Bongo drum

A pair of bongos
Percussion instrument
Other names	Bongos
Classification	percussion instrument
Playing range
A2 – G4
Related instruments
Conga drum

Bongos (Spanish: bongó) are an Afro-Cuban percussion instrument consisting of a pair of single-headed, open-ended drums attached to each other. The drums are of different size: the larger drum is called in Spanish the hembra (female) and the smaller the macho (male). They are membranophones, or instruments that create sound by a vibration against a stretched membrane.^[1]

History[link]

The bongos originated in the folkloric music known as changüí, in the eastern region of Cuba known as the "Oriente", during the nineteenth century. The bongos used in changüí are known as bongó el monte, are larger and tuned lower than their modern counterparts, have tack-heads instead of tunable hardware, and play in a manner similar to rumba quinto and other folkloric lead drum parts.^[2] (Hear bongó el monte "Ritmo changüí" with Grupo Exploracion). Bongos are also used in the related Cuban musical genre known as son.

The bongos came to western Cuba at the turn of the twentieth century, when the son migrated to the capital city of Havana. With the advent of the son montuno in the late 1930s, bongo players (bongoceros) began playing a large hand-held cowbell (bongo bell) during the chorus (montuno) section of songs.

Technique[link]

Bongo drums produce relatively high-pitched sounds compared to conga drums, and should be held behind the knees with the larger drum on the right when right-handed. It is most often played by hand and is especially associated in Cuban music with a steady pattern or ostinato of eighth-notes known as the martillo or "hammer".^[3] (See "The Martillo Pattern" with Manny Oquendo and "Bongo Riffs" with Johnny "Dandy" Rodriguez.) They are traditionally played by striking the edge of the drumheads with the fingers and palms. The glissando used with bongó de monte is done by rubbing the third finger, supported by the thumb, across the head of the drum. The finger is sometimes moistened with saliva, or sweat before rubbing it across the head.^[4] When used in art music compositions they are usually struck with drum sticks. These drums can also be played on a stand, as is the case with concert orchestras and bands.

References[link]

1. ^ http://www.bongomania.com/eng/articles/thebasics1.html
2. ^ Lapidus, Ben (2008). Origins of Cuban Music and Dance; Changüí p. 21-23. Lanham, MA: Scarecrow Press. ISBN 978-0-8108-6204-3
3. ^ "The Martillo Pattern" (Manny Oquendo). Unlocking Clave. Web. Facebook. http://www.facebook.com/video/video.php?v=198532850185375
4. ^ Salloum, Trevor. The Bongo Book Mel Bay.

External links[link]

• Bongo Mania article
• Collection of Bongo Videos
• Worldwide Bongo Group
• the Rhythmweb Bongo Page

The Edge
Background information
Birth name	David Howell Evans
Born	(1961-08-08) 8 August 1961 (age 50) Barking, Essex, England, United Kingdom
Origin	County Dublin, Ireland
Genres	Rock, post-punk, alternative rock
Occupations	Musician, songwriter, activist
Instruments	Guitar, vocals, keyboards, piano, bass guitar
Years active	1976–present
Labels	Island, Mercury
Associated acts	U2, Passengers
Website	www.u2.com
Notable instruments
Gibson Explorer Fender Stratocaster Gibson Les Paul Fender Telecaster Gretsch Country Gentleman Gretsch White Falcon Rickenbacker 330/12

David Howell Evans (born 8 August 1961), more widely known by his stage name The Edge (or just Edge),^[1] is a musician best known as the guitarist, backing vocalist, and keyboardist of the Irish rock band U2. A member of the group since its inception, he has recorded 12 studio albums with the band and has released one solo record. As a guitarist, The Edge has crafted a minimalistic and textural style of playing. His use of a rhythmic delay effect yields a distinctive ambient, chiming sound that has become a signature of U2's music.

