Katalog

Suchergebnisse

  • 01. Boogaloo En Ambiente
    02. La Sonora Llego
    03. Como Yo No Hay Dos
    04. Peruvian Guaguanco
    05. Congalanque
    06. Yo Traigo Boogaloo
    07. Probandolo Se Sabe
    08. Linares Blue's
    09. Sabor Tropical
    10. Tutu Tata
    cover

    ALFREDO LINARES Y SU SONORA

    Yo Traigo Boogaloo

    Format
    LP
    Release-Datum
    26.09.2020
     
  • 01. Chambacu
    02. Puya Tropicana
    03. Soy La Cumbia
    04. Festival En Guarare
    05. Eco De Tambores
    06. Cariño Lindo
    07. Me Quiebro, Me Desbarato
    08. Me Siento Desbaratar
    09. El Vaquero
    10. Las Polleras
    11. Mompoxima
    12. Lamento De Sirena
    cover

    AURITA Y SU CONJUNTO

    Chambacu

    [engl] HEAVY COLOMBIAN CUMBIA FRONTED BY A SIX YEAR OLD SINGER. We are proud to release this LP compilation of the great AURITA CASTILLO, the young queen of Cumbia from the legendary Chambacú neighborhood. Little is known about Aurita other than her cutting some killer records for Discos Fuentes in Medellin in the 1960s. Her recordings with an uncredited backing back are some of the heaviest and most perfect cumbias of the era - ripping electric and acoustic guitars, snapping thundering drums, dark clarinet melodies and Aurita’s amazing voice commanding the show. This is the first reissue of these songs outside of Latin America, and a long overdue celebration of the very talented Aurita Castillo and her band. This is not a novelty record - this is a heavy cumbia record with great vocals that happen to come from a very young and very tough lady. Aurita’s repertoire included versions of famous Colombian songs by Pedro Nel Isaza, Pedro Jairo Garces (Los Golden Boys) and other composers / session musicians, in addition to popular twist and novelty songs, but this compilation is primarily her deep cumbias and porros, mostly in a minor key, with a few surprises. It is hard to believe such a young singer could be this powerful, emotive and confident, but here we are. Musically, the band is top tier and rides a perfect line of tight and loose, fleshing out each arrangement with subtle harmonies, flourishes and exclamations, without ever delving into boring saxophone solos or pointless showboating. Highly recommended for fans of A Orillas Del Magdalena and Remolino de Oro, The Original Sound of Cumbia, as well as Skatalites and other instrumentally-beautiful Caribbean and Latin American ensembles, Balkan brass music, etc. Remastered by Tim Stollenwerk and pressed on heavy 160 gram vinyl.
    Format
    LP
    Release-Datum
    23.08.2021
     
  • 01. Chambacu
    02. Puya Tropicana
    03. Soy La Cumbia
    04. Festival En Guarare
    05. Eco De Tambores
    06. Carino Lindo
    07. Me Quiebro Me Desbarato
    08. Me Siento Desbaratar
    09. El Vaquero
    10. Los Polleras
    11. Mompoxina
    12. Lamento de Sirena
    cover

    AUTITA Y SU CONJUNTO

    Chambacu

    [engl] HEAVY COLOMBIAN CUMBIA FRONTED BY A SIX YEAR OLD SINGER. We are proud to release this LP compilation of the great AURITA CASTILLO, the young queen of Cumbia from the legendary Chambacu neighborhood. Little is known about Aurita other than her cutting some killer records for Discos Fuentes in Medellin in the 1960s. Her recordings with an uncredited backing back are some of the heaviest and most perfect cumbias of the era - ripping electric and acoustic guitars, snapping thundering drums, dark clarinet melodies and Aurita’s amazing voice commanding the show. This is the first reissue of these songs out- side of Latin America, and a long overdue celebration of the very talented Aurita Castillo and her band. Aurita’s repertoire included versions of famous Colombian songs by Pedro Nel Isaza, Pedro Jairo Garces (Los Golden Boys) and other composers / session musicians, in addition to popular twist and novelty songs, but this compilation is primarily her deep cumbias and porros, mostly in a minor key, with a few surprises. It is hard to believe such a young singer could be this powerful, emotive and confident, but here we are. Musically, the band is top tier and rides a perfect line of tight and loose, fleshing out each arrangement with subtle harmonies, flourishes and exclamations, without ever delving into boring saxophone solos or pointless showboating. Highly recommended for fans of A Orillas Del Magdalena and Remolino de Oro, The Original Sound of Cumbia, as well as Skatalites and other instrumentally-beau- tiful Carribean and Latin American ensembles, Balkan brass music, etc. Remastered by Tim Stollenwerk and pressed on heavy 160 gram vinyl.
    Format
    LP
    Release-Datum
    28.08.2021
     
  • 1. Quebra-cabeca
    2. Ilha vizinha
    3. Pedra de raio
    4. 4 CANTOS
    5. Areia
    6. Ladeira
    07. Primeiramente
    08. Torre
    09. Levante
    10. Camelo
    11. Portal
    cover

