Rodrigo y Gabriela Albums (5)
What The Critics Say
The very first moments of Rodrigo y Gabriela's sophomore effort, 11:11, hit the listener cold in the face, and not just because of the amazing guitar playing. Sure, it's there, but it's what anyone who heard the duo's astonishing debut would expect. No, it's the sound of the record: immediate, forceful, crystalline; it's in-your-face compelling and impossible to ignore. 11:11 features 11 new compositions, dedicated to 11 musical artists (not all guitarists, either) who have had an influence on the duo. Recorded in Ixtapa, Mexico, the set was self-produced with the exception of two cuts, which were co-produced with John Leckie. The set was mixed in Wales and London by Colin Richardson, who has worked with metal bands Trivium and Slipknot. The set opens with the striking, rhythmically complex "Hanuman," dedicated to Carlos Santana. While it doesn't work so much on the level of Santana's soaring solos, what it does do is capture the dramatic, rhythmically complex elements of his trademark style and roots him directly inside the entire lineage of great Latin guitarists. Next up is "Buster Voodoo," dedicated to Jimi Hendrix. The late guitarist's original nickname was Buster, and he wrote "Voodoo Chile," hence the title. This track is far afield from the preceding one in that it lifts elements of the Hendrix tune, and moves into a solid meld of heavy metal dynamics and contemporary Latin style -- there's even the use of a wah-wah pedal on a nylon-string guitar to excellent effect. The fuzzed-out intro to "Santo Domingo" is a rather jarring effect for a tune that is dedicated to Latin jazz pianist and composer Michel Camilo, but it's named for the city of his birth and therefore captures in sound the splendor and color of the city. The Afro-Cuban, Spanish, and Mexican rhythmic complexities shown by Gabriela Quintero are perhaps more astonishing than the stellar, even dazzling single-string work by Rodrigo Sanchez. "Atman," dedicated to the late Dimebag Darrell of Pantera and Damageplan, features a searing guest appearance by Testament guitarist Alex Skolnick and is truly one of the high points on the recording. It is also a terrific reminder that Rodrigo y Gabriela began their musical careers as electric guitarists in heavy metal bands. Other standout tracks include "Master Maqui," with acoustic solos by Strunz & Farah; "Hora Zero," inspired by -- and dedicated to -- Argentinean composer Astor Piazzolla; and "Savitri," dedicated to the John McLaughlin-led acoustic trio Shakti. The set whispers to a close -- in sharp contrast to its beginning -- with the title track, dedicated to Pink Floyd and featuring the piano work of Edgardo Pineda Sanchez. Throughout, Rodrigo y Gabriela showcase their metal chops as part and parcel of their Mexican guitar heritage. They've not simply melded the two, but have created an entirely different form of music for the acoustic guitar in the process. It's also important to note that while their technical facility is indeed dazzling, this is not the reason to sit down and dig into this record; it's the music itself. It's infectious and accessible, full of pathos, intensity, passion, and color. It's dazzling because the compositions are so imaginative and tight -- a light year's growth from their debut. This music is arranged with flair, soul, intelligence, and economy; as busy and full as it sounds, there isn't an extra note anywhere here. 11:11 reveals a true musical and sonic expansion without Rodrigo y Gabriela losing sight of their strength as an acoustic duo. Awesome. ~ Thom Jurek, All Music Guide
What The Critics Say
Mexico City's Rodrigo Sanchez and Gabriela Quintero must think highly of themselves as talented instrumental musicians who like to jam fast, show off quite a bit, and cater to the baser instincts of an image conscious and viscerally driven rock type audience, even in Japan. When you get past the ego driven music presented here in what must be an atypical (for them) large concert hall engagement, you can easily hear two extremely talented musicians playing to a crowd, the patrons enthusiastically responding, and everyone enjoying themselves for an escapist hour. Having said that, Rodrigo y Gabriela are impressive musicians, barely losing a beat or fluffing fretted single-line runs, percussive chords, and occasionally amplified and effects driven inserts. Their single intent is to blow you away with their virtuosic licks and riffs, and they generally succeed. One noticeable aspect of this concert is that the guitarists stop frequently during songs, as if they are gathering themselves for the next salvo while their fans go wild -- the plant...run