The Edge was born in England to a Welsh family, but was raised in Ireland after moving there as an infant. In 1976, at Mount Temple Comprehensive School, he formed U2 with his fellow students and his older brother Dik. Inspired by the ethos of punk rock and its basic arrangements, the group began to write its own material. They eventually became one of the most popular acts in popular music, with successful albums such as 1987's The Joshua Tree and 1991's Achtung Baby. Over the years, The Edge has experimented with various guitar effects and introduced influences from several genres of music into his own style, including American roots music, industrial music, and alternative rock. With U2, The Edge has also played keyboards, co-produced their 1993 record Zooropa, and occasionally contributed lyrics. The Edge met his second and current wife, Morleigh Steinberg, through her collaborations with the band.

As a member of U2 and as an individual, The Edge has campaigned for human rights and philanthropic causes. He co-founded Music Rising, a charity to support musicians affected by Hurricane Katrina. He has collaborated with U2 bandmate Bono on several projects, including songs for Roy Orbison and Tina Turner, and the soundtracks to the musical Spider-Man: Turn Off the Dark and the Royal Shakespeare Company's London stage adaptation of A Clockwork Orange. In 2011, Rolling Stone magazine placed him at number 38 on its list of "The 100 Greatest Guitarists of All Time".

Personal life[link]

The Edge at a U2 concert in Anaheim (2005)

David Howell Evans was born at the Barking Maternity Hospital,^[2] Essex, England to Welsh parents Garvin and Gwenda Evans.^[1] When he was one, his family moved to County Dublin, Ireland where he attended St Andrew's National School. He received piano and guitar lessons and often performed with his brother Dik Evans before they both answered an advertisement posted by Larry Mullen, Jr. at their school, Mount Temple Comprehensive School, seeking musicians to form a band.^[3] The band accepted both of them. This band went through several incarnations before emerging as U2 in March 1978 (Dik Evans left the band just before the name change).^[3] U2 began performing in various venues in Ireland and eventually began developing a following. Their debut album, Boy, was released in 1980.

In 1981, leading up to the October tour, Evans came very close to leaving U2 for religious reasons, but he decided to stay.^[3] During this period, he became involved with a group called Shalom Tigers, in which bandmates Bono and Larry Mullen Jr. were also involved.^[4] Shortly after deciding to remain with the band, he wrote a piece of music that later became "Sunday Bloody Sunday".^[3] The Edge married his high school girlfriend Aislinn O'Sullivan on 12 July 1983.^[5] The couple had three daughters together: Hollie in 1984, Arran in 1985 and Blue Angel in 1989.^[4] The couple separated in 1990, but were unable to get officially divorced because of Irish laws regarding marriage annulment; divorce was legalised in 1995 and the couple were legally divorced in 1996.^[4]

In 1993, The Edge began dating Morleigh Steinberg, a professional dancer and choreographer employed by the band as a belly dancer during the Zoo TV Tour. They had a daughter, Sian (born 1997), and a son, Levi (born 25 October 1999),^[4] before marrying on 22 June 2002.^[4] He appeared in the 2009 music documentary film It Might Get Loud.^[6] The Edge has been criticized for his efforts to build five luxury mansions on a 156 acre plot of land in Malibu, California.^[7] The California Coastal Commission voted 8-4 against the plans, with the project described by the commission's executive director, Peter Douglas, as "In 38 years...one of the three worst projects that I've seen in terms of environmental devastation...It's a contradiction in terms – you can't be serious about being an environmentalist and pick this location."^[7] The Santa Monica Mountains Conservancy agreed to remain neutral on the issue following a $1 million donation from The Edge and a commitment from The Edge to designate 100 acres of the land as open space for public footpaths.^[7]

Music style[link]

Guitar playing[link]

As a guitar player, The Edge has a sound typified by a low-key playing style, a chiming, shimmering sound (thanks in part to the sound of VOX AC-30s) that he achieves with extensive use of delay effects and reverb. The feedback delay is often set to a dotted eighth note (3/16 of a measure), and the feedback gain is adjusted until a note played repeats two or three times.^{[citation needed]}