    BIXIGA 70

    Quebra Cabeça

    Die kulturelle Verbindung zwischen Brasilien und Westafrika ist eng. Entsprechend pulsiert sie auch durch "Quebra Cabeça" (dt.: Puzzle), dem vierten Album des Instrumentalkollektivs Bixiga 70 aus Sao Paulo. Deren zehn Mitglieder amalgamieren unterschiedliche Einflüsse wie Jazz, Reggae oder die afrobrasilianische Religion Candomblé zu einem fließenden Ganzen. "The whole idea of the band has been to take all these different elements that form us, from Africa and Brazil, and create a hybrid from them", erklärt der Baritonsaxofonist und Flötist Cuca Ferreira. Gegenüber den drei Vorgängern fällt "Quebra Cabeça" deutlich komplexer aus. Die kraftvoll-coolen Kompositionen sind ausgereifter, jeder Song besitzt verschiedene Parts mit Drehungen und Wendungen sowie wechselnden Melodien und kurvenreichen Rhythmen. "They can seem like a journey", vergleicht Ferreira. Abgerundet wird das Ganze durch melodische Bläsersätze. Die neue Herangehensweise entwickelte sich aus dem gnadenlos langen Tourplan der letzten Jahre. Bei ihren Auftritten traf die Formation auf Musiker wie den ghanaischen Highlife-Sänger Pat Thomas, den nigerianischen Saxofonisten Orlando Julius oder den berühmten Bossa-Nova-Pianisten Joao Donato. Sie alle beeinflussten den Sound von Bixiga 70.
    Format
    DoLP
    Release-Datum
    12.10.2018
    EAN
    EAN 4030433606315
     
  • 01. Mi Dolor
    02. Porque Te Amo
    03. Llanto De Un Niño
    04. María Teresa
    05. Será Mejor
    06. Por Ella, La Botella
    07. Tú Y La Noche
    08. Quiéreme
    09. Mala Mujer
    10. Nadie Conoce El Mundo
    11. Sin Hogar
    12. Chana

    CHACALON Y LA NUEVA CREMA

    Chacalon y la Nueva Crema

    [engl] Lorenzo Palacios Quispe "Chacalón" is a myth. More than a musical star, he is both a religious and secular phenomenon for the masses. Every year on his birthday, his tomb becomes a place of fevered pilgrimage where devotees pray, make wishes and ask for miracles, all done over songs, cases of beer, dancing and toasting. In Peru, his figure and music erases the distance between the holy and the profane, the hero and the lumpen. Chacalón is, for many Peruvians, the people’s angel, the messiah of the poor, the marginalized ’Inkarri’. "When Chacalón sings, the hills come down", was one of his favorite phrases and with it he referred to the migrant masses that invaded the hills and beaches that surround Lima like a "ring of fire" (José María Arguedas dixit). It was the early 80s and while bombs and a dirty war exploded in the Andes, in Lima, the new and ever–growing population of migrants "climbed down" from their precarious homes and filled venues to dance "chicha" music and to celebrate who they saw as their redeemer. Despite being a model messianic figure, Lorenzo Palacios had very humble origins. The son of a music dancer from Huancayo and a singer of huayno music (Andean folk) from Ayacucho, Chacalon was born in Lima in 1950. As a teen, he had his debut on stage as the singer of huayno band "The Indios Quechuas". The main requirement to sing that genre of music was to have a powerful ribcage and young Lorenzo seemed to have the needed lung capacity for "guapeos", thunderous voice blows that the genre required. Chicha music is neither a replica or a copy, despite using Western instruments, such as the electric guitar, bass, drums and organs, and mixing them with cymbals, congas and tropical Guiros. Chicha music has indomestizo elements (like Huayno music) tucked deep in his blood. Listen to the powerful cries of Chacalon and you will hear the heartfelt music of Huancayo; listen to his delicate voice breaks and you will hear the sweet music of Ayacucho. The mix of delicacy and strength and rural and cosmopolitan elements, is part of the secret of seduction that chicha music has had over the masses. Aside from use of electric instruments, rock music has influenced chicha music in other ways. Chacalón’s band was called New Cream as a tribute to the British band Cream. Their use of powerful fuzz tones and wah wah pedals for acid riffs and catchy solos, are the echoes of a rebellious music that wanted to silence the noises of a marginalized and exploitative city atmosphere debased by the most savage capitalism. "I seek a new life in this city / where everything is money and there is evil, " reads "Provinciano", Chacalon’s most famous songs. It’s because lyrics like these that people saw Chacalón as a messianic figure who sang about the promise of a new life. He sang about pain, alcohol and betrayal, but also about solidarity, love and hope. Chacalon sang to the most marginalized part of society, the lumpenproletariat, and not the middle class or the wealthy. Lorenzo Palacios did not see differences between those who complied with the law or those who transgressed it, because in marginality, survival is the only rule and the boundaries between good and evil become very subtle. "Eat first, then morals, " said Chacalon.
    Format
    DoLP
    Release-Datum
    22.03.2019
    EAN
    EAN 4040824087111
     
