1. Mano Negra	1:44
2. Mala Vida	2:54
3. Amerika Perdida	3:00	
4. Peligro	2:53
5. Sidi H'bibi	2:37				play
6. Noche De Accion	2:48
7. El Sur	1:00
8. Patchuko Hop	2:30
9. Mano Negra	0:58
10. Patchanka	3:07	
11. Indios De Barcelona	2:39
12. Guayaquil City	3:02
13. El Jako	2:49
14. Soledad	2:36
15. King Kong Five	1:57			play
16. Salga La Luna	3:33

Personnel
    Manu Chao – Lead Vocals & Guitar 
    Antoine Chao – Trompet & Vocals 
    Santiago Casariego – Drums & Vocals 
    Philippe Teboul – Percussion & Vocals 
    Daniel Jamet – Lead Guitar & Vocals 
    Olivier Dahan – Bass & Vocals 
    Thomas Darnal – Keyboards & Vocals 
    Pierre Gauthé – Trombone & Vocals 
+
    Anouk – Vocals 
    Jean-Marc – Bass 
    Mamack Vachter – Saxophone & Vocals 
    Dirty District (Denis, Gilles, Fred, Geo) – Vocals, Guitar, Bass, Synthesizer 
    Les Casse-Piers (Lolo, Daniel, Phillippe, Jo, Tomas) – Vocals, Guitar, Bass, Drums 
    Alain Wampas – Double Bass & Vocals 
    Napo Romero – Vocals 
    Zofia – Vocals 

With half its songs drawn from Puta's Fever, Amerika Perdida isn't so much a bad release as simply an unnecessary one best left to completists. The disc essentially re-sequences Puta's Fever and replaces the rock songs sung in English with half-a-dozen others (from early singles or EPs?) that play up Mano Negra's international side. The new tracks reflect the band's sweeping range well enough, but without really adding any new dimension. "Indios de Barcelona" is the one noteworthy new song, but whatever Mano Negra thought they were gaining by shifting the focus of their early material this way is offset by the sacrifice of their rock dimension. ---Don Snowden, allmusic.com

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01. Viva Zapata
02. Casa Babylon
03. The Monkey
04. Senor Matanza
05. Santa Maradona (Larchuma Football Club)
06. Super Chango								play
07. Bala Perdida
08. Machine Gun
09. El Alakran (La Mar esta Podrida)
10. Mama Perfecta
11. Love and Hate								play
12. Drives me crazy
13. Hamburger Fields
14. La Vida (La Vida me da Palo)
15. Sueno de Solentiname
16. This is my World

Personnel: 
Manu Chao (vocals, guitar); 
Santi (vocals, drums); 
Tom (vocals, sampler); 
Anouk (vocals); 
Kropol (trombone).

Manu Chao's road to Clandestino and Proxima Estación: Esperanza begins here with Mano Negra's swan song album. Conceptually, it marks the first use of radio and TV broadcast samples to create sound collages between tracks so the songs emerge like they would if you were station surfing on the car radio. Lyrically, it's the birth of the internationalist Manu Chao, as overt political messages largely replace the previous rebel rocker sentiments. Musically, Mano Negra returns to the manic rhythmic drive of Puta's Fever and ups the reggae, ska, and Latin ante after testing more mainstream rock waters on King of Bongo. But Casa Babylon goes one step beyond Puta's Fever by crashing together different styles and even lyrics in different languages within the songs. So the racehorse title track blends a Latin feel with motor-mouth rapping and blowsy trombone, while "Senor Ma Tanza" starts fast and furious before settling into funky dub at the end. "El Alkaran" slyly drops lyrics from "La Bamba" into its ecological complaint alongside ragga DJing, while "Hamburger Fields" is surreal pop laced with a bop-bopping vocal hook. Mano Negra doesn't entirely turns it back on rock -- "The Monkey Speaks His Mind," "Sant a Maradona" (a tribute to Argentine soccer star Diego Maradona), and "Love and Hate" more than adequately fill the high decibel and hard guitar quotient. But Manu Chao definitely turned a corner here, one that set the stage for his success even as it marked the end of a group that exerted an enormous formative influence on the Latin alternative scene. --- Don Snowden, AMG

Mano Negra fue un grupo francés formado en 1987. Su estilo mezclaba rock, canción francesa, música africana, flamenco, ska, salsa, roots reggae y blues. Liderado por el cantautor Manu Chao consiguió grandes éxitos como "Mala vida" o "Seńor Matanza".

