album (Metamorphoses) with the song C'est la vie. She was present at the great concert in front of the pyramids of Giza on the 31st December 1999. At present Natacha has no plans to do any live shows. She's been doing some TV with Jean-Michel Jarre but otherwise she's staying in Cairo and working on ideas for a new album, which she's hoping to start recording in a month or two.

Laybkig

The cd has the beautiful voices of Lithuania recorded on it in glorious splendor. Gave as a gift for my elderly aunt from the old country and she loved it! Came quickly, very pleased.

Okay, so I haven't actually listened to the CD, but I am here to add some fuel to the statement that Lithuanians are NOT Russians!!! Are Colombians the same as Chileans? Are Sicilians the same as Romans? Excuse me, Amazon, but Lithuanians and Russians do not even use the same alphabet. By the way, I do not have anything against Russians! (Let's get that straight) I unfortunately cannot speak Lithuanian, but I am just as proud of my Lithuanian heritage as the first reviewer. So, Amazon.com, since your'e such an oh-so wonderful website, think you can have a little more insight and realize that just because some countries are close in proximity does not mean that they are all the same ethnic groups??

As dance instructor for a Lithuanian folk dance group, I found this recording absolutely beautiful. Not only is the music and instrumentation lovely, the dances are actually dance-able! This is very rare in commercial recordings of folk dance music. I recommend this CD to all Lithuanian folk dance instructors and to anyone who would like to get acquainted with Lithuanian folk music. Enjoy!

My rating may reflect my bias for Lithuanian music. I am a Lithuanian-American whose sister gave her this CD for her birthday. It is a very special CD of highly ethnic Lithuanian music. I don't know however why Amazon has listed it under "Russian" music. Lithuania is NOT part of Russia and hasn't been since winning back its independence in the early 1990s. We are proud to be a very old and passionate culture. Our music reflects the spirit of our people and its love of nature. The folk music in this tape demonstrates this. I am afraid, however, that non-Lithuanian speaking people would not be able to fully appreciate this tape. The words themselves are very lovely and will lose on those not understanding them. For all of those who proudly claim to speak the Lithuanian language, ENJOY!!!

this is a magnificant compilation, its truly relaxing. the only thing missing is being in the maldives. ravin includes some tracks from the buddha bar collection, this album is a must-have if you love chill-out music

Well u have to listen a few times
to get a hold of it in your system
Its not as strong as i expected
but it is very good
DVD is cool also

No 10 on the cd is timeless worth the cd

A beautiful mix of both haunting chillout and the best of dance/lounge, I bought this without even listening to it first and I love it! Fans of Nitin Sawhney/Buddha bar will love this.

I listen to a lot of compilations from George V, Cafe Del Mar, Pschent/Wagram and the like, sometimes going as far as the original recordings by the artistes featured on these CDs. Ravin is a shining star of this genre - of this I have no doubt. However, Huvafen Fushi Maldives was, for me, a disappointment. It did not appeal on an emotional level (as Siddharta did, for instance). I found the tracks ordinary and uninspiring - much the same way as I felt about Pompougnac's Saks Fifth Avenue.