Lydia Mendoza – La Alondra De La Frontera – Live!
Lydia Mendoza, the great, legendary First Star of Tejano Music, The Meadowlark of the Border, The Songstress of the Poor, started her recording career as a 12 year old girl in 1928 and continued to record for 6 decades.
On these previously unissued recordings, originally recorded for Falcon Records in the 1970's, she is accompanied here by her own 12-string guitar, mariachis, and a fine orchestra, which includes a superb accordionist. Lydia Mendoza's records on Falcon not only sold throughout Texas and the United States but throughout the Spanish speaking Western Hemisphere.
1. Le Feria de las Flores - 4:14 2. Gitana - 2:57 3. Mal Hombre - 4:33 4. Celosa - 2:50 5. Muñequita Linda - 4:16 6. El Mundo Engañoso - 3:22 7. Amor de Madre - 2:55 8. El Gorioncillo Pecho Amarillo - 3:21 9. Torero - 2:59 10. Por Ti, Ay! Por Ti - 2:18 11. Adelita - 2:11 12. Pero Hay Que Triste - 2:24 13. Tango Negro - 3:49 14. La Cama de Piedra - 2:30 15. Flores Negras - 5:15 16. Popurri: Pajarito Baranqueño/Ojos de Pancha/Etc. - 5:23
1. Victory Review - David Perasso
“On this CD we get a chance to hear Mendoza in some of her best recordings done for Falcon Records in the 1970s. She has a fine voice and sings with passion. The band behind her is excellent, with great accordion, guitar and even some tasteful brass, providing counterpoint and support to her vocals. The styles of music are varied, with selections from Mexican, Puerto Rican, Cuban and other Latin rhythms and styles. It’s no wonder her music was accepted throughout the diverse Spanish-speaking world. A great recording for anyone who wants to broaden his or her musical horizons, or just to enjoy some great singing.”
2. AllMusic - Chris Nickson
Rarely has a nickname been so apt as Lark of the Frontier (whose Spanish translation gives this album its title). Lydia Mendoza, who retired in 1988, showed she still had all her qualities in this 1982 performance at the University of California, Berkeley. Accompanied solely by her own 12-string guitar, giving the songs a rhythmic foundation, she's gloriously emotive on everything from boleros to corridos, and moves farther afield to take in "Tango Negro," which doesn't stretch her a bit. A consummate artist, she's also a splendid storyteller, but it's really the music that matters, and every song sparkles, with "Por Ti, Ay! Por Ti" a particular standout. "Torero" has plenty of drama, and you wouldn't think you were hearing a woman then in her sixties. There's a raw beauty to songs like "Gitana" that speak of a hard-won life, but Mendoza has always been a singer of and for the people, loving their chronicles. If you're looking for slick Latin music, this definitely isn't the place; but if you want something honest and moving, look no further.
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