  • 01. Ven Mi Amor
    02. Lágrima De Amor
    03. Amor, Por Qué?
    04. Sufrir Llorar, Para Qué?
    05. Amor Ideal
    06. Soy Provinciano
    07. Poco A Poco
    08. Porque La Quiero
    09. Dame Tu Amor
    10. Ese Amargo Amor
    11. Señor Ten Piedad De Mí
    12. La Paz Y La Dicha

    CHACALON Y LA NUEVA CREMA

    Grandes Éxitos 1976-1981

    [engl] This compilation originally appeared in 1982 under the title of “Éxitos, éxitos, éxitos”. It gathered some of the first recordings by Chacalón y La Nueva Crema that were released on 7-inch records between 1977 and 1981. These twelve themes were written during the years of the de facto government of Francisco Morales Bermúdez. This dictatorship led Peru to an institutional and economic crisis that also affected major record labels, which opted to publish foreign musicians to insure sales. Although Chacalon’s career experienced highs and lows after the release of this album, his intimate relationship with his audience remained, carried to levels as extreme as the ones he told Caretas magazine in July 1983: "Once we were playing at a venue on Mexico Avenue, I was singing a song called “Llanto de un niño”, about a boy who was born in poverty, he has to leave his small town with his family. On the coast his father becomes a fisherman and dies, the son wants to send a letter to heaven. While I was singing, a guy who was there, at the front, pulled a switchblade and cut open his veins. He saved himself and then told me later that he had suffered a lot like the child in the song. Yes, the man had been drinking.”
    Format
    DoLP
    Release-Datum
    22.03.2019
    EAN
    EAN 964943392435
     
  • 01. Cumbia Loca
    02. Mensaje Guajiro
    03. Gaita Turca
    04. Mosaico: Catalina / Amorcito Lindo / Chela
    05. El Morrocoy
    06. La Pompita
    07. Cumbia Del Sol
    08. Moler La Caña
    09. Cumbia De Estrellas
    10. Lelogua
    11. Noche Y Cumbia
    12. Mosaico: La Silenciosa / La Pestañita / Sufre Negra
    cover

    CONJUNTO MIRAMAR

    Cumbias con El Miramar

    [engl] First ever reissue of "Cumbias con El Miramar", a very hard-to-find album released by Discos Fuentes in 1965. Full of excellent cumbias and gaitas for dancing, the record actually is a lot more diverse than the title leads one to believe, as there are lots of other hot rhythms and arrangements on it, taken from Cuban genres like guajira, guaracha, guaguancó, charanga and son montuno. Presented in facsimile artwork and pressed on 180g vinyl. Part of Vampisoul's reissue series of classic Fuentes LPs.
    Format
    LP
    Release-Datum
    02.08.2019
    EAN
    EAN 8435008863432
     
  • 01. La clavada
    02. Indio Faroto
    03. El Currambero
    04. Puñi molío
    05. Cumbia Soledeña
    06. Crees que soy sexy
    07. Llegó el gorrero
    08. Busca perro
    09. El escándalo
    10. La tembladera
    cover