Al regreso de su gira sudamericana de 1992, la tensión entre los miembros del grupo va creciendo. Tras abandonos, la banda (principalmente Manu Chao) da forma al que sería su siguiente álbum, "Casa Babylon", un disco que al igual que "King of Bongo" no tiene relación con sus discos anteriores. Al mismo tiempo el grupo edita un libro biográfico de colección que incluye un picture-disc con canciones inéditas, algunas incluidas posteriormente en el "Casa Babylon".

Sobresale la participación de Fidel Nadal, vocalista del grupo argentino Todos Tus Muertos, y de Gambeat, bajista de la nueva banda de Manu, French Lovers. El resultado de las grabaciones es el único disco conceptual del grupo, donde pieza por pieza se va ligando en una fiesta de ritmos latinoamericanos mezclados con ápices de rock y hardcore.

El grupo como tal no interpreta los temas de "Casa Babylon" en vivo, aunque varios de sus miembros realizan algunas presentaciones en Espańa con nombres diferentes, como Larchuma FC o Radio Bemba, y ofrecen algunas colaboraciones con otros grupos, sobre todo con Negu Gorriak, del País Vasco.

Casa Babylon es el cuarto álbum de estudio de Mano Negra y el sexto de la banda. Fue lanzado al mercado en 1994 con la discográfica Virgin France.

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1 	Mano Negra 			0:59 	
2 	King Kong Five 			1:55 	
3	Soledad 			2:35 	
4	Mala Vida 			2:54					play 	
5	Sidi H' Bibi 			3:23 	
6	Rock Island Line 			3:09 	
7	Noche de acción 			2:47 	
8	Guayaquil City 			3:00 	
9	Peligro 			2:52 	
10	Sueño de Solentíname 			2:50 	
11	Indios De Barcelona 			2:39 	
12	Mad Man's Dead 			2:00 	
13	Senor Matanza 			3:57 	
14	Out Of Time Man 			3:23 	
15	Pas Assez De Toi 			2:18 	
16	King Of Bongo 			3:37 	
17	Ronde De Nuit 			2:57 	
18	Patchanka 			3:05					play 	
19	Salga La Luna 			3:33 	
20	Santa Maradona 			3:15 	
21	El Sur 			0:59 	
22	Long Long Nite 			4:15 	
23	On Telefon 			1:35 	
24	Darling Darling 			1:48

Personnel:
    Manu Chao -     Guitar, Vocals
    Anouk -     Vocals
    Pierre "Kropol" Gauthe -     Trombone, Vocals
    Jimmy Miller -    Vocals
    Chino -     Sound Effects Engineer

The Best of Mano Negra showcases the eclectic style that made the band an influential cult favorite among political punks. Mano Negra's combination of Arab, African and punk styles and a socially conscious outlook inspired like-minded artists such as Rage Against the Machine, and this 24-track collection spotlights their incendiary, energetic sound. Tracks include "Mala Vida," "Rock Island Line," "Peligro" and "Mad Man's Dead." --- Heather Phares, Rovi

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1.    "Bring The Fire" (Manu Chao, Mano Negra) – 3:27
2.    "King of Bongo" (Manu Chao, Mano Negra) – 3:38
3.    "Don't Want You No More" (Manu Chao, Mano Negra) – 3:07
4.    "Le Bruit Du Frigo" (Manu Chao, Mano Negra) – 3:10
5.    "Letter To The Censors" (Manu Chao, Mano Negra) – 2:30
6.    "El Jako" (Manu Chao, Mano Negra) – 2:48						play
7.    "It's My Heart" (Mano Negra) – 1:42
8.    "Mad Man's Dead" (Manu Chao, Mano Negra) – 2:43
9.    "Out Of Time Man" (Manu Chao, Mano Negra) – 3:25
10.    "Mme Oscar" (Manu Chao, Mano Negra) – 2:37
11.    "Welcome In Occident" (Manu Chao, Mano Negra) – 4:20			play
12.    "Furious Fiesta" (Manu Chao, Mano Negra) – 1:26
13.    "The Fool" (Lee Hazelwood, arranged by Mano Negra) – 2:49
14.    "Paris La Nuit" (Manu Chao) – 3:20

