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In a 2010 obituary, Cat Coore, the guitarist and cellist for the seminal reggae band Third World, called Gregory Isaacs “the Frank Sinatra of Jamaica.” It was one of those “it’s a stretch” references, necessary throughout the world to make a foreign performer resonate in dominant culture.

I’ve been collecting these references for 25 years now. Lets start with a faint whiff of Sinatra-essence that envelops the likes of Gregory, Eddie Santiago, Marc Anthony, Googoosh and Losif Kobzon. Read it and reap – the benefits and pitfalls of needing a touchstone, or perhaps repositioning the stone that the builder refused…

• “The Frank Sinatra & the new King of Salsa who puts on a macho sexy show”.
about Eddie Santiago, 11/1990, World Beat Magazine, UK, p. 4.

• “Marc Anthony – The New Sinatra?”
10/8/1999, Entertainment Weekly, #506, Cover headline.

• “Googoosh is Barbra Streisand, Elvis, Madonna and Frank Sinatra rolled into one.”
Termeh Rassi, (7/31/2000), “Like Holding My Pillow”, The Iranian.

• “He is Losif Kobzon, Russia’s Frank Sinatra, for decades the favored crooner of Russian TV and variety shows, and for decades both the friend of the powerful and a power player in his own right.”
Yuri Kozyrev, The New York Times via Alison Smale, Moscow Journal, “The Smoothest Soviet Crooner, Still in Good Voice.” 4/25/2002. Plus many others, incl. Wikipedia on Joseph Kobzon, and BBC world on NPR, NYC, am 5/8/2014

Here’s a few more singing, “Well they call me the great pre-tend-er.”

• “Riley is to Cajun music what neo-traditionalist Dwight Yoakum is to country, what rebopper Wynton Marsalis is to jazz.”
Steve Riley quoted in, Greg Cahill, (9/29/1993), The Pacific Sun, Mill Valley, CA.

• “In a field populated by characters full of braggadocio, Lion is the master of hyperbole, a veritable Jelly Roll Morton of calypso”.
Donald R. Hill, (1993), Calypso Calaloo, p. 106.

• “In the old days, Celia Cruz – Cuba’s Madonna – had a residency here [the Tropicana nightclub].”
Sue Steward, (8/1986), “Do You Like Latin Music?” The Face, #76, p. 58.

• “Some called Selena, the 24 year old Tejano artist, the Latin Madonna – without the controversy…”
…commenting on Selena being the first Latin artists to enter the Billboard charts at #1 and replacing Janet Jackson by having the fastest selling recording by a female ever. 7/30/1995, CBS Sunday News.

• Alisha: The Hindu Madonna
Cassette cover

• Gloria Trevi: The Mexican Madonna

• “Patricia Kaas, a Gallic Madonna”.
Stephen Holden, (9/30/1993), “Pop and Jazz in Review,” New York Times, p. C-17.

• “Is Tshala Muana Zaire’s Madonna or just plain queen of Moutouashi?”
11/1990, World Beat Magazine, UK, p. 38.

• “She has affectionately been called the Argentine Piaf”.
…about Tango singer Marikena Monti, 9/1994, Ballroom Niteclub, NYC, press kit.

• “She became known as Cheikha Remitti, the Piaf of rai.”
…about early rai vocalist Cheikha Remitti el Ghilzania. Rough Guide, p. 127.

• “I can’t believe this is the Brazilian Edith Piaf, the same husky-voiced supercharged torch singer I witnessed holding an audience in thrall for three nonstop hours at the Olympia in Paris.”
…about Maria Bethania. Why Is This Country Dancing, p. 180.

• Celia Cruz. “She is the Latin Ella Fitzgerald”.
Ralph Mercado. in Marre & Charlton, Beats of the Heart book. p. 81

• “Johnny Canales, the Ed Sullivan of Tejano music”
Ismael Dovalina, 1992, Tejano Conjunto festival booklet, p.28.

• “Amina: The Cleopatra of Paris-Tunisian disco”
1989, Straight No Chaser, Winter, p. 41.