    CUMBIA MODERNA DE  LA CLAVADA

    La clavada

    [engl] Contrary to popular belief, so-called ‘folkloric’ music is not always conservative and static, and is often the cultural space where musical innovation and experimentation first take place. Additionally, since folk music is often produced “by the people for the people”, it is frequently quite popular and dynamic; indeed it is seen as an integral part of a people’s identity, and yet often keeps its humble and unadorned trappings from whence it came, even when commercial interests try to harness, modify, water it down and sell it elsewhere. Though it may not be fashioned for the mass pop youth market, folkloric music has not only influenced more mainstream popular styles, it has often cross-pollinated and reacted to the larger more hegemonic mainstream music surrounding it in creative and innovative ways that bely the musicians’ seemingly simple, ‘homespun’ or humble origins or modes of expression.Such is the case with the octogenarian musician, composer, vocalist and teacher Pedro Beltrán aka “Ramayá” who hails from Patico, a small town in Colombia’s Bolívar province, not far from the Caribbean coast. He has been crowned Rei Momo of the carnival in Barranquilla, and recorded many albums as a leader and sideman, working with various domestic and international pop artists as well, from Quantic and Thornado to Systema Solar. While his main instrument is the ‘caña e millo’ flute, he is also proficient in the various percussion instruments of his region as well as the reed instrument known as the ‘gaita’. His group La Cumbia Moderna de Soledad (named for the large city within the municipality of Barranquilla) was founded in the early 1970s when Ramayá had already retired from a career in the army and was living in Soledad. With this group he set out to “modernize” the folkloric music of his people, adding the electric bass and a brass section to fresh arrangements of cumbias, porros, fandangos, puyas and other costeño genres. What’s more, the band often did left-field cover versions of international dance hits that were popular in the region’s sound systems (picós) and discotheques, from Fela Ransome-Kuti And The Africa ‘70’s ‘Shakara Oloje’ to Rod Stewart’s ‘Da Ya Think I’m Sexy’. If you think this sounds like a case of post-colonial cargo-cult worship or a record label marketing gimmick, think again, because there is something fantastically otherworldly yet “right” about this cross-cultural mash-up, especially since La Cumbia Moderna de Soledad proudly maintained its authentic Afro-Colombian and indigenous roots throughout, making for an infectious mix that was very popular at the time (especially in the Carnaval de Barranquilla) and is still danced to today by Colombians and other fans all over the world. In a way it’s as if these musicians, brought up in the ancient rural traditions of their culture, were trying to make musical sense of the rapidly changing and mechanizing urban environment around them.“La Clavada” (1979) was La Cumbia Moderna de Soledad’s sixth record and first for Codiscos’ Costeño imprint. The LP has many excellent examples of Pedro “Ramayá” Beltrán’s innovative, catchy and downright playful mix of the ancient and the modern, making for a collection of tunes brimming with tradition and yet fearlessly bristling with innovation, not the least of which is “Crees que soy sexy” with its crazy yet very catchy “English” lyrics and haunting gaita refrain mimicking the main melody of Rod Stewart’s previously mentioned international disco smash. In addition, the title song was a massive hit in Colombia and has been covered as a merengue by Dominican artist Cuco Valoy & Los Virtuosos, and ‘Cumbia Soledeña’ became an imported discotheque hit in Europe and England as well. Now, faithfully restored to its original glorious sound, this album is poised to be rediscovered as an innovative yet rootsy gem that deserves a second life within today’s vinyl revival and continued interest in Colombia’s musical past.
    Format
    LP
    Release-Datum
    15.11.2019
    EAN
    EAN 8435008863517
     
  • 01. Agua Del Olvido
    02. Recuerdos Del Ayer
    03. Huarancinito Orgulloso
    04. Libro Del Destino
    05. Cholito Ingrato
    06. Rio Grande
    07. De Broma En Broma
    08. Sed De Amor
    09. Fundo Llama Chupan
    10. Tres Palomitas
    11. Subida De Pucachina
    12. Despedida
    cover

    ESTHER SUAREZ

    La Bolognesia

    [engl] Esther Suarez, also known as La Ocrasina De Oro, is a popular Peruvian Huayno singer. La Bolognesina is one of her earlier albums, featuring reverbed vocals over Andean harps supplemented with light percussion and handclaps. The album was recorded in 1981, with the title referring to her roots near the snow-capped Andean mountains of the Bolognesi province in the Ancash region of Peru. Peru experienced waves of mass rural-to-urban migration in the latter half of the twentieth century due to poverty and political instability, but with it also came an explosion in the popularity of the folkloric Huayno tradition. An urban and modernized studio version of ancient indigenous Quechua folk traditions, Huayno became the soundtrack to the migrant’s experience of both hardship and homesickness. Esther Suarez’s clear and yearning vocals soar over galloping huayno rhythms, evoking the highlands of her youth with heartbreak, regret and melancholy, while simultaneously looking to a place where there is always a will to live and an invitation to dance. Truly some of the most beautiful music ever.
    Format
    LP
    Release-Datum
    25.08.2017
     
  • 01. La Ronzapa
    02. El Viajero De Ruta
    03. Chica Alegre
    04. Flor Tarapotina
    05. El Tinajon
    06. El Mundialito
    07. El Destape A Los 2000
    08. El Escarabajo
    09. Sombra Verde
    10. Notas De Colores
    11. El Ventisho
    12. Denisth
    cover

    GRUPO 2000

    El Destape

    [engl] limited edition re-release of 1974 peruvian cumbia lp
    Format
    LP
    Release-Datum
    17.02.2011
     
  • 01. Conmuevéte
    02. Refugio En El Licor
    03. Vete Y No Vuelvas
    04. Por Culpa De Una Riña
    05. Tu Cambiaste Mi Vida
    06. El Puñal De Tu Traición
    07. Es Un Pecado
    08. El Solitario
    09. Pequeño Luchador
    10. Mendigo De Amor
    11. Dios Mio Cuida Mi Hogar
    12. Nuestro Amor Ya No Volverá

    GRUPO ALEGRIA

    Arrollando Con Alegria

    Format
    DoLP
    Release-Datum
    04.11.2019
     
  • 01. Dia De Muertos
    02. Cinco De Mayo
    03. Relajese

    JUNGLELYD

    Dia De Muertos

    JUNGLELYD
    Format
    Release-Datum
    30.03.2018
    EAN
    EAN 4260016921577
     
