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  •  The CD Universe Virtual Kiosk Music Store

    Established in 1996, CD Universe is a leading Internet retailer specializing in the sale of domestic and imported music CDs and Imports, movies and video games to customers all over the world. We offer everyday low prices and a selection of product that is unmatched.

    If this is your first time here, give us a try. Here are a few more reasons why we are one of the best internet retailers in the industry:



    The TOP SELLING Latin World Music CDs at CD Universe.com
    Note: At EvO:R, we don't actually stock or sell the CDs you are looking at. We simply list each CD by genre and link you to the CD Universe website for the sale.

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      See all the Latin World Music CD's Here
     Links to all the World Music CD's. Linked by Style.
     [World Music-Top Sellers]  [World Music-International]  [World Music-New Age]
     [World Music-Japan]  [World Music-Latin]  [World Music-French]  [World Music-Beats]
     [World Music-German]  [World Music-Brazilian]  [World Music-Pop]  [World Music-Celtic]  



      Maria Elena/Always In My Heart CD
      by Los Indios Tabajaras
    Our Price: $12.09 CD
    Usually ships in 1-2 days
    Maria Elena/Always in My Heart is a single-CD that combines Los Indios Tabajaras' two hit albums from the early '60s. Both records contain laid-back, folky and vaguely Brazilian arrangments of contemporary pop and traditional Brazilian folk songs. There's a lot of filler on the disc, but it's enjoyable filler and anyone looking for a single disc containing all the Los Indios Tabajaras they need, this is it. ~ Stephen Thomas Erlewine

    Includes liner notes by Mark Marymont & Richard Joseph.

    Contains 2 LPs on 1 CD: MARIA ELENA (1963)/ALWAYS IN MY HEART (1964).




      Lagrimas Negras CD
      by Bebo & Cigala
    Our Price: $9.59 CD
    Usually ships in 1-2 days
    Lágrimas Negras (Black Tears) is a collaborative effort between the octogenarian Cuban piano master Bebo Valdés and the reigning Spanish flamenco cantador, Dieguito El Cigala. Recorded for Fernando Trueba and Nat Chediak's Calle 54 label, the sessions took place in Madrid between September and December 2002. Maestro Valdés (born in 1918), the father of the jazz pianist Chucho, has a long history as an innovator in Cuban music. He recorded the first Afro-Cuban jazz session in 1952, and was a tutor to the great bandleader Beny Moré, writing early charts for him. Valdés is also a world-class arranger. Dieguito El Cigala was born in 1960, and has become the undisputed king of Spain's flamenco singers. This recording features nine tracks that meld together cooking son, jazz, Afro-Caribbean, and flamenco rhythms, in tunes by composers such as Lolita de la Colina, Virgilio and Homero Expósito, Ramón Perelló, the grand team of Tom Jobim and Vinícius de Moraes, Caetano Veloso (who makes a guest appearance), Maria Teresa Vera, Miguel Matamoros (who composed the title track), and others. Most are Cuban ballads. Guests such as Veloso, Paquito D'Rivera, Pancho Terry, Tata Güines, and El Niño Josele fall by on different tracks.

    while the tunes are top-shelf and the guests make this a very special and historic occasion, it is the unusual dynamic and the integrity with which it is employed that makes this set so unique. Valdés' style is an elegant one; his rhythmic left hand accents rhythms and shifts them effortlessly, adding street and nuance here, space and tension there. Always his notes are sure, precise, and solid. El Cigala's voice is a true cantador's; he wavers, lilts, growls, and gutturally moans; he slips between rhythms and melodies, underscoring first one and then another, using the rhythms to sing counterpoint to the piano's stridency and sheer graceful approach in the ballads, shouting assent and further challenges on the uptempo sons. Together, the combination is its own moving poetry, meeting in the middle of a tradition as old as flamenco's "cante jondo" and as integrated as Cuba's.
    The sacred and profane dine and drink together and no one will say which is which. All nine songs offer differing emphases on lyric and rhythm, all offer variant harmonic concerns, but they all contain the spirit of the "duende." While there isn't a mediocre second on this album and all of the performances are breathtaking, "Lágrimas Negras" and "Corazón Loco" are clear standouts. This is destined to be a classic, and hopefully a gateway to more experiments like this one. ~ Thom Jurek


      E Ritorno Da Te: The Best Of Laura Pausini CD
      by Laura Pausini
    Our Price: $12.85 CD
    Usually ships in 1-2 days
    Personnel includes: Laura Pausini, Gilberto Gil (vocals); Celso Valli (arranger, conductor, piano, keyboards, synthesizer, programming); Geoff Weestley (arranger, conductor); Beppe Pini (acoustic guitar); Mike Landau (guitar, sitar); Massimo Varini (guitar); Christopher Warren Green, Gavin Wright (violin); Dado Parisini (keyboards, synthesizer, programming); KC Porter (keyboards, programming); Eric Buffat (keyboards, background vocals); David Foster (keyboards); Paolo Costa, Nathan East, Nek (bass); Pier Foschi, Massimo Pacciani (drums); Max Costa (programming); Ronny Jones, Julia St. Louis (background vocals); London Chamber Orchestra, London Session Orchestra, London Symphony Orchestra.