• “Conjunto legend Esteban Jordan has been called the Jimi Hendrix of the accordion.”
Claudia Perry, (6/17/1990), The Houston Post.

• “…have led some to call him ‘Jimmi Hendrix of the Accordion”’.
about Steve Jordan. John Morthland, (1995), Legends of the Accordion CD notes.

• “If Jordan is the the Hendrix of the accordion, Flaco Jimenez is its Charlie Parker for the rhythmic finess and fluidity he brings to his own executions off traditional lines.”
John Morthland (1995), Legends of the Accordion CD notes.

• “Aweke’s wild and joyous keening has the kick of a desert-bred Aretha Franklin”
about ethiopian snger Aster Aweke. 10/1991, Entertainment Weekly via Columbia Records press kit.

• “…Abidjan now correctly has a reputation as an Eldorado of African music,…”
Sweet Mother, p. 65.

• “She has been called the Bessie Smith of Egypt, and for stark passion she was all of that.”
…about Umm Kulthum. John Storm Roberts, All Music Guide, p. 855.

• “Tsitsanis preferred female vocalists, especially Sotiria Bellou – called the ‘Bessie Smith of rebetika’ – …”
Peter Manuel (1988), Popular Music of the Non-Western World, p. 134.

• “The Haitian composer, Ludovic Lamothe, who has been called ‘The Black Chopin’…”
Slonimsky, Music of Latin America, p. 210.

• “Sparrow is often called the Shakespear of Calypso, but I prefer to think of him as a West Indian Cole Porter …”
Daisann McLane, (9/11/1984), “Making History,” Village Voice, p. 65.

• “David Rudder is to Calypso, what Bob Marley was to Reggae”.
Biana T. Jacon, (12/20/1990), “David Rudder is a Smash Hit,” Share Magazine, Toronto, Canada, p. 22.

• “…but not for simple hyperbole was he recently promoted in this country [England] as being ‘very different from other calypso stars’, the music’s Bob Marley.”
Tony Herrington, (12/1987), “The Soca Star,” The Wire, Issue 46/47, p. 36.

• “His familiarity with literary classics, his wide vocabulary, and his ability to improvise in song at a moment’s notice, led one writer to dub him ‘ the Shakespear of Calypso’.”
about Atilla the Hun. Errol Hill, (1983), foreword to Atilla’s Kaiso: A Short History of Calypso.

• “You could say that [Rudolph] Charles was to pan and to music in Trinidad what Churchill was to Britain during World War II”.
Soca star David Rudder, (4/1988), Sire Records press release.

• “…he displays some fancy footwork that could put MC Hammer in the shade. He is none other than Superblue (Austin Lyons) the Hammer of Calypso”.
Glenda Cadogan, (1993), Carib Beat, p. 17.

• “His blunt anti-establishment lyrics have made him the Bob Dylan and Mick Jagger of Africa”.
about Fela Kuti. John Collins, African Pop Roots, p. 13.

• “Odessa has been called the New Orleans of the Russian Empire”.
Clarke (1989), ‘Klesmer’, The Penguin Encyclopedia of Popular Music, Clarke, p. 664.

• “…the town of Odessa, the so called New Orleans of Russia.”
Sweeny, (1989), ‘Israel’, The Virgin Directory of World Music, p. 133.

• “The group was spotted while taking part in the famous Jamaican Peace Festival, Reggae music’s version of Woodstock”.
refering to Kingston’s One Love Peace Concert in 1978 in the Inner Circle press release from Big Beat Records,3/93

• “Los Hermanas Padilla had continued to sing and record and also toured extensively throughout the 1940s, performing in Venezuela, Mexico, and New York, where they were known as the “Mexican Andrews Sisters.”
Steve Loza, (1993), Barrio Rhythm, Steven Loza, p. 58.

• “Africa’s Bob Marley of Reggae – Lucky Dube”. “Reggae’s brightest new star, Lucky Dube (pronounced ‘doo-bay’), has been hailed as ‘Africa’s Peter Tosh,’…”
8/1993, Caribbean Life, headline and first sentence.