  • 01. Paracaidas
    02. Magica Nueva
    03. Cumbia 94

    JUNGLELYD

    Paracaidas

    JUNGLELYD sind die neue Entdeckung von Sounds Of Subterrania. Die Jungs aus Dänemark vermischen Cumbia, tropischen Bass, Surf Rock, psychedelischen Elektronik-Sound und nehmen dabei den Zuhörer mit auf ein berauschendes Abenteuer. Hypnotisierende Beats werden durch melodiöse Elemente der Stammes- und Ritualgeräusche aus den nebeligen Urwäldern Südamerikas akzentuiert. Auf der Bühne vereint die fünfköpfige dänische Band Elektronik mit Instrumenten wie Saxophon, Flöten, Gitarren, Bass und Percussion, um eine Fusion aus digitaler und analoger Musik zu schaffen. Dieser einzigartige Sound reißt die Hörer nicht nur einfach mit wie eine Flutwelle, sondern verführt ihn auch der wahren Bedeutung des Wortes Cumbia, nämlich “cum" für Trommel und “ia” für sich schütteln, zu frönen. Nicht nur deswegen sind Junglelyd und ihre Liveshows in Dänemark bereits mehr als nur ein Geheimtipp. Einer ihrer Songs wurde letztes Jahr zum besten Weltmusik-Track Dänemarks gewählt. Die Band wurde daraufhin eingeladen, das Hausorchester bei den prestigevollen Danish Music Awards World zu sein. Folgt dem Klang! Lasst Euch von Junglelyd tief in die Magie des Dschungels tragen. Oder man kann es auch Abkürzen, Cumbia ist der Sound der Stunde und Junglelyd spielen ihn.
    Format
    Release-Datum
    31.03.2017
    EAN
    EAN 4260016921560
     
  • 01. Paracaidas
    02. Magica Nueva
    03. Cumbia 94
    04. Dia De Muertos
    05. Cinco De Mayo
    06. Relajese
    cover

    JUNGLELYD

    Paracaidas / Dia De Muertos

    Beide Maxi's auf einer CD
    Format
    Release-Datum
    13.05.2020
    EAN
    EAN 4260016921584
     
  • 01. Coffee
    02. Boots
    03. Lucerito de la Man?ana
    04. Juego Chicha
    05. Chacruna
    06. Sali?
    07. Tattoo
    08. Asolear
    09. Danza de la Lluvia
    10. Secreto de la Noche
    11. Salvaje

    JUNGLELYD

    s/t

    Cumbia ist ein traditionelles lateinamerikanisches Musikgenre, welches ursprünglich aus Kolumbien stammt und sich seitdem auf dem gesamten spanischsprachigen Subkontinent verbreitet hat. Es vereint Elemente indigener südamerikanischer Melodien, afrikanischer Rhythmen und europäischer Kompositionen zur Entwicklung von Harmonien und Progressionen. Um den tristen Tanzflächen der westlichen Hemisphäre neues Leben einzuhauchen, verwenden heutzutage viele junge Künstler Cumbia als Grundidee und verbindendes Glied, um eine elektronische Variante dieses Genres zu entwickeln. Unter diesen befindet sich ebenfalls der dänische DJ Kenneth Rasmussen und seine 2015 gegründete Band JUNGLELYD, welche die klanglichen Sphären moderner südamerikanischer elektronischer Musik erforschen. Digital Cumbia, Tropical Bass, Zouk, Moombathon, moderne Sounds, die auf traditioneller lateinamerikanischer Tanzmusik basieren, hatten Einfluss auf die Kreativität von JUNGLELYD. Die Band kombiniert digitale und analoge Instrumente in ihrer Musik. Das zarte Flötenspiel von Lasse Enøe verleiht der hypnotischen Mischung einen Hauch von Souljazz. Alle Rhythmen sind eine perfekte Mischung aus elektronischen Beats und Live-Percussion, während Gitarren, Bassgitarre, sowie Blasinstrumente eine lebendige melodische Umarmung bilden. Nach zwei EPs im Jahr 2017 wird die Band ihr Debütalbum im Jahr 2020 auf SOUNDS OF SUBTERRANIA veröffentlichen. Das Album beginnt mit einer Hymne an das größte Lebenselixier der Welt - Kaffee. Natürlich eingebettet in eine entspannte Cumbia-Melodie. Die leichten Gitarrenharmonien entwickeln sich, schweben auf raumumschließenden Synthesizerwellen und folgen rhythmischen Mustern, die in euren Bewegungsapparat eindringen und dort fortlaufende Tanzbewegungen verursachen. Etwas komplexer in seiner rhythmischen Struktur, dabei aber immer noch extrem groovig ist „Boots“. Man merkt, die Tanzbewegungen werden heftiger und man ertappt sich dabei, wie man vor den Lautsprechern auf und ab springt. Tropische Inselbilder kommen einem in den Sinn – Kitsch. Nur eben, dass dieser durch die elektronischen Elemente und fantastischen Melodien verhindern wird, und so eben nicht dieses Lied nur ein weiteres, typisches, x-beliebiges lateinamerikanisches Musikstück wird. JUNGLELYD fügen der eindringlichen Musik aus den Anden die psychedelische Idee von Spacerock hinzu. Spuk ist das beste Wort, um den dritten Song „Lucerito de la Manana“ zu beschreiben, in dem die Sängerin Luna Ersahin mit Lead-Vocals und mystischen südamerikanischen Flöten den gewissen Unterschied kreiert, um am Ende mit einem Hauch von psychedelischem Jazz zu schließen. Dub, Psybient, Cumbia schließen sich für die nächsten Tracks zusammen und in opaleszierenden Farben spielen JUNGLELYD ihre meist instrumentale Musik vor ihrem Publikum, das aus psychedelischen Fanatikern, Cumbia-Liebhabern und Liebhabern elektronischer Musik besteht. In diesem futuristischen Exotikstil kann man eine ganz neue spirituelle Welt finden. Der Dschungel, in den er den Hörer mitnimmt, existiert auf riesigen Computerbildschirmen rund um den Hörer. Man kann die Tanzflächen in den heutigen Clubs dampfen und kochen sehen, während tanzhungrige Seelen durch die Nacht schweben. Die Musikalität dieses Kollektivs ist außerordentlich hoch, die Blasinstrumente zeigen eine ungewöhnliche Hingabe und Entschlossenheit für zusätzliche Farbeffekte bei gegensätzlichen elektronischen Klangkreationen. Und die süßen Twang-Gitarren hier und da erinnern an Zeiten, in denen die ideale Welt auch in verträumten Klängen ihren Ausdruck fand. Dieses Album ist ein fortwährender Traum und man kann es sich zueigen machen, wenn du es wagst den von JUNGLELYD geschaffenen digitalen Dschungel zu erkunden. Bleibt noch zu erwa?hnen das JUNGLELYD Debüt ist das perfekte Sommeralbum.
    Format
    Release-Datum
    01.05.2020
    EAN
    EAN 4260016921959
     
