The Return of El Santo | ||||
---|---|---|---|---|
Studio album by | ||||
Released | October 24, 2000 | |||
Genre | Ska punk, Latin | |||
Length | 55:00 | |||
Label | Luaka Bop [1] | |||
King Changó chronology | ||||
|
Review scores | |
---|---|
Source | Rating |
AllMusic | [2] |
Robert Christgau | [3] |
Los Angeles Times | [4] |
The Return of El Santo is the second album by the Latin ska band King Changó, released in 2000. [5] [6] The album's title is a tribute to Mexican wrestler El Santo. [7]
The album was recorded in various cities with producers KC Porter, Macaco, and Richard Blair. [5]
The Washington Post wrote that "it's a breathtakingly ambitious recording, and it works because the band doesn't jump from style to style but fuses them into a fresh, coherent sound." [7] CMJ New Music Monthly called the album "ravenous, rowdy pop giddily blurring the lines between genres." [8] Billboard deemed it "100% Nuyorican worldbeat." [9] The Chicago Tribune wrote that "the song cycle ends in a happy revolution, way over the top, romantic and cynical all at once." [10] The Arizona Republic wrote: "Each cut is an addictive, sarcastic fiesta in itself. Mucho percussion. Mucho horns. Mucho cajones." [11]
The Return of El Santo | ||||
---|---|---|---|---|
Studio album by | ||||
Released | October 24, 2000 | |||
Genre | Ska punk, Latin | |||
Length | 55:00 | |||
Label | Luaka Bop [1] | |||
King Changó chronology | ||||
|
Review scores | |
---|---|
Source | Rating |
AllMusic | [2] |
Robert Christgau | [3] |
Los Angeles Times | [4] |
The Return of El Santo is the second album by the Latin ska band King Changó, released in 2000. [5] [6] The album's title is a tribute to Mexican wrestler El Santo. [7]
The album was recorded in various cities with producers KC Porter, Macaco, and Richard Blair. [5]
The Washington Post wrote that "it's a breathtakingly ambitious recording, and it works because the band doesn't jump from style to style but fuses them into a fresh, coherent sound." [7] CMJ New Music Monthly called the album "ravenous, rowdy pop giddily blurring the lines between genres." [8] Billboard deemed it "100% Nuyorican worldbeat." [9] The Chicago Tribune wrote that "the song cycle ends in a happy revolution, way over the top, romantic and cynical all at once." [10] The Arizona Republic wrote: "Each cut is an addictive, sarcastic fiesta in itself. Mucho percussion. Mucho horns. Mucho cajones." [11]