    Personnel: Laura Pausini (background vocals); Michael Landau (guitar, sitar); Paolo Gianolio (guitar, drum programming); Gianni Salvatori (guitar, background vocals); Dean Parks, Andrea Braido, Massimo Varini, Riccardo Galardini (guitar); Gavyn Wright (violin); Celso Valli (piano, keyboards, guitar synthesizer, programming, drum programming); Dado Parisini (keyboards, programming, drum programming, background vocals); Andreas Carlsson (keyboards, programming, background vocals); K.C. Porter, Ali Thomson (keyboards, programming); Eric Buffat (keyboards, keyboard programming, background vocals); David Foster (keyboards); Massimo Pacciani (drums, percussion); Alexander Richbourg (drums, drum programming); Curt Bisquera, John "J.R." Robinson , Steve Farrone, Nathan East (drums); Max Costa (programming, drum programming); Felipe Elgueta (programming); Claudio Guidetti (keyboard programming); Luca Bignardi (drum programming); Luca Jurman, Sandra Chambers, Ronny Jones, Monica Reed, Monica Magnani, Joice Yuille, Juan Pedro Alcala, Paola Folli, Richelieu Morris Leire, Katie Humble, Leonardo Abbate, Silvio Pozzoli, Nick Holland, Ola Onabule, Lisa Abbott, Emanuela Cortesi, Stefano de Maco, Alex Baroni, Carole Cook (background vocals).


      Mercedes Sosa En Argentina CD
      by Mercedes Sosa
    Our Price: $12.99 CD / $9.99 MP3
    Usually ships in 1-2 days
    Recorded live at the Teatro Opera in Buenos Aires, Argentina on February 18 & 28, 1982.

    Engineers: Amilcar Gilabert, Gustavo Guavry.

    Personnel: Mercedes Sosa (vocals); Omar Espinosa (guitar, charango); Jose Luis Castineira de Dios (guitar, bass); Domingo Cura (percussion); Charly Garcia, Leon Gieco, Ariel Ramirez, Antonio Terrago Ros, Rodolfo Mederos.

    Producers: Daniel Brinbank, Mercedes Sosa, Fabian Matus.



      Primavera In Anticipo CD
      by Laura Pausini
    Our Price: $13.79 CD / $12.19 MP3
    Usually ships in 1-2 days
    Italian vocalist Laura Pausini became a worldwide sensation during the first 10 years of her recording career (although her success in America is minimal compared to Europe and Latin America). PRIMAVERA IN ANTICIPO, released in 2008 in both Italian and Spanish versions, extends Pausini's command over the adult contemporary form, offering up 14 tracks that play like foreign-language versions of Celine Dion or Phil Collins. Like Pausini's previous releases, PRIMAVERA IN ANTICIPO is layered with glossy production, over which the vocalist gives passionate, dramatic performances. Highlights include "Invece No" and "Primavera in Anticipo," a duet with James Blunt.



      Chavez Ravine CD
      by Ry Cooder
    Our Price: $17.89 / $10.29 MP3
    Usually ships in 1-2 days
    With help from musicians associated with the era and location (including Don Tosti, Lalo Guerrero, and Thee Midnighters' Little Willie G.) and studio musicians Jim Keltner, Jon Hassell, and legendary Tex-Mex accordionist Flaco Jimenez, Cooder has created a musical novel that richly celebrates the music, life, and lingering mythos of Chavez Ravine, an L.A. neighborhood razed by the city in the interest of big business (namely to build a stadium for the soon-to-be L.A. Dodgers). Stylistically, the album, performed in both Spanish and English, encompasses Latin folk forms, swing, atmospheric ballads, rhumba, and R&B. Yet the whole feels so rooted in history, so packed with real characters (like boxer Carlos Chavez) and stories (like a Pachuco-slang-speaking UFO sighting) that it plays as an organic whole. Playful, poignant, historically significant, and thoroughly enjoyable, CHAVEZ RAVINE is a stunning achievement.

    In the wake of the tremendous impact of the BUENA VISTA SOCIAL CLUB album, film, and tour, it is easy to see Ry Cooder as a historian, a cultural ambassador, and a gifted humanist interested in revitalizing all people through music. If this sounds like an overstatement, you probably haven't heard 2005's CHAVEZ RAVINE yet. Like BUENA VISTA, CHAVEZ RAVINE locates itself in a cultural and musical context, this time in a vibrant, culturally rich Mexican-American community in post-war Los Angeles.