  • 01. Magnetismo
    02. Carnabalito
    03. Atormentada
    04. Chicha roja
    05. Fragil
    06. Hoy
    07. Suenitos
    08. Arde
    09. Dejate llevar
    cover

    LA YEGROS

    Magnetismo

    Die argentinische Sängerin Mariana Yegros brilliert in Musikbereichen, die gewöhnlich von Männern dominiert werden: Cumbia und Chamamé. Und das so beeindruckend, dass ihr mittlerweile der Beiname "The Queen of Nu Cumbia" anhaftet. La Yegros_ÇÖ europäisches Debütalbum "Viene De Mi" erschien im Juni 2013 bei ZZK. Hierauf mischte die Künstlerin auf Basis eines elektronischen Gerüsts von Chamamé über Cumbia und Milonga bis zu Rap verschiedene musikalische Genres zu einer dynamisch-mitreißenden Einheit, die auch verkaufstechnisch ein breiteres Publikum fand. Ihr zweites Album, das via Soundway in die Läden kommt und auf den Titel "Magentismo" hört, setzt dem Ganzen in Sachen Eklektizismus noch einen drauf und erweitert das Klangspektrum mit modernen Beats und Punk-Attitüde in Richtung argentinische Folklore. Für La Yegros ist es eine Herzensangelegenheit, mit ihrer Musik Verbindungen zu knüpfen. "Magnetismo" macht diesem Ansinnen alle Ehre. Nicht zuletzt deshalb, weil zahlreiche Koryphäen an den Aufnahmen beteiligt waren. Neben den Produzenten King Coya und Daniel Martin, die auch das Debüt auf den Weg brachten, sind das unter anderem der argentinische "Tango-Star" Gustavo Santaolalla oder die französische Sängerin Sabina Sciubba vom Electro-Pop-Duo Brazilian Girls.
    Format
    LP
    Release-Datum
    04.10.2016
     
  • 01. Caracol
    02. Ya voy, Toño
    03. Cumbia que te vas de ronda
    04. Rubiela
    05. Cumbia en Do menor
    06. Charanga pa gozar
    07. Cumbia costeña
    08. Kijis Konar
    09. Mosaico: A tu vera / La india motilona / Very Very Well / Despeinada / Festival en guararé / La mafafa / La sampa / Negrito tapetuza
    cover

