Bangin' Boogie

Mano Negra

Patchanka (1988)

Calling their punk take-down of French/Spanish traditionalism Patchanka, Mano Negra's first manifesto doubles as a best-of. Eighties clubber "Ronde de Nuit," gypsy body slam "Mala Vida," and the 1950s big fins of "Takin' It Up" all lead up to the Frankie Goes to Hollywood release of "La Ventura." Taut ska ("Lonesome Bop") and Spanish supplication ("Salga la Luna") clang it shut.

Mano Negra

Puta's Fever (1989)

International rollout. De la Soul-ish soundtrack staple "King Kong Five" preps another harrowing "Mala Vida," while Middle Eastern noir ("Sidi H' Bibi") duels it out with cutthroat Parisian fiddles ("Pas Assez de Toi") and "Voodoo." The previous LP's absent title track pops up here as a "Tequila"-flavored samba. Eighteen spring-loaded tracks double down like 36. Welcome to the fun house.

Mano Negra

King of Bongo (1991)

Puta's Fever breakthrough results in more English lyrics and arena rawk, plus another canonical classic: the George of the Jungle title track. Screamin' Jay Hawkins cartwheels in his grave every blessed time it's spun. Rabid ("Letter to the Censors") or suitable for children ("Out of Time Man"), Spanish SWAT shuffle "El Jako" and French tickler "Mme Oscar" can-can with Django motorway "Don't Want You No More."

Mano Negra

Casa Babylon (1994)

Final studio effort pledges Latin American solidarity while still bangin' Bongo. Despite "Super Chango," the entire house of cards collapses halfway through, then dubs and thuds 'til the end. Even in death throes, political pepper spray like "Bala Perdida" and "Machine Gun" – plus the fútbol hooliganism of "Santa Maradona" – passes off to the Guantanamera of "Senor Ma Tanza." Credit New Orleans' Dave Bartholomew on "The Monkey."

Manu Chao

Clandestino (1999)

Reset. Casa Babylon's Zapatistas are Clandestino's border fatalities, Mano Negra barely even a bloodstain amidst the nomadic 4-track nature of this road diary. Affecting accusations ("Desaparecido," "Mentira") nestle naturally with endearing ditties ("Bongo Bong") and gentle balladry ("Minha Galeria"). Other than the small village fair of "Luna y Sol" and upbeat "Malegria," Clandestino rings quietly, like a grandfather clock shipped to some far off Spanish colony.

Manu Chao

... Próxima Estación ... Esperanza (2001)

With Esperanza (hope) in the title, Proxima Estación (next stop) remains Chao's most life affirming and musically buoyant. Marinated in rich Caribbean instrumentation, carefree hammock kicker "Merry Blues," hemp woven affectionate "Me Gustas Tu," and Latin quarter seduction "Le Rendez Vous" warm the belly like buttered rum. Middle Eastern stealth ("Denia") and a Portuguese mash-up ("Homens") lighten contemplative closer "Infinita Tristeza."