• “The list of Miranda impersonators began with Ettel Bennett, built up as ‘the Yiddish Carmen Miranda’ for her show at the Old Rumanian nightclub in New York’s Borsch Belt”.
Brazilian Bombshell, p. 59

• The “Piazzolla of the Chamamé,”
Raúl Barboza, King of Chamamé. Notes by Petra Loose.

• “And Cheb (or ‘young’) Khaled, the charismatic architect of modern rai, is their Elvis, their Beatles, and their Sex Pistols rolled into one.”
Brian Cullman, (1993), “Cheb Khaled & the Politics of Pleasure,” Antaeus, “On Music,” No. 71 / 72, p. 262.

• “Marcias : The Strativarius of the Bajo Sexto”
about Tejano conjunto artist, Martin Macias. Ron Young, (1987), 6th Annual Tejano Conjunto Festival booklet, p. 4.

• The “Paganini of the Mexican Hot Lands.”
…about Juan Reynoso, from the notes of his 1993 self titled Corason LP .

• “That 70-year-old Kostadin Varmezov is the Ornette Coleman of the bagpipe”.
Richard Gehr, (1988), Village Voice.

• “The Congolese writer Syvain Bemba called him the Balzac of African music, after the writer of the Comédie Humaine”.
…about guitar giant, Franco. 1994, The Rough Guide, p. 317.

• “Nearly every southeast Asian country has its own version of Madonna or Michael Jackson : in Thailand it’s the vampy Honey and Jackson sound-a-like, Tik Shiro”.
…John Clewley, (1994), The Rough Guide, p. 441.

• “…she is called the Tina Turner of Africa”.
… about Tshala Muana, 1987 Africa Mama Festival, Amsterdam, Holland.

• “Hameed Sharay,…His band, El Misdawier, was the Beatles of Egypt.”
David Lodge, (1990), “Fresh Beats From Cairo,” Take Cover, Vol. 1, No. 1, p. 26 – 28.

• “Black Stalin is the calypso equivalent to Bob Marley; the Mandela or Martin Luther King of Trinidad Calypso”.
4/18/1995, SOB Press Kit.

• “Chico Buarque, sometimes dubbed the Bob Dylan of Brazil,…”
Rob Baker, Hot Sauces, p. 132.

• “Some call Zachary Richard the Cajun Mick Jagger”.
Lee Jeske, NY Post.

• “A gifted singer, composer and arranger, P.K. established himself in the mid-1980s and, despite being handicapped by blindness, soon won a devoted following in the country, becoming known as the Stevie Wonder of Zambia”.
…about P. K. Chisala, Ronnie Graham, Stern’s Guide, Vol. 2, p. 212-3.

• “During the seventies Nathan [Abshire] enjoyed great popularity with festival and college audiences; he was the Professor Longhair of Cajun music and they adored him.”
John Brovin, (1983), South to Louisiana : The Music of the Cajun Bayous, p. 241.

• “A 1930 ad in New York’s major Spanish Newspaper, La Prensa, for example, billed the popular Cuban singer Antonio Machín as “El Rudy Vallee Cubano,” that is, the Cuban Rudy Vallee.”
Ruth Glasser, (1995), My Music Is My Flag, U. of California Press, p. 7.

• “In France, Prince Diabate is known as the Jimi Hendrix of the Kora, because he plays behind his back and through his legs”.
5/9/1992, Afropop Guinea program, NPR.

• “Iry Lejeune (the Hank Williams Sr. of Cajun Music, he died in a car crash in 1955 at age 27) never played anything cute.”
David Greely of the Mamou Playboys quoted in Michael Tisserand, (4/1992), “Cajun Crusader,” Offbeat Magazine, p. 20 – 22.

• “Gravel voiced Jivacourt Kathumba is billed as Malawi’s Mahlathini.”
Rough Guide, p. 412.