approach. Flamenco or jazz purists likely will see through the haze of trumped up tunes, as actual improvisation, intimacy, or subtleties are avoided except in select instances. Copping licks from rock tunes, Jimi Hendrix, and a trimmed version of "Stairway to Heaven" emphasizes this point. Still there are redeeming original moments in concept, as "O.K. Tokyo" eschews a funky blues mood, the 6/8 modal "Satori" is lower key and sweeter with stairstep progressions, "Vikingman" is closest to traditional flamenco by degrees with some neat interplay, and their flash point is muted during "One" with patient constructs, pronounced musicality and better harmonics. A version of Dave Brubeck's "Take Five" sounds rushed tempo wise, but is understated, not brash, despite the fast pace. Their lone extended piece over eleven minutes, "Foc" utilizes a spritely repeat melody, stopped and started with the most dazzling display of chops. At the end of the program each presents a solo piece, where Gabriela proves the sensitive guitarist, while Rodrigo is the driving force and hot rod pilot. The operative description for Rodrigo Y Gabriela is pyrotechnics, so if speed king and queen type virtuosity (they are virtuosos) is your thing, then this should appeal to you as might Jeff Beck, John McLaughlin, Al DiMeola, or Allan Holdsworth. ~ Michael G. Nastos, All Music Guide
What The Critics Say
While Rodrigo y Gabriela's self-titled third album is an utter and complete joy to listen to -- actually, it's more of a riotous celebration -- it's more than difficult to describe exactly what they do. This Mexican guitar duo met while in a heavy metal outfit together and soon found the local scene wanting. Both had roots in flamenco and other folk and rock music; they dropped the electric guitars -- and bandmates -- to travel light. They headed off to Europe, and ended up busking in Ireland, where their renown spread as instrumentalists who had to be seen to be believed. They re-recorded an album, toured the U.K. with everyone from David Gray to the Buena Vista Social Club, and then cut a live disc in Dublin and Manchester. That was the story until they hooked up with producer John Leckie. He was able to help them record a studio album that captured the sheer orgiastic excitement of their live gigs, hence this self-titled puppy that debuted in the Irish charts at number one. Uh-huh. It's true that Ireland's not a big place, but when, when, have you ever heard of an instrumental recording by a Mexican duo hitting the number one spot in such a place? What's more, the disc has a buzz on Yank shores as well and with good reason. These nine cuts have nothing to do with nuevo flamenco or any of that new agey stuff: this is smoke and fire music, it burns across genres and traditions like a demented passion spirit that takes no prisoners--and we can thank the gods for heavy metal in this instance at least. This set slashes like a stiletto; it's fine and precise; it leaves no scars. The dynamic range of this music is startling. It is both ancient and futuristic, carnally frenetic and romantically seductive, artfully -- and even spiritually -- played yet drenched in the vulgarity of street life. It is the work of two young masters who are still striving to learn and incorporate more without sacrificing beauty, pathos, and tradition. On "Ixtapa" they utilize rock & roll dynamics to perform a song about the place they decided to flee from Mexico City to before leaving for Europe. Roby Lakatos, the incredible violinist, joins the duo here (he's a fan and offered his services). Take in "Diablo Rojo," or "Satori," where metal chops, flamenco, and tango music become entwined in a musical ménage à trois. There are no gimmicks in this music, it's exactly what you hear in the immediate present that somehow comes out of the Latin historical past, is infected by rock & roll and forwards the secret histories of both. Informed by this, listen closely to the pair's covers of Metallica's "Orion" and, more importantly, the song that would be easiest to dismiss -- a reading of Led Zeppelin's "Stairway to Heaven" that takes the apporporiate liberties and makes them both sound fresh and new. In encountering this record, all doubt and cynicism should removed; what is happening here is that the canon for the acoustic, classical guitar is being rewritten. This music is the sound of passion as interpreted by and spoken for in a new rock & roll language. [Initial copies of the CD also come with an enclosed DVD so you can see the magic as well as hear it.] ~ Thom Jurek, All Music Guide
'Live: Manchester and Dublin'
Release Date 1/1/2004
Tracks 9
Label Rubyworks
See Album Tracklist and Review