On 1987's The Joshua Tree, The Edge often contributes just a few simple lead lines given depth and richness by an ever-present delay. For example, the introduction to "Where the Streets Have No Name" is simply a repeated six-note arpeggio, broadened by a modulated delay effect. The Edge has said that he views musical notes as "expensive", in that he prefers to play as few notes as possible. He said in 1982 of his style,

"I like a nice ringing sound on guitar, and most of my chords I find two strings and make them ring the same note, so it's almost like a 12-string sound. So for E I might play a B, E, E and B and make it ring. It works very well with the Gibson Explorer. It's funny because the bass end of the Explorer was so awful that I used to stay away from the low strings, and a lot of the chords I played were very trebly, on the first four, or even three strings. I discovered that through using this one area of the fretboard I was developing a very stylized way of doing something that someone else would play in a normal way."^[9]

Many different influences have shaped The Edge's guitar technique.^{[citation needed]} His first guitar was an old acoustic guitar that his mother bought him at a local flea market for only a few pounds; he was nine at the time. He and his brother Dik Evans both experimented with this instrument.^[9] He said in 1982 of this early experimentation, "I suppose the first link in the chain was a visit to the local jumble sale where I purchased a guitar for a pound. That was my first instrument. It was an acoustic guitar and me and my elder brother Dik both played it, plonking away, all very rudimentary stuff, open chords and all that."^[9] The Edge has stated that many of his guitar parts are based around guitar effects. This is especially true from the Achtung Baby era onwards, although much of the band's 1980s material made heavy use of echos.

Vocals[link]

The Edge in June 2005

The Edge also supplies the backing vocals for U2. U2's 1983 live album and video release, Under a Blood Red Sky and Live at Red Rocks: Under a Blood Red Sky are good reference points for his singing (as are the live DVDs from the Elevation Tour, U2 Go Home: Live from Slane Castle and Elevation 2001: Live from Boston). For example, he sings the chorus to "Sunday Bloody Sunday" (Bono harmonizes on the final 'Sunday'). U2 used this tradeoff technique later in "Bullet the Blue Sky" as well. His backing vocals are sometimes in the form of a repeated cry; examples of songs that use this approach include "Beautiful Day", "New Year's Day" and "Stay (Faraway, So Close!)". Another technique he uses in his backing vocals is the falsetto, in songs such as "Stuck in a Moment You Can't Get Out Of", "Sometimes You Can't Make It on Your Own", "A Man and a Woman", "The Wanderer", live versions of "The Fly", and "Window in the Skies".

The Edge sings the lead vocal on "Van Diemen's Land" and "Numb", the first half of the song "Seconds", dual vocals with Bono in "Discotheque", and the bridge in the song "Miracle Drug".^[4] He also sings the occasional lead vocal in live renditions of other songs (such as "Sunday Bloody Sunday" during the PopMart Tour and "Party Girl" during the Rotterdam Zoo TV show when it was Bono's birthday).^[10] He also plays a solo acoustic version of the song "Love is Blindness" that is featured in the documentary film From the Sky Down.

Other instruments[link]

He has played piano and keyboards on many of the band's songs, including "I Fall Down", "October", "So Cruel", "New Year's Day", "Running to Stand Still", "Miss Sarajevo", "The Hands that Built America", and "Original of the Species" and others. He plays the organ on "Please". In live versions of "New Year's Day", "The Unforgettable Fire", "Your Blue Room", and "Moment of Surrender", he plays both the piano and guitar parts alternately. In most live versions of "Original of the Species," piano is the only instrument played during the song. Although The Edge is the band's lead guitarist, he occasionally plays bass guitar, including the live performances of the song "40" where The Edge and bassist Adam Clayton switch instruments.

Solo recordings[link]

In addition to his regular role within U2, The Edge has also recorded with such artists as Johnny Cash, B. B. King, Tina Turner, Ronnie Wood, Jay-Z, and Rihanna. The Edge connected with Brian Eno and Lanois collaborator Michael Brook (the creator of the infinite guitar, which he regularly uses), working with him on the score to the film Captive (1986). From this soundtrack the song "Heroine", the vocal of which was sung by a young Sinéad O'Connor was released as a single.

