One of the world's best mariachi groups presents its best talents--excellent musicianship, superb ensemble playing, and solid material--on this 12-song collection of traditional Mexican sones and huapangos. From the crisply played "Son de la Negra," with its tension-filled violin strings, to the fun-filled cumbia "Las Copetonas," this CD sparkles with the energy and verve of world-class mariachis. On "Violin Huapango" the string players lay down increasingly sharp-edged strains leading up to an intricate tradeoff with the horns. But all is not serious work here. "El Mariachi Loco" rings with foot-stomping rhythms and sing-along-though-absurd lyrics about a party-mad mariachi, while "El Becerro" pokes fun at sheep. And while "El Querreque" and "Violin Huapango" have minimal lyrics, these are actual instrumental workouts, aimed at putting on display Mariachi Vargas' amazing speed and dexterity. --Ramiro Burr

Even in the northern states, Mexican music is easy to find on American radio, but airplay almost exclusively consists of the Tex-Mex norteņo style. In contrast, there's barely an accordion in earshot on this sparkling collection of traditionally rooted songs. Los Bravos del Norte de Ramon Ayala weigh in with the bouncy ranchera "Andan Dicendo," but on all other fronts guitar trills rather than squeezebox sighs propel the music. With violin swoops and falsetto vocals, La Calaca unleash the galloping son huasteco/ranchera "Rogaciano." The same ensemble graces the gusto "El Tecolote" with less ferocity but equivalent momentum. Los Lobos dip way into their past with a 1977 version of the son jarocho sped up into a self-proclaimed son loco on "Flor de Huevo," complete with dizzying fretwork and a flailing rhythm. The delicate instrumental son istemeno wedding song "Mediu Xhiga" from Dueto de los Hermanos Rios brings exquisitely ornamented requinto guitar from Mexico's Pacific Coast. Rounding out the set is a slice of Latin cabaret complete with braying clarinets and a gritty vocal takeoff on, of all things, a traditional Mexican Christmas carol via Lhasa de Sela's "Los Peces." --Bob Tarte

Singer-songwriter Lila Downs uses these 15 compositions (both originals and covers) to explore the joys and sorrows experienced by Mexican immigrants who cross the border for a better life only to experience exploitation and racism in this country. A child of a Mixtec Indian mother and Anglo-American father, the talented Downs brings in a fresh perspective from two cultural worlds. She imbues the Mexican cumbia style--which is itself a variation on a Colombian form of dance music integrating Latin, Native American, and African styles--with blues, jazz, and even a little hip-hop as pre-Colombian and Mexican percussion nestles comfortably with strings and electric guitar, piano, and bass. Lila Downs is a wide-ranging singer who passionately expresses her melancholic subject matter without lapsing into melodrama, and with this album she crosses musical borders of her own. --Bryan Reesman

Topflight pop singer pays tribute to her heritage on this amazing roots ranchera album that also features excellent backing by the world-famous Mariachi Vargas, all under the experienced hand of master arranger-composer-producer Ruben Fuentes. Everything clicks wonderfully here, but numbers that set a new standard include "Tu Solo Tu," an incredibly harmonic love ode; "Por un Amor," on the price of real love; and "Los Laureles," a song of declaration on which Ronstadt soars unbelievably high. These are old Mexican classics, played by arguably the world's best mariachi group and sung by one of North America's greatest vocal talents. Extras include performances by another world figure, requinto player Gilbert Puente, who made trio history when he led Mexico's Los Tres Reyes in the '50s and '60s. In the mariachi-ranchera genre, this CD easily ranks among the very best. --Ramiro Burr