El Show Debe Continua...Sigue Durango

Just as the umbrella term salsa has been applied to a variety of Afro-Cuban rhythms (son, cha-cha, guaguancó, mambo, guaracha, danzon, etc.), the term "regional Mexican music" doesn't describe one Mexican style but, rather, many Mexican styles. And while those who have a casual interest in Mexican music may know the lyrics to "Cielito Lindo" or "Alla en el Rancho Grande," they won't necessarily be able to describe the differences and similarities between norteño, mariachi, ranchera, and banda (just as the casual salsero may not know the difference between a charanga band and conjunto-style instrumentation). Casual fans of regional Mexican music who hear El Show Debe Continuar... will realize that it is Mexican-oriented, but they may not know that it is part of duranguense — an exuberant style that originated in Durango, Mexico. Although Banda Show Revelación use the word banda in their name, this album isn't banda in the traditional Banda el Recodo sense; duranguense is arguably a form of banda, but it isn't the same as Sinaloa-style banda. Duranguense has its own combination of instruments and offers a special energy of its own — an energy that is present throughout this 2004 release whether Revelación's members are singing about romantic disappointments on "Una Carta, un Adios" or getting into crime/outlaw themes on "La Mafia Muere." The duranguense flavor prevails whether Revelación are providing their own material or covering romantic singer Joan Sebastían's "Tatuajes." Of course, a tune like "Tatuajes" could have just as easily been arranged for norteño or mariachi bands, but El Show Debe Continuar... makes a point of being faithful to the Durango tradition — and Sebastían's song easily lends itself to a duranguense makeover. Whether one has a casual or deep interest in the Durango sound, El Show Debe Continuar... is a rewarding demonstration of what duranguense has to offer.