He also created the theme song for season one and two of The Batman. He and fellow U2 member, Bono, wrote the lyrics to the theme of the 1995 James Bond film GoldenEye. The Edge, along with bandmate Bono, recently composed a musical adaptation of Spider-Man. On May 25, 2011, a single titled Rise Above 1: Reeve Carney Featuring Bono and The Edge was released digitally.^[11] The music video was released on July 28, 2011.^[12]

Musical equipment[link]

Edge's 1964 Vox AC30 on stage in Foxborough for the U2 360° Tour.

The Edge plays electric guitar, acoustic guitar, keyboards, piano, bass guitar (on "40" and "Race Against Time") and lap steel guitar. Compared to many lead guitarists, The Edge is known for using many more guitars during a show. According to his guitar tech Dallas Schoo, a typical lead guitarist uses four or five different guitars in one night, whereas The Edge takes 45 on the road, and uses 17 to 19 in one 2.5-hour concert. He is estimated to have more than 200 guitars in the studio.^{[citation needed]}

Philanthropy[link]

In 2005, The Edge along with Bob Ezrin and Henry Juszkiewicz co-founded Music Rising, a charity that helped provide replacement instruments for those that were lost in Hurricane Katrina. The instruments were originally only replaced for professional musicians but they soon realized the community churches and schools needed instruments as well. The charity's slogan is "Rebuilding the Gulf Region note by note" and has so far helped over a hundred musicians who were affected by Hurricane Katrina. The Edge also serves on the board of the Angiogenesis Foundation, a 501(c)(3) nonprofit organization dedicated to improving global health by advancing angiogenesis-based medicine, diets, and lifestyle.^[13]

See also[link]

• Timeline of U2
• List of people on stamps of Ireland

References[link]

Footnotes

Bibliography

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (October 2011)

Wikimedia Commons has media related to: The Edge

Wikiquote has a collection of quotations related to: The Edge

• U2.com, official U2 site
• Music Rising
• The Edge at the Internet Movie Database
• The Edge – Album Credits
• A Study of The Edge's Guitar Delay
• The Edge: 'It's all about the vision'
• Food Bank For New York City public service announcement
• Comment on the mathematical analysis of The Edge's guitar sound

http://www.kosamusic.com/archives/MemoAcevedo_web-03.jpg

Memo Acevedo is an Afro-Cuban jazz drummer born in Santa Fe de Bogotá, Colombia. He is most often a sideman, though he has recorded one album as leader titled "Building Bridges" from 1993 released by The Jazz Alliance. He has worked with various musicians such as Tito Puente, the band Irakere, singer Mark Murphy, flutist Bill McBirnie, among many others. Memo is a Taye Drums endorser. Acevedo was a professor at New York University.^[1]

Acevedo was awarded the Percussive Arts Society President’s Industry Award in 2011.^[2]

Acevedo has performed as guest faculty at the Yakima Valley Community College Latin Music Festival several times, most recently in May, 2012.^{[1] [3]}

Discography[link]

• Building Bridges (1993, The Jazz Alliance)

References[link]

Manu Chao
Manu Chao performing at the 2007 Coachella Valley Music and Arts Festival
Background information
Birth name	José-Manuel Thomas Arthur Chao Ortega
Also known as	Oscar Tramor
Born	(1961-06-21) June 21, 1961 (age 51) Paris, France
Genres	Alternative rock, ska, punk, reggae, Latin Alternative, salsa
Occupations	Musician, record producer
Instruments	Vocals, guitar, bass, keyboard
Years active	1984–present
Labels	Nacional Records (U.S.) Because Music (France) Virgin Records
Associated acts	Mano Negra Radio Bemba Sound System
Website	www.manuchao.net

Manu Chao (born José-Manuel Thomas Arthur Chao on June 21, 1961), is a French singer of Spanish roots (Basque and Galician). He sings in French, Spanish, English, Italian, Galician, Arabic and Portuguese and occasionally in other languages. Chao began his musical career in Paris, busking and playing with groups such as Hot Pants and Los Carayos, which combined a variety of languages and musical styles. With friends and his brother Antoine Chao, he founded the band Mano Negra in 1987, achieving considerable success, particularly in Europe. He became a solo artist after its breakup in 1995, and since then tours regularly with his live band, Radio Bemba.

