Gipsy Kings Albums (16)
What The Critics Say
It's been two years since the Gipsy Kings' masterpiece Roots, an album where they kissed big, extravagant production, as well as big drums and keyboards, goodbye. Apparently old habits are hard to break. On the cover of 2007's Pasajero, the Kings look back to the natural thang. They are posed on a picnic table in the middle of some wild grass and trees, playing together, laughing, and singing. Covers can be deceiving, and this is one of them. Pasajero is a big return to glossy sound, extravagant production, big drums, dub bass, and electronic programming and percussion. There's no problem if you dig your Kings that way, of course. The group lays down impeccable nuevo flamenco fusion with all sorts of world traditions, such as reggae on "Pueblos," with a splashy horn section playing in fine dub-cum-mariachi style and a bubbling bassline over the drums. The Reyes family knows what it wants, apparently, as the horns and keyboards dig deeper into both reggae and son grooves on "Mira la Chica." Not only do they not give up their danceable edge, they seem intent on making it so pronounced that it overrules everything else. The raw vocals are there, but they seem at odds with the sheen of the production by Philippe Eidel and the Kings. The return to the slicker stylings and the integration of more forms are utterly comprehensible when one considers how much Latin popular music has changed in the past couple of years. The Kings are used to being on top of the charts, and they aren't about to throw in the towel to go back to folk music. That said, there are rootsy tunes here, though they are in the minority. That doesn't mean this record is a loss: far from it. On "Café," the band (with Eidel on accordion) goes backward, strutting through a joyous singalong son. "Canastero" is a mid-tempo ballad full of passion, pathos, and the kind of longing that's hard to find anywhere but in the Kings' best songs. One of the more experimental tunes, "Sol y Luna," features the upright bass playing of Bernard Paganotti (he's amazing throughout the album), and also a shimmering kit drum played by Patrice Renson, with Ava Saty's duduk playing a stunning little melody throughout this heady romantic tune. It may, in fact, be the finest moment on the record -- and an all too brief one. The percussion and upright bass playing on "Guaranga" are fine ballast for the fiery flamenco guitaristry on the instrumental. In sum, Pasajero is a mixed bag, in terms of an eclectic mix of tunes. The big-band numbers don't work quite so well, but they aren't in the majority here either. [Pasajero was re-released in 2007 on Nonesuch as an enhanced CD with bonus video footage] ~ Thom Jurek, All Music Guide
What The Critics Say
Fans of flamenco icons the Gipsy Kings have been waiting a long time for a record like Roots. The group spent much of the last ten years churning out a sleek and heady mix of often disposable worldbeat that, while perfectly executed, never lived up to the promise of their hugely successful 1988 American/English debut. The aptly named Roots finds the brothers Andre and Nicolás Reyes leading the veteran octet through 16 blistering tracks, bereft of the percussion and electronic trickery that has plagued so many of their previous outings. The family collective rented a farmhouse in the south of France for the recording, and the results are nothing short of a revelation. From the opening notes of "Aven, Aven" through the intimate campfire splendor of "Petite Noya," the bandmembers seem possessed by one another, trading stories through the only medium they understand, resulting in a listening experience that's almost mythological in scope. Between the infectious handclaps on "Rhythmic," the two visceral "Fandango" pieces performed by Nicolás and cousin Patchai Reyes, and the pristine (field) production -- it's like an Alan Lomax recording in 24-bit digital -- lie eight men out of time, playing for their country, their history, and most importantly, themselves. Highly recommended. ~ James Christopher Monger, All Music Guide
What The Critics Say
It seems that you just can't escape the Gipsy Kings. If you've were in a Mexican-themed restaurant, Latin dance club, or vacation resort in the '90s, you've likely heard the Gipsy Kings' brand of pop flamenco ad nauseam. Their music has become so ubiquitous that it's easy to forget the fact that they are very talented musicians. Somos Gitanos ("We Are Gypsies") is not their best or most accessible effort, but it is a showcase for the Gipsy Kings' formidable talents. The brothers Reyes and Baliardo provide the kind of traditional flamenco, on tracks like "Mi Flameco" and "Felices Dias," that fans expect while also throwing in a few decidedly non-traditional touches. "Majiwi" mixes in Middle-Eastern elements, and is the most danceable track on the album. Similarly, "Magia del Ritmo" provides a bedrock of Brazilian rhythm for their trademark guitar sound. Casual fans may find these departures off-putting, but for everyone else this album is a testament to the Gipsy Kings' immense charm and skill. ~ Jon Azpiri, All Music Guide