• “Mahlathini and the Mahotella Queens with the Makgona Tshole Band. Or, if you prefer, The Lion of Soweto, The Supremes of South Africa, and (literal translation) The Band That Knows Everything.”
Gavin Martin, (6/25/1988), NME.

• “We were the Beatles of South Africa”
Marks Mankwane to Rob Prince, (3/1988), Folk Roots, 11.

• “The Jimi Hendrix of the Cuatro”
about Yomo Toro, headline for Yomo Toro article, Frets Magazine, Sept 1988, by Mark Dery, p. 14.

• “The Bruce Springsteen of Uganda”.
about Philly Lutaaya, who had the hit “Born In Africa.” 5/28/1991, Frontline TV show, Channel 13, NYC.

• “…Mbaraka Mwinshehe, leader of the Super Volcanos. Known as the ‘Franco of East Africa’…”
Graeme Ewens, (1992), Africa O-Ye! A Celebration of African Music, p. 167.

• “…it could be said that Nelson Zapata, the founder of Proyecto Uno, is the Chano Pozo of our time. Only where Pozo collaborated with Dizzy Gillespie, Zapata, a product of the Dominican migration, collaborated only with the two sides of himself.”
Alisa Valdes, (2/28/1996), The Boston Globe.

• “Morales, who records for Majestic, has had better luck with his material. Noro is an avid jazz fan, and would like to be known as the Latin Duke Ellington. Actually he is closer to Fats Waller,…”
William Gottlieb, Salsiology – What Is Rhumba?, p. 26.

• “D. L. (Doris Leon) Menard – known as the “Cajun Hank Williams” – …”
South to Louisiana, p. 237.

• “Ali Hassan Kuban – The Egyptian James Brown”
2/3/1998, World Music Institute ad copy, p. 85.

• “Black Umfolosi – Zimbabwe’s Ladysmith Black Mambazo”
2/3/1998, World Music Institute ad copy, p. 85.

• “Ismael Lo: Dakar’s Dylan”
photo caption, Straight No Chaser, Spring/Summer 1992, p. 41. Moving from small to large, the Africa Fete booklet called Lo, “The Bob Dylan of Senegal,” while NPR Weekend Report, 2/8/98, expanded his role to, “The Bob Dylan of Africa.”

• “Coxsone was the Berry Gordy of Jamaican music.”
…about Coxsone Dodd. Reggae, The Rough Guide, p. 63

• “In 1975 he played briefly with Franco’s TPOK Jazz – the Duke Ellington Orchestra of Zairian music.”
…about Diblo Dibala’s apprenticeship. Banning Eyre, (9/1991), Guitar Player, p. 25.

• “The two-stringed rabbabah assaults the senses with ear-fluttering twills as the djallabiyah-dressed, handlebar-moustachioed trio – “Hendrix of the East” : Metqal Qenawi Metqal, Shamandi Tewfiq Metqal and Yussef ‘ali Bakash – sing of nomadic exploits and tales seemingly straight from the pages of ‘A Thousand and One Nights'”.
…about the principal performers in Les Musiciens Du Nil (Musician of the Nile) in the Realworld press kit for Charcoal Gypsies.

• “The album won him the dubious title “the African Leonard Cohen”.
…about Geoffrey Oryema and Exile album, Realword NET presskit.

• “His songs were on everyone’s tongues. He was Bob Dylan and John Lennon rolled into one…”
…about Malagasy guitarist Dama Mahaleo. Paul Hostetter, CD notes from Dama & D’Gary’s, The Long Way Home , (Shanachie, 64052, 1994).

• “Founded by Dama Zafimahaleo, they were at one stage known as the Beatles of Madagascar.”
…about the group Mahaleo, by Ronnie Graham, The World of African Music / Stern’s Guide, Vol. 2, p. 176.

• “Jean Emilien souffle simultanément dans un harmonica, qu’il fait sonner comme un accordéon, souvent a l’unisson de sa kabosse, ce qui lui a valu l’appellation incontrôlable de “Dylan malgache”. La même mésaventure est déjà arrivée à Ismael Lô, dit le “Dylan sénégalais”. Quand cessera-t-on de voir des Dylan partout?”
Frank Tenaille, (12/1991), le Nouvel Observateur.

