Description
Somehow I was drawn to this CD. Fascinated with the idea of finding a CD in Tucson titled Paranda, I turned it over only to find that a few of the artists were familiar names: Junior Aranda, Paul Nabor, and of course, Andy Palacio. I have always been a fan of paranda music, and this CD has certainly not been disappointing. As a matter of fact, it has exceeded my expectations.
As a Belizean Garifuna, I am especially impressed with this album. It represents a major step in the preservation of traditional Garifuna music. The melding of so many paranda artists from Garifuna enclaves in Central America speaks of the close ties amongst Garinagu regardless of where thy are, and at the same time showcases the range and variety of paranda music even as it spans generations.
Paranda music is immensely danceable. And so is this album. Every song on this CD commands the feet to move. Unlike the obvious lustiness of the voluptuous punta and the traditional dignity of the hunguhungu, there is a subtle sexiness to paranda. The songs in Paranda: Africa in Central America have this quality, and it becomes difficult to restrain oneself from dancing as one listens to the songs.
My niece, Renee, and I were mesmerized the first time we listened to this CD. We immediately liked every song, but our instant favorite was the duet by Aurelio Martinez and Andy Palacio, Lanarime Lamiselu. The strong solos at the beginning, enhanced by occasional guitar strums, bring out the power of the lyrics.
There is much variety in the album, Paranda: Africa in Central America. Whilst maintaining the rhythms and acoustic guitar strums typical of paranda music, the songs vary from the traditional Fuyra, Gabbaga, and Nabor songs to the modern and almost experimental (to my ear)Aurelio Martinez songs. The variety also can be heard in the lyrics. Paranda lyrics typically are stories of life, love, and death; these topics are ably represented in this album. The Latinos have their corridos, the American southerners have country music, and the Garinagu have paranda. The lyrics maybe sad yet derisive, but the music invites you to dance your troubles away.
As a Belizean Garifuna, I am especially impressed with this album. It represents a major step in the preservation of traditional Garifuna music. The melding of so many paranda artists from Garifuna enclaves in Central America speaks of the close ties amongst Garinagu regardless of where thy are, and at the same time showcases the range and variety of paranda music even as it spans generations.
Paranda music is immensely danceable. And so is this album. Every song on this CD commands the feet to move. Unlike the obvious lustiness of the voluptuous punta and the traditional dignity of the hunguhungu, there is a subtle sexiness to paranda. The songs in Paranda: Africa in Central America have this quality, and it becomes difficult to restrain oneself from dancing as one listens to the songs.
My niece, Renee, and I were mesmerized the first time we listened to this CD. We immediately liked every song, but our instant favorite was the duet by Aurelio Martinez and Andy Palacio, Lanarime Lamiselu. The strong solos at the beginning, enhanced by occasional guitar strums, bring out the power of the lyrics.
There is much variety in the album, Paranda: Africa in Central America. Whilst maintaining the rhythms and acoustic guitar strums typical of paranda music, the songs vary from the traditional Fuyra, Gabbaga, and Nabor songs to the modern and almost experimental (to my ear)Aurelio Martinez songs. The variety also can be heard in the lyrics. Paranda lyrics typically are stories of life, love, and death; these topics are ably represented in this album. The Latinos have their corridos, the American southerners have country music, and the Garinagu have paranda. The lyrics maybe sad yet derisive, but the music invites you to dance your troubles away.