What The Critics Say
Cantos de Amor is a lovely collection of love ballads, both original and traditional, as performed by the Gipsy Kings. Even though they have performed love songs throughout the years (in fact, they have been collected on a love song compilation), the band has never before devoted themselves to simply love songs -- they've barely done a concept album, actually -- and the results are terrific. It's a focused, consistent album that is warm, seductive, and romantic, delivering everything that longtime followers could want from a record called Cantos de Amor. ~ Thom Owens, All Music Guide
What The Critics Say
The Gipsy Kings' main strength is their consistency. Throughout their career, they have managed to craft an accessible, pop-oriented version of flamenco and gypsy music that also pushes boundaries. During it all, they recorded classy, satisfying albums like Compas. There's not much different about Compas, but since the album is so well made and enchanting, that isn't a curse; it's a blessing. ~ Thom Owens, All Music Guide
What The Critics Say
Anyone familiar with the Gipsy Kings' unique sound will find no surprises on Tierra Gitana, their eighth album of original material. All the trademarks are here: the flamenco guitar, the staccato handclaps, the soaring vocals, all set to Latin rhythms. This album has a very relaxed feel; it is pleasant but not very engaging. There is nothing on this disc as immediately accessible as some of the group's earlier successes, like "Bamboleo" or "Baila Me," and for that reason this one isn't recommended for newcomers. Start with The Best Of, then, if you want to buy this, you'll know exactly what you're getting. ~ Steve McMullen, All Music Guide
'Love & Liberte'
Release Date 11/9/1993
Tracks 12
Label Elektra/Nonesuch
See Album Tracklist and Review
What The Critics Say
After their internationally successful 1988 self-titled debut, few have followed the the Gypsy Kings' noteworthy fusion of their distinctive flamenco-inflected pop with other international influences. Love & Liberte, a 1994 Elektra Records release, is one of their few compilations of all-new material, one that demonstrates this growth perhaps more than any of their other projects. One of their more extravagant songs, "No Vivire" implements a prominent bassline and strong brass accents in the chorus. Equally pleasant but slightly less authentic, "Escucha Me" crosses their Spanish guitar sound with a full reggae ensemble. The album's zenith hits with two instrumental tracks, "Guitarra Negra" and "Love and Liberte." "Guitarra Negra" shows off castanets with bongos. Every few bars, the intensity seems to reach a peak, only to retreat and regroup for another charge. The title track evolves slowly, with a gradual guitar and bass crescendo highlighted by a series of sparse piano chords on selected downbeats for emphasis. Though not as energetic as their best work, Love and Liberte is still an easy album for a Gypsy Kings fan to appreciate. ~ Kieran McCarthy, All Music Guide
What The Critics Say
As captivating as the Gipsy Kings are on their studio albums, it's hard to imagine how a recording mixed by a studio engineer could compete for sheer impressiveness with the spectacle of six acoustic guitars ablaze simultaneously in the same room. Particularly when the guitars are managed with the flamboyant virtuosity of the Reyes and Baliardo brothers. Gipsy Kings Live, recorded during the band's 1991 Este Mundo tour, captures some of that concert magic and features several of their most memorable songs. There are fiery renditions of "Bem Bem Maria," "Bamboleo," and "Djobi Djoba," as well as several dynamic instrumentals. One of those instrumentals, "Galaxia," and the rousing "La Dona" were later included on the band's popular Greatest Hits compilation. And with good reason: Both capture the enthusiastic bravura that makes the Gipsy Kings such potent performers. Gipsy Kings Live might even rival Greatest Hits as the definitive Gipsy Kings CD were it not for the disappointing quality of the recordings. The sound mix, by Francois Delabriere, has a tendency to overemphasize the vocals and the gaudy keyboards that have regrettably become a staple of Gipsy Kings recordings -- with the result that the marvelously resonant tone of the guitars sometimes gets watered down. Unfortunately, the only way to really experience the power of a Gipsy Kings performance is to buy a ticket to one of their concerts. ~ Evan Cater, All Music Guide