Early life[link]

Chao was born to Spanish parents. His mother, Felisa Ortega, is from Bilbao, Basque country and his father, writer and journalist Ramón Chao, is from Vilalba, Galicia. They emigrated to Paris to avoid Francisco Franco's dictatorship—Manu's grandfather had been sentenced to death.^[1] Shortly after Manu's birth, the Chao family moved to the outskirts of Paris, and Manu spent most of his childhood in Boulogne-Billancourt and Sèvres. As he grew up he was surrounded by many artists and intellectuals, most of whom were acquaintances of his father.^[2] Chao cites much of his childhood experience as inspiration for some songs.^[3]

Career[link]

Manu Chao performs live

Early years and Mano Negra[link]

Heavily influenced by the UK rock scene, particularly The Clash, The Jam and Dr. Feelgood,^[4] Chao and other musicians formed the Spanish/English rockabilly group Hot Pants in the mid-1980s. The group released a demo entitled "Mala Vida" in 1984, which received plenty of local critical praise but otherwise gained them little attention. By the time the group released their first album in 1986 the Parisian alternative music scene had taken flight, and Manu, his brother Antoine Chao, and friends such as Alain from Les Wampas formed Los Carayos to incorporate this sound with the rockabilly and punk styles of Hot Pants. Los Carayos remained a side project of the artists for eight years, releasing three albums in the first two years followed by a final album in 1994.

In 1987, the Chao brothers and their cousin Santiago Casariego founded the multiracial band Mano Negra. Starting on a smaller label, the group released a reworked version of the Hot Pants single "Mala Vida", which quickly became a hit in France. The group soon moved to Virgin Records, and their first album Patchanka was released the following year. Though the group never gained much fame in the English-speaking market, popularity throughout the rest of the world soon followed, reaching the Top #5 in the Netherlands, Italy and Germany. The band achieved some fame in South America with 1992's Cargo Tour, where it played a series of shows in port cities, performing from a stage built into their tour ship's hold.^[5] Mano Negra also performed a tour through much of Colombia in a retired train, the "Ice Express".^[1] Still, rifts began to grow among band members during the port tour and the following year's train tour; many band members, including Manu's brother Antoine, had left the group by the end of 1994. Following that year's release of their final album, Casa Babylon, Manu Chao moved the band to Madrid, but legal problems with former band mates led Chao to disband the group in 1995.^[2]

Mano Negra's sound is mostly characterized by energetic, lively rhythms, symbolized by the title of their first album, Patchanka, derived from the word pachanga (which is a colloquial term for "party"), and a distinct informality which allows the audience to get involved and feel close to their sound. Mixed music genres are present throughout their albums. Manu Chao is friends with Gogol Bordello and that group has covered Mano Negra's song "Mala Vida" on their own and with Chao beginning in 2006.

Solo years with Radio Bemba[link]

Manu Chao in Prospect Park, Brooklyn, June 2007

After arriving in Madrid, Chao and other band mates from Mano Negra formed a new group, Radio Bemba Sound System (named for the communication system used in the Sierra Maestra by the Castro-and-Guevara-led rebels in the Cuban Revolution), featuring groups from diverse backgrounds, such as Mexican Tijuana No!, Brazilian Skank, and Argentinian Todos Tus Muertos.^[2] The goal was to replicate the sound of street music and bar scenes from a variety of cultures; to that end, Chao and the group spent several years travelling throughout South and Central America, recording new music as they went.^[6] The resulting music differed drastically from Mano Negra; the songs were primarily sung in Spanish with far fewer French tracks and the musical style had shifted from punk and alternative styles to the street vibe Chao was aiming for. The songs were collectively released as Clandestino in 1998, under Manu Chao's own name. Though not an instant success, the album gained a steady following in France with hits such as "Bongo Bong" and "Clandestino", and the album eventually earned the Best World Music Album award in 1999's Victoires de la Musique awards. It sold in excess of 5 million copies.^[1]