    LITO BARRIENTOS Y SU ORQUESTA

    Very Very Well

    [engl] Colombia spawned several big band tropical orchestras in the 1930s and 40s, perhaps the most famous being those of Lucho Bermúdez, Pacho Galán, Edmudo Arias, Pedro Laza and Crecencio Camacho. Their wall of sound combining a battery of brass, woodwinds and reeds, multiple vocalists and prominent percussion was overwhelming and eventually became all the rage with middle and upper class audiences from the dance hall to the hotel ballroom, from the Victrola to the radio. This formula was a match made in heaven, combining elements of the big urban swing jazz bands of the USA with the typical rhythms of Colombia’s tropical coastal regions and other Caribbean locales like Cuba and Puerto Rico. Into this scene came Rafael “Lito” Barrientos (1915-2008), an orchestra leader and trombonist originally from Armenia, El Salvador who began by playing the marimba salvadoreña in a “costumbrista” folkloric band in his home country, but who soon took up the trombone and the conductor’s baton, and eventually found international success by adopting, and adapting, the previously mentioned big band tropical format. Having founded his orchestra in 1945 (inspired by the big bands of Glenn Miller and Pérez Prado as much as by Lucho Bermúdez and the like), Barrientos traveled throughout North, Central and South America, picking up influences and musicians along the way, staying for a fruitful period in Colombia, where he recorded the extremely popular LP “Very Very Well” for Medellín’s Discos Fuentes in 1965, following that up with “Ritmos Costeños” (released by Fuentes as well), but debuted in Colombia some time earlier with “Pimienta” on the Barranquilla-based Tropical label. Significantly, Barrientos was the composer of that perennially popular classic of tropical music, ‘Cumbia en do menor’ (“Very Very Well” contains the definitive version) and if he had achieved nothing else, this accomplishment might perhaps have been enough to enshrine him in the annals of cumbia history forever. But the award-winning Barrientos also composed hits like ‘Son guanaco’ and ‘Pájaro picón’ and frequently experimented with new sounds, never dedicating himself solely to the cumbia. He was also an active member and co-founder of several Salvadorian musicians’ rights societies (UGASAL and SACIM) as well as the head of his own record label, Discolito (founded in 1961).While in Colombia in the mid-1960s, he found great success with his assimilation of styles like cumbia and porro, but also included Cuban charanga, Puerto Rican bomba and Mexican corrido in his repertoire, making for a very diverse selection of moods and flavors, a recipe that was sure to satisfy the eclectic tastes of his international audiences. In addition to ‘Cumbia en do menor’ and several other hot Colombian numbers such as ‘Rubiela’ by Los Golden Boy’s guitarist Pedro Jairo Garcés, as well as ‘Cumbia Costeña’ and the humorous ‘Ya voy Toño’, there is a fine rendition of the Arsenio Rodríguez composition ‘Kijis Konar’, a double-entendre tongue-twister made famous by Puerto Rican trombonist and singer Mon Rivera. The record also includes the title song ‘Very Very Well’, penned by Discos Fuentes founder Antonio “Toño” Fuentes and originally recorded by Carlos Román y La Sonora Vallenata. Barrientos’ version comes across as a Bill Halley & His Comets-style 50s rock & roll tune and is folded into an engagingly eclectic medley of popular songs that close out the album (which range from Los Corraleros del Majagual and Alfredo Gutiérrez’s famous interpretation of Panamanian Dorindo Cárdenas’ ‘Festival en Guararé’ to ‘Despeinada’, a 1963 twist tune by Argentine rock & roller Palito Ortega).
    Format
    LP
    Release-Datum
    02.08.2019
    EAN
    EAN 8435008863449
     
  • 01. Mala Mujer
    02. Chofercito
    03. Caprichosa
    04. Linda Huancaína
    05. Flor De Cochabamba
    06. Olvido
    07. Linda Colegiala
    08. Corazón Herido
    09. Tarde Te Arrepentirás
    10. Mi Pobreza Es Bonanza
    11. Mi Cuzco
    12. Valle Del Canipaco

    LOS OVNIS

    Bailando Con Los Ovnis

    Format
    DoLP
    Release-Datum
    04.11.2019
     
  • 01. El Aguajal
    02. Tu Boda
    03. Esperanza De Amor
    04. Volveras Mi Niño
    05. Mal Amigo
    06. En La Selva
    07. Borrachito Borrachon
    08. Mi Tallercito
    09. Angelita
    10. Como Un Errante
    11. Si No Regresa
    12. Perdidos

    LOS SHAPIS

    Los Auténticos Shapis

    [engl] Los Shapis, a legendary group of tropical Peruvian music, will be relaunching their first LP ’Los auténticos’ (1981) on the 23rd of December. The revival of this album, which was one of the pioneers of Andean Cumbia, will commemorate the 36th anniversary of the band led by Julio Simeón ("Chapulín el Dulce") and Jaime Moreyra and will include emblematic songs such as ’El Aguajal’ and ’Como un errante’. The relaunching of ’Los auténticos’ forms part of a project to rescue and revive Discos Horóscopo, a record label founded 40 years ago by Juan Campos Muñoz, and which boasts one of the most important catalogues of chicha music from the 70s and 80s. The label was created and can be recognized as the main driving force of Andean cumbia in Lima, as it took on producing albums of artists that gambled on not only creating a new sound, but also molding a new type of aesthetic, led by Chacalón y La Nueva Crema, Los Shapis, Pintura Roja and Los Ovnis. Formed in the city of Huancayo on February 14, 1981, Los Shapis – whose name was inspired by a traditional dance, "Los Shapis de Chupaca" – were hailed as ambassadors of chicha when they toured throughout different countries, which gave birth to the internationalization of Peruvian cumbia in the early 1980s By 1983, the band was based out of Lima. Its members composed iconic songs about the provincial and profound identity of Peru, in a time marked by racism and classism from the most privileged sectors. A rhythmic tradition that would accompany the two most conflictive phenomena of the era: terrorism and economic debacle, reasons that motivated the massive migration from the countryside to the city. "It is a culture that alludes to disorder and popular excess, drunkenness and chaos, but also a way of appropriating while simultaneously mocking the west, " says researcher Alfredo Villar, collaborator of the project to revalorize Peruvian cumbia.
    Format
    DoLP
    Release-Datum
    22.03.2019
     