• “One of the best players was the late, legendary Rakotozafy (the Robert Johnson of Madagascar)…
…about the well known marovany player, Rough Guide p. 364.

• “He’s the Paul Simon of Jewish music.”
Alicia Svigals of the Klezmatics about Itzhak Pearlman, interview by Mark Rubin, http://www.monsterbit.com/pcp/pcp39/klezmatics.html

• “If all rock music were klezmer, then Phish would probably be the Klezmatics. Or vice versa. (In either case, Phish would no longer suck.)”
Boston Phoenix on May 16, 1997, by Seth Rogovoy

• “Rachid el Baba…- he likens himself to an Algerian Jean Michel Jarre – built a studio in Tlemcen and began recording many of Rai’s top stars.”
about top rai producer Rachid by Martin Johnson, Pulse! “Do the Rai Thing” Nov, 1989, p. 50

• “DJ/Producer Mark Kamins has called rai “the new reggae.”
Martin Johnson, (1989), “Do the Rai Thing,” Pulse!, p. 50.

• “…Cheb Khaled (Algeria’s Jerry Lee Lewis analogue).”
CD review of Rai Rebels by Richard Gher. Village Voice.

• “…the famous Tunisian singer, Saliha (and if you are not yet familiar with this “Umm Kulthum of Tunisia,” find a recording of her soon) …”
Dwight Reynolds, (7/1995), Middle East Studies Association Bulletin.

• “If Khaled is the Ali Rotten of Rai, his rival for number one spot, Cheb Mami, shows signs of a potential to be Cliff Richard.”
Phil Sweeny, “Rai Smile,” Africa Beat, Winter 86/87, p. 24.

• “A kind of Arab Jim Morrison, he irritates and unsettles the authorities, at the same time seducing the masses and the intellectuals.”
about Cheb Khaled, 8/1989, Intuition Records press kit.

• “If Fela Kuti is Africa’s James Brown, Thomas Mapfumo’s warm, soulful tone could be a more political version of Otis Redding or Sam Cooke”
7/23/1993, CMJ New Music Report, 1991-ish review of Thomas Mapfumo’s Chamunorwa, via TM press kit prepared by SOBs club, 7/23/93

• “Thomas Mapfumo, inventor of Zimbabwe’s chimurenga (struggle) music, is his country’s James Brown and Bob Marley rolled into one”
7/23/1993, The Beat, 1991-ish review of Thomas Mapfumo’s Chamunorwa, via TM press kit prepared by SOBs club.

• “Mapfumo, with his luxuriant dreadlocks, his moral authority, and his chimurenga sound, was touted internationally as the Bob Marley of Zimbabwe.”
about Thomas Mapfumo. Banning Eyre, (3/18/1988), The Boston Phoenix.

• “Musically, at any rate, it seemed a fitting start for a band that would go on to become South Africa’s answer to the Mills Brothers and the Ink Spots.”
about the Manhattan Brothers. S&M, African Rock, p. 193.

• “Hevia, dubbed “the Jimi Hendrix of the bagpipes,” topped the album charts in Spain.”
Nigel Williamson, (4/1999), Billboard, Music Pulse.

• “From Bandundu, Zaire, Rochereau literally became the voice of African rumba or, as a newspaper in Kinshasa called him, ‘The Muhammad Ali of Song.'”
About Tabu Ley Rochereau, Jack Kolkmeyer, (12/1984), Reggae & African Beat.

• “Our National Marley”
about Alpha Blondy. 6/1983, Radio Cote d’Ivoire, Abidjan.

• The Gipsy Kings [sic] are the John Grisham of world music. Like the mega-selling author, the popular flamenco rock group frequently lays claim to more than one spot on bestseller lists.
Kim Campbell, (8/18/1996), “Humble Start Hasn’t Hurt Reign of Gipsy Kings,” The Christian Science Monitor.