    Personnel: Ry Cooder (vocals, various instruments, guitar, tres, organ); James Bla Pahinui (vocals, guitar, ukulele); Lalo Guerrero (vocals, guitar); Don Tosti, Little Willie G., Rudy Salas, Juliette Commagere, Ersi Arvizu, Rosella Arvizu, Michael Guerra, Carla Commagere, Jacob Garcia (vocals); David Hidalgo, Ledward Kaapana (guitar); Flaco Jiménez (accordion); Gil Bernal (tenor saxophone); Mick Bolger (trumpet, valve trombone, organ); Jon Hassell (trumpet); Jacky Terrasson, Chucho Valdés, Joe Rotondi, Jr. (piano); Mike Elizondo, Jared Nelson Smith (bass instrument); Jim Keltner (drums); Joachim Cooder (timbales); Sunny D. Levine (drum programming).
    Uncut (p.90) - 4 stars out of 5 - "[H]e has performed another ethnomusicological miracle, opening a can of worms while drawing us deep into the musical heart of a lost community." Down Beat (p.66) - "With each of these evocative tunes, he replaces a brick in a wall that was dismantled long ago. Not a bad way to defend your dream." Mojo (Publisher) (p.58) - Ranked #6 in Mojo's "The 50 Best Albums Of 2005" - "History lesson as hallucination. The life and death of a Latin community in '30s LA, reimagined by Cooder and veterans of the '40s Latino pachuco scene..."


      Io Canto CD
      by Laura Pausini
    Our Price: $7.55 CD
    Usually ships in 1-2 days
    Laura Pausini, a multilingual Italian pop singer who won a Latin Grammy in 2005 for Best Female Pop Vocal Album, decided to record an album of cover songs when she returned to the studio to record her follow-up effort. This is a fairly standard practice for pop/rock artists, of course, especially in the wake of a mammoth success like the one Pausini experienced with Resta in Ascolto (released concurrently in Spanish as Escucha in the Americas). Yo Canto (likewise released concurrently in Spanish) is a somewhat unusual covers album, however, for it's comprised of Italian pop/rock songs from the 1970s, '80s, and '90s -- few, if any, of which will be familiar to listeners across the Atlantic. Pausini performs the songs in a manner similar to that of Resta in Ascolto: the songs are heavily produced, layered with guitar, bass, and drums in addition to strings and synthesizers, and the performances are quite dramatic, often soaring to intense heights during the choruses, complemented by lyrics that are moody and poetic. Conseque

    Laura Pausini, a multilingual Italian pop singer who won a Latin Grammy in 2005 for Best Female Pop Vocal Album, decided to record an album of cover songs when she returned to the studio to record her followup effort. This is a fairly standard practice for pop/rock artists, of course, especially in the wake of a mammoth success like the one Pausini experienced with Resta in Ascolto (released concurrently in Spanish as Escucha in the U.S.). Io Canto (likewise released concurrently in Spanish, as Yo Canto) is a somewhat unusual covers album, however, for it's comprised of Italian pop/rock songs from the 1970s, '80s, and '90s -- few, if any, of which will be familiar to listeners across the Atlantic. Pausini performs the songs in a manner similar to that of Resta in Ascolto: the songs are heavily produced, layered with guitar, bass, and drums in addition to strings and synthesizers, and the performances are quite dramatic, often soaring to intense heights during the choruses, complemented by lyrics that are moody and poetic.

    Consequently, anyone who enjoyed Resta in Ascolto will find much to savor on Io Canto, as the two albums sound similar musically. The difference is in the songwriting, which is wonderfully varied, in terms of lyrics as well as arrangements, resulting in one of the most interesting albums of Pausini's career to date. Io Canto is interesting not only because of the array of songwriting showcased throughout, but also because of how personal these songs are to Pausini. She expresses this herself in her liner notes: "Recording an album of covers, and therefore having to choose among the songs which have been with me, are with me, and will be with me every day of my life, was no easy task. It would take ten albums like this one just to be able to touch on the essence of all the music I love. Decisions had to be made. And decisions were made. And so here is the music I listen to when I'm at my saddest, or when I feel a moment is special, the songs I used to sing as a young girl when I first started performing, and above all those which taught me to love music, and how music can move you so deeply, regardless of its genre or style." A lot of the songs on Io Canto are indeed deeply moving, beginning with the surging title track, which opens the album powerfully, as if sung from a mountaintop with arms outstretched. And so begins the second dazzling album in a row by Pausini, who seems to have found a comfortable place for herself musically in the wake of the indifference shown to her English-language crossover bid in 2002.
    That disappointing album's title was From the Inside, but this album feels ten times more heartfelt, as these covers reveal aspects of Pausini's personality generally eclipsed by the towering melodrama of the usual material bestowed upon an international mega-star of her stature. ~ Jason Birchmeier



      See all the Latin World Music CD's Here
     Links to all the World Music CD's. Linked by Style.
     [World Music-Top Sellers]  [World Music-International]  [World Music-New Age]
     [World Music-Japan]  [World Music-Latin]  [World Music-French]  [World Music-Beats]
     [World Music-German]  [World Music-Brazilian]  [World Music-Pop]  [World Music-Celtic]  



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