Chao's second album with Radio Bemba Sound System, Próxima Estación: Esperanza, was released in 2001. This album, named after one of the Madrid metro station stops (the title translates to "next station: Hope"), features similar sounds to Clandestino but with heavier Caribbean influences than the previous album. The album was an instant hit, leading to a successful tour that resulted in the 2002 live album Radio Bemba Sound System. Two years later, Chao returned to his French roots with the French-only album Sibérie m'était contée, which included a large book featuring lyrics to the album and illustrations by Jacek Woźniak.^[1][2]

Manu Chao's next album La Radiolina (literally "little radio" in Italian, but also "pocket radio") was released on September 17, 2007. This was the first international release since 2001's Próxima Estación: Esperanza. "Rainin in Paradize" was the first single from the album, available for download on his website before the release of the album.^[7] Concert reviews indicate that music from La Radiolina was already being performed live as early as April 2007's Coachella show.^[8]

Other works[link]

In 2003 he approached Amadou & Mariam and later produced their 2004 album Dimanche à Bamako ("Sunday in Bamako"). His song "Me llaman Calle", written for the 2005 Spanish film Princesas, earned that film a Goya nomination for Best Original Song. It has been released in 2007's La Radiolina. Vocals from the song are included in the Go Lem System song "Calle Go Lem". Time magazine named "Me Llaman Calle" one of The 10 Best Songs of 2007, ranking it at #8. Writer Josh Tyrangiel observed,

Chao's warm singing over José Manuel Gamboa and Carlos Herrero's leaping Flamenco counter melody creates a direct emotional line to the core of this mid-tempo ballad. With its easy melody and universal rhythm Me Llaman Calle walks proudly in the shadow of Bob Marley, the last guy who made world music this disarmingly simple.^[9]

His song "La Vida Tómbola" was featured in the documentary film Maradona by Serbian filmmaker Emir Kusturica.^[4] Manu Chao and Tonino Carotone performed the theme song "La Trampa" for the short-lived improvisational comedy Drew Carey's Green Screen Show.

The songs "Bongo Bong" and "Je ne t'aime plus", which appear back-to-back on Clandestino, were covered by British singers Robbie Williams and Lily Allen, who recorded them as a single track, "Bongo Bong and Je Ne T'aime Plus" and released it as a single from the album Rudebox.^[10][11]

Style and influences[link]

Manu Chao sings in Spanish, French, English, Portuguese, Galician, Arabic and Wolof,^[12] often mixing several languages in the same song. His music has many influences, as punk, rock, French chanson, Iberoamerican salsa, reggae, ska, and Algerian raï. These influences were obtained from immigrants in France, his Iberian connections, and foremost his travels in Mesoamerica as a nomad following the disbanding of Mano Negra.

Many of Chao's lyrics talk about immigration, love, living in ghettos and drugs and often carry a left-wing message. This reflects Chao's own political leanings—he is very close to the Zapatistas and their public spokesman, Subcomandante Marcos.^[1] His band Mano Negra is possibly a reference to an anarchist group. He has many followers among the European left, the Latin American left and the anti-globalisation and anti-free trade movements.^[13] He is also a founding member of ATTAC.^[14] Punk and reggae historian Vivien Goldman commented of his work, "I was writing about Good Charlotte and The Police. They adopted the trappings of punk. They aren’t bad groups, but the punk aspect is more manifested by somebody like Manu Chao. He's one of the punkiest artists out there I can think of. It's an inclusionary spirit that is punk."^[15]