• Csárdás … “The Tango of the East”
1/19/1999, Flyer for the Zoltán Zsuráfszki Budapest Ensemble, New York appearance.

• “What Bessie Smith was to North American blues, Clementina de Jesus was to Afro-Brazilian music.”
Musoca Brasileira, p. 21.

• “Djalma Ferreira has become known in musical circles as the Brazilian Gershwin.”
Djalma Ferreira LP, Help Yourself to the Brazilliance of Djalma (Dot, DLP 25905, no date).

• “He became a popular songwriter; a United Nations official who has followed his career calls him ”Rwanda’s Michael Jackson.””
about Simon Bikindi, awaiting trial in Holland for genocide, supposedly incited by his inflammatory songs. Donald G. McNeil Jr., (3/17/2002), “Killer Songs,” New York Times.

• “Ulahi, the Billie Holiday of Melanesia”
Village Voice, May 15, 2001, “Chasing Waterfalls” by Robert Christgau

• “Maloya, a ritual music that has Indian elements alongside the creole, is (to use a cliché) Réunion’s blues…”
booklet, Rough Guide CD, Indian Ocean.

• “Cui Jian, China’s John Lennon, sings prophetically about the confusion and dissatisfaction of the nation’s youth.”
1989, No More Disguises, on the First Run/Icarus Films website, PR for the film.

• “The delightful, stately maloya and segá of Françoise Guimbert could easily make her the Cesaria Evora of La Réunion.”.”
booklet, Rough Guide CD, Indian Ocean.

• “Ernesto Lecuona, the Gershwin of Cuba.”
2/27/2003, 11:41 am, WKCR.

• “The Brazilian Bob Dylan covers Nirvana, David Byrne, and other cool cats on this beautiful album of English-language standards.
about Caetano Veloso’s CD, A Foreign Sound. 5/7/2004, “The Must List”, Entertainment Weekly, p.55.

• “Depending on the tune, Ms. Pipoyan can sound like an Eastern answer to Edith Piaf or Joni Mitchell.”
about Armenian singer, Lilit Pipoyan. Meline Toumani, (3/7/2004), “Timely Hymns to a Timeless City,” New York Times.

• “The particular instrument Brady uses – built for him by Elliot “Ellie” Mannette, the Stradivari of West Indian steel instruments – is the only one of its kind in the world…”
Nat Hentoff, liner notes for Victor Brady LP, Classical Soul (Inner City, USA, 1006, 1976).

• “An American Salute to ‘Egypt’s Verdi’”
Headline referencing Egyptian composer, Sayyed Darweesh. Ben Sisario, (2/16/2006), New York Times.

• “A native of Rio de Janeiro, composer/singer/guitarist Arthur Kampela has been described as a ‘Brazilian Frank Zappa’”.
10/14/2004, Satalla Press Kit.

• “Kazem al Sahir is The Iraqi Elvis . Here he is singing ‘We Want Peace’ with Lenny Kravitz”
7/24/2004, “Arabic Songs,” Grow A Brain.

• “For devotees of North African music, Hakim needs no introductions, but he received several anyway, with fanfare befitting a star nicknamed the Lion of Egypt, at Central Park Summer Stage on Saturday. He was called the “king of shaabi music,” referring to his rhythmic street pop. “
Sia Michel, (7/10/2006), “Enter Egyptian Pop Star, Blowing Kisses and Swiveling Hips: Hakim in Central Park,” New York Times.

• “Carmen Pateña, dubbed the “Shirley Bassey of the Philippines” is expected to bring back memories with such songs as…”
Allan Castalone, “Golden Divas at the Music Museum,” Mukamo.

• “Famed for their live appearances and Sophie’s on-stage pyrotechnics (one critic dubbed her ‘the Keith Richards of the violin’)…”
about Sophie Solomon, Decca Music website, UK.

• “Syd Kitchen has been called ‘the Bob Dylan of South Africa'”
7/9/2009, ISL Public Relations.