Band line-up
    Oscar Tramor (Manu Chao) – Lead Vocals & Guitar
    Tonio Del Borño (Antoine Chao) – Trumpet & Vocals
    Santiago "El Águila" Casariego – Drums & Vocals
    Garbancito (Philippe Teboul) – Percussion & Vocals
    Roger Cageot (Daniel Jamet) – Lead Guitar & Vocals
    Jo (Olivier Dahan) – Bass & Vocals
    Helmut Krumar (Thomas Darnal) – Keyboards & Vocals

King of Bongo showcases Mano Negra as a straightforward rock band, downplaying its trademark eclecticism and turning up the guitars. The manic rhythmic drive is throttled back, and the broad range of styles the group explored on Puta's Fever only pop up sporadically to spice the rock context. The almost all-English lyrics embrace the outlaw rocker stance, and the material is largely geared toward emphasizing Mano Negra's connection with the punk side of the rock spectrum. The ranting rave-up "Letter to the Censors" isn't that far from Motörhead, and the acoustic guitar and organ on "Out of Time Man" has a feel close to Iggy Pop's "The Passenger." "Don't Want You No More" even lopes along at a country & western-flavored clip. Mano Negra can rock hard and convincingly -- notably on the steady, rolling title track or when blending dub reggae and rap elements into "Bring the Fire" -- and the music still offers much more variety than the rock norm here. While King of Bongo isn't a bad album (and its English-language rock orientation might be easier for many people to connect with), it is the least distinctive of Mano Negra's career. --- Don Snowden, allmusic.com

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1. Mano Negra
2. Rock 'N' Roll Band
3. King Kong Five
4. Mala Vida
5. Indios de Barcelona
6. Sidi H' Bibi
7. Rebel Spell
8. Peligro						play
9. Pas Assez de Toi
10. Magic Dice
11. Mad House
12. Guayaquil City
13. Voodoo
14. Patchanka					play
15. Rancon du Succes
16. Devil's Call
17. El Sur
18. Patchuko Hop

Band line-up
    Oscar Tramor (Manu Chao) – Lead Vocals & Guitar
    Tonio Del Borño (Antoine Chao) – Trompet & Vocals
    Santiago "El Águila" Casariego – Drums & Vocals
    Garbancito (Philippe Teboul) – Percussion & Vocals
    Roger Cageot (Daniel Jamet) – Lead Guitar & Vocals
    Jo (Olivier Dahan) – Bass & Vocals
    Helmut Krumar (Thomas Darnal) – Keyboards & Vocals
    Krøpöl 1er (Pierre Gauthé) – Trombone & Vocals
+
    Mme Oscar (Anouk) – Vocals
    Napo "Chihuahua" Romero – Vocals
    Alain "L'Enclume De Choisy" Wampas – Double Bass & Vocals
    Zofia – Vocals

The highly influential Puta's Fever opened the door for a flood of young rock bands outside the English-speaking music world to fashion new hybrids that reflected their own musical cultures blended with popular worldwide sounds like rock and reggae. Manu Chao and company started from patchanka, a fast-paced French music hall style that sounds like speeded-up ragtime or hot jazz, and started singing songs in Spanish, French, and Arabic. The motor driving all the disparate elements on Puta's Fever is Santiago el Aguila Casariego's fierce drumming. And what an array of styles -- calliope-like keyboards, a Latin groove on "Patchanka," Tex-Mex on Joe "King" Carrasco's "Patchuko Hop," and dub reggae on "Peligro" -- pass through Mano Negra's manic mix. "Mano Negra" sounds like soundtrack music for a spaghetti western surf movie (really), while "Rebel Spell" marries a gospel chorus and hard rock guitar to a rapped street tale of shooting Brother Rasta dead. Puta's Fever is a triumph of eclecticism as a style where each song shifts into a different musical gear, and one key jumping-off point for the rock en español (or Latin alternative) school. Which doesn't mean that Mano Negra abandoned their original inspiration -- English lyrics dominate and there's a strong identification with a classic rock & roll outlaw stance in "Rock 'N' Roll Band" and the '50s-rooted "Devil's Call." ---Don Snowden, AMG