Manu Chao performs in Paris, France

Chao also has a tendency to reuse music or lyrics from previous songs to form new songs. The contemporary hit single in France "Bongo Bong", takes its lyrics from the earlier Mano Negra hit "King of the Bongo", which bears a similar style to that of The Clash. The musical backdrop for "Bongo Bong", in turn, was used in several other Chao songs, including "Je Ne T'Aime Plus" from the same album and "Mr. Bobby" and "Homens" from Próxima Estación: Esperanza. Also, the tune of "La Primavera", a track from that same album, is used in several other songs featured on the LP, while lyrics for a few songs on Sibérie m'était contée are repeated several times with different music, leading the lyrics to be interpreted in various ways depending on the mood of the track. Several musical themes and clips from that album also appear on Amadou & Mariam's Chao-produced Dimanche à Bamako, which were being produced at approximately the same time.

Though Chao is quite well known in Europe and Latin America, he has not had the same success in the English-speaking world. Tours in the United States with Mano Negra were not as successful as elsewhere and Chao seems inclined to focus his efforts in the places where his musical style finds its roots. Though his live performances in the U.S. are infrequent, Chao played a handful of dates there in 2006, including a headlining show at Lollapalooza 2006 in Chicago, IL.^[16] His final appearance on his 2006 U.S. tour was a benefit concert in the Prospect Park Bandshell in Brooklyn, New York on August 7. He returned to that venue in the summer of 2007 for two concerts, part of the multicultural "Celebrate Brooklyn" concert series. The crowd was treated to a nearly two-hour performance, including two encores. Manu Chao also appeared at Merriweather Post Pavilion in Columbia, Maryland to a sellout crowd on June 23, 2007. This was a semi-spontaneous endeavour between Thievery Corporation and Manu Chao facilitated by a new-found friendship developed during Lollapalooza 2006.^[16] He was one of the headlining acts at the 2008 Austin City Limits Music Festival and the Outside Lands Music Festival in Golden Gate Park. In January 2012 he was the headline act at the opening night of Sydney Festival, marking his first concert in Australia.

Discography[link]

	"Mr. Bobby" noicon A 23 second sample of "Mr. Bobby", the last single from Próxima Estación: Esperanza. The song uses samples from diverse sources and several instruments layered on top of each other.
Problems listening to this file? See media help.

With Mano Negra[link]

• Patchanka (Virgin France, 1988)
• Puta's Fever (Virgin France, 1989)
• King of Bongo (Virgin France, 1991)
• In the Hell of Patchinko (Live in Japan, Virgin France, 1992)
• Casa Babylon (Virgin France, 1994)

Solo[link]

• Clandestino (Virgin, 1998)
• Próxima Estación: Esperanza (Virgin, 2001)
• Radio Bemba Sound System (live, Virgin, 2002)
• Sibérie m'était contée (Virgin, 2004)
• La Radiolina (Because/Nacional, 2007)
• Estación México (Live in Mexico, 2008, limited release)
• Baionarena (Double live CD + DVD), 2009

DVD[link]

• Babylonia en Guagua (2002)
• Mano Negra: Out of time (2005)
• Manu Chao & radiobemba:baionarena" (2009)

References[link]

Further reading[link]

• Chao, Ramón. Mano Negra en Colombia. Un tren de hielo y fuego (originally Un train de glace et de feu), 1994. A chronicle of Mano Negra's 1993 tour on Colombia's decrepit railway through small, rural villages, written by Manu's father, Ramón Chao. The name of the train, Expresso de Hielo, was inspired by the opening line of Gabriel García Márquez's novel One Hundred Years of Solitude.
• Chao, Ramón. The Train of Ice and Fire - Mano Negra in Colombia - (ISBN 9781901927375) Translated by Ann Wright, published in English by Route Route's Website

External links[link]

Wikimedia Commons has media related to: Manu Chao

• Official Site
• Manu Chao: I’d Like to Come Back Soon by the Cuban News Agency