• “Pat Kelly is one of Jamaica’s leading singers who is sometimes rates [sic] as Jamaica’s Sam Cooke with that sweet, melodic voice to capture the hearts of all woman [sic] young and old alike.”
Back cover notes, Pat Kelly LP (Pat Kelly Collection 20 Magnificent Hits, Striker Lee Records, Jamaica, 12” LP, n.d.)

• “Driving force behind Spain’s ‘Motown of flamenco’ record label”
Jan Fairley, headline, Mario Pacheco obituary, The Guardian, UK, 12/5/2010.

• “In 2007, the controversy-plagued Norwegian-born singer Deeyah (popularly known as the “Muslim Madonna”) formed Sisterhood, a collective of female Muslim MCs primarily from the U.K”
Sylvia Alajaji, lecture, “Maneuvers from the Margins: Female Muslim Rappers of the U.K.” Barnard College, 2/2003

• “Sandro Dead: ‘Argentine Elvis’ Dies At 64”
MAYRA PERTOSSI Mayra Pertossi, The Huffington Post, 01/ 5/10

• “Abu Haiba’s path to becoming a pioneer of the pious-pleasure industry has been roundabout, at best. At 15, he says, he experienced a sudden urge for spiritual direction and threw out all his records. Mohamed Abdel Waheb, Abdel Halim Hafez, Oum Kalthoum, Fairuz — the Elvis Presleys and Diana Rosses of Arabic song — all of it had to go.”
Negar Azimi, “Islam’s Answer to MTV,” NYTimes Magazine, 9/12/2010

• “Sami Yusuf rejects being billed as the ‘Michael Jackson of Islamic pop.’”
Negar Azimi, Bidoun, 3/7/11

• “Salman Ahmad joins us from New York. He’s the co-founder and guitarist for the Pakistani rock band Junoon, which The New York Times has called ‘the U2 of Pakistan.'”
Tom Ashbrook, On Point show, NPR, syndicated at various times

• SOBs & Latino Music Present 

Tiken JahFakoly, (The Bob Marley of Africa) 

Fri-Aug 19 
Door: 11:00PM

- Show: 11:45 PM

promotional headline SOBs

• “Wardell Quezergue – The Creole Beethoven”
John Swenson. Off Beat Magazine, Jan, 2008.

• “KHALID: So she turned to music videos like this one for Nancy Ajram. She’s kind of like the Beyonce of Lebanon.”
Asma Khalid. “Where Do We Go? Lebanese Women Pave The Way,” Published: May 10, 2012

• Chitravina N Ravikiran ‘…The Mozart of Indian Music…’
Desiclub.com, USA

• “Sides by the legendary trumpet player, known as the Louis Armstrong of India, and his band, the Music Makers.”
referencing Chic Chocolate

• “Gaby Amarantos, the Belem-born queen of Tecnobrega-a style fusing samba with high-powered synth-driven pop who has been touted as the ‘Brazilian Beyonce.’”
promotion Brasil Summerfest

• “Hailed as Maghreb’s answer to Tracy Chapman, Souad Massi proves there’s a lot more to contemporary Algerian music than Raï.”

• headline: “Ilham al-Madfai: Triumph of the Baghdad Beatle”
The Independent Newspaper, UK. published 16 July 2003

• Hiski “Salomaa, who was a tailor by trade, has been referred to as the Finnish Woody Guthrie.”

• “Jeff Beck, The Sinatra of Instrumental Guitar? Hey! Why not?”
Strat-o-Blogster published 2/3/2011

• Listen to ”Tamally maak” sung by the Egyptian singer Amr Diab, “the Ricky Martin of the Arab World.”
Taken from a Metafilter thread about Arabic Salsa.

• “The musician Salman Ahmad is known as the “Bono of Pakistan.”
The Brian Lehrer Show: WNYC 6/27/2014 and The Pigeon Project
As the “the U2 of Pakistan” BBC and The ‘Bono’ of the Muslim World @ Beliefnet

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