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1. "Mano Negra" – 2:13 
2. "Magic Dice" – 2:34 
3. "County Line" – 2:21 
4. "Don't Want You No More" – 2:34 
5. "Lonesome Bop" – 2:33					play 
6. "Mano Negra" – 0:52 
7. "Rock Island Line" - 2:38 
8. "King Kong Five" - 3:55 
9. "Mad Man's Dead" - 2:01 
10. "Bring The Fire" - 3:29 
11. "Indios De Barcelona" - 2:23 
12. "El Sur" - 1:23 
13. "Killing Rats" - 2:54 
14. "Mano Negra" - 0:40 
15. "Sidi H' Bibi" - 3:27 
16. "The Rebel Spell" - 3:23 
17. "I Fought The Law" - 1:51 
18. "Mano Negra" - 0:19 
19. "Darling Darling" - 1:45 
20. "Patchuko Hop" - 2:32 
21. "Mala Vida" - 2:31 
22. "Junky Beat" - 2:18 
23. "Madeline" - 1:37						play

    Manu Chao: Lead Vocals & Guitar
    Antoine Chao: Trompet & Vocals
    Santiago Casariego: Drums & Vocals
    Philippe Teboul: Percussion & Vocals
    Daniel Jamet: Lead Guitar & Vocals
    Olivier Dahan: Bass & Vocals
    Thomas Darnal: Keyboards & Vocals
    Pierre Gauthé: Trombone & Vocals

As if Mano Negra records weren't wild and wooly enough in the studio, to have them recorded live in front of a packed house in Kawasaki, Japan, where the crowd can't get enough, is almost too much to bear on CD. This set not only has every Negra classic on it you can image -- "Magic Dice," "County Line," "King Kong Five," "Indios de Barcelona," "El Sur," "Mad Man's Dead," four versions of "Mano Negra," "Pachuko Hop," "Mala Vida," "Junky Beat," "The Rebel Spell," and "Killing Rats" -- but every version here is the definitive one. The crazy rockabilly, swing, ska, polka, mariachi, punk, bluesed-out energetic fireball that is Mano Negra live has lost nothing in translation to this CD. A set that is seamless from beginning to end (and unedited), the sound and balancing are near perfect and all the edges are readily apparent to the human ear. There is energy, fun, excitement, pathos, derangement, sickness, blood, sex, and dope oozing from every cut here. Enough said. --- Thom Jurek

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01. Mano Negra
02. Ronde De Nuit
03. Baby You're Mine
04. Indios De Barcelona			play
05. Rock Island Line
06. Noche De Accion
07. Darling Darling
08. Killin' Rats				play
09. Mala Vida
10. Takin' It Up
11. La Ventura
12. Lonesome Bop
13. Bragg Jack
14. Salga La Luna

Personnel: 
Oscar Tramor (Vocals, Guitar)
Santiago Casariego (Drums, Percussion, Vocals)
Gilles (Guitar, Vocals)
Alain (Contrabass, Vocals)
Geo (Synthesizer, Vocals)
Jean-Marc "Guilouli" (Bass)
Fred (Bass)
Mamack (Vocals, Saxophone)
Anouk (Vocals)
Denis (Vocals)

The debut from Mano Negra is more than a band wanting to be the Clash. It's the sound of a band becoming the Clash (it compresses all the musical sprawl of Sandinista! into a single disc), then going on to find their own sound, most especially with tracks like "Indios de Barcelona" and "Mala Vida," both of which would become staples of their repertoire. "Killin' Rats" is a perfect mix of hip-hop and rock, while their take on the traditional "Rock Island Line" (the song that launched the skiffle movement of the '50s) flows through several musical styles in the course of three minutes. There's nothing that complex about it, but the best rock & roll has always been simple. But there's an undeniable fire about Patchanka -- they sound as if they've just discovered rock, and they play as if their lives depended on it, with Chao singing (probably one of the few to take Joe Strummer as a vocal model) and the rest of the band offering soccer-style chanting as a background.

They're not afraid of anything, they're immortal, and they swagger -- and they're often funny, as in the over-the-top fake applause that permeates "Mano Negra," the album's opener. Not everything works -- two of the English-language tracks, "Baby You're Mine" and "Takin' It Up" (which slows the pace -- a bad idea on an album that had been merrily careening to that point), seem like sops to an Anglo market, although the second half of the latter song does pick up with some fake rockabilly. There are plenty of touches of ska, as on "Bragg Jack," which fits in with the grab-bag music ethic, and the album never runs out of steam, a bravura piece of energy and invention, even putting a punk hold on flamenco with the closing "Salga la Luna." But perhaps its most remarkable achievement is that in 1988, when acid house was rendering guitars obsolete all over Europe, Mano Negra could make such a vital record that made rock important again. --- Chris Nickson, AMG

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