  • 01. Cumbia amazónica
    02. La marcha del pato
    03. La danza del petrolero
    04. Eres mentirosa
    05. La danza de los mirlos (cumbia de los pajaritos)
    06. El sonido de los mirlos
    07. Muchachita del oriente
    08. El poder verde – Sonido amazónico
    09. El escape
    10. Lamento en la selva
    11. Chinito en onda – Don Agucho
    12. El curandero
    cover

    MIRLOS, LOS

    Cumbia Amazonica

    [engl] After the celebrated "Cumbias Chichadélicas" compilation, we present our second collaboration with the legendary Infopesa label from Peru. Los Mirlos were one of the most celebrated Peruvian Cumbia bands who recorded for the famous "orange" label. Featuring the incredible electric guitar of Gilberto Reátegui, Los Mirlos released a total of seven LPs for Infopesa. Spanning 1972– 1980, Cumbia Amazónica features all of their classics like ’El Sonido de Los Mirlos’, ’Sonido Amazónico’, ’Poder Verde’ and more. Real Amazonian cumbia / chicha sounds straight from the jungle, full of surf, echo & reverb drenched electric guitars, cheap keyboards, exotic percussion and effects. Master tape sound, insert with liner notes and photos.
    Format
    LP
    Release-Datum
    06.07.2016
     
  • 01. Pobre Negrita
    02. Los machetas
    03. Toro mata
    04. Navidad negra y zapateo criollo
    05. Canción para Ekué
    06. Landó
    07. El payande
    08. Negrito de dónde vienes
    09. Ollita nomá
    cover

    PERU NEGRO

    s/t

    [engl] Afro-Peruvian music, also known as “música criolla”, finds its roots in West African music, Spanish and European genres and native musical traditions from Peru. Flamenco-influenced sounds sit next to African tribal elements and a simple yet effective percussion instrument called cajón.After a long struggle to preserve música criolla through oral tradition over generations, actually resulting in much of the original music being lost, a renewed interest in those rhythms and melodies arose in the 1950s. Some years later the legendary Peruvian singer Chabuca Granda provided help to promote Perú Negro, a dance company that also incorporated percussion combined with música criolla. Ronaldo Campos, “Lalo” Izquierdo, Víctor Padilla, Rodolfo Arteaga and Caitro Soto, among others, played a key role in the foundation and early days of the company. Their shows celebrated and recreated black culture in Peru and they quickly became regulars at Lima’s theatres.In 1969 they won the main award at the Festival Hispanoamericano de la Danza y la Canción in Argentina. The repertoire performed at the festival was later included in this album, originally released in 1973 in Peru and Spain only. The lyrics and music of these songs reflect the country’s multicultural diversity, blending elements from the African tradition and echoes of Spanish-influenced melodies around stories of slavery days, rural labour and folklore.Although lesser known than music from other nearby countries, Peru Negro’s recordings are reminiscent of Afro-Colombian or Afro-Cuban rhythms. If you have an interest in Cuban son or Colombian bambuco, this record will be an essential addition to your collection and the perfect introduction to the fascinating música criolla.
    Format
    LP
    Release-Datum
    12.07.2019
    EAN
    EAN 8435008863401
     
  • 01. Arriba Perú Negro
    02. Mi compadre Nicolás
    03. Mama Ñangue
    04. Kike Iturrizaga
    05. Torito pinto
    06. Son de los diablos
    07. Congorito
    08. Alcatraz quema tú
    09. Negrito d ela Huayrona
    10. Juan De Mata
    cover

    PERU NEGRO

    Son De Los Diablos

    [engl] Afro-Peruvian music, also known as “música criolla”, finds its roots in West African music, Spanish and European genres and native musical traditions from Peru. Flamenco-influenced sounds sit next to African tribal elements and a simple yet effective percussion instrument called cajón.After a long struggle to preserve música criolla through oral tradition over generations, actually resulting in much of the original music being lost, a renewed interest in those rhythms and melodies arose in the 1950s. Some years later the legendary Peruvian singer Chabuca Granda provided help to promote Perú Negro, a dance company that also incorporated percussion combined with música criolla. Ronaldo Campos, “Lalo” Izquierdo, Víctor Padilla, Rodolfo Arteaga and Caitro Soto, among others, played a key role in the foundation and early days of the company. Their shows celebrated and recreated black culture in Peru and they quickly became regulars at Lima’s theatres.In 1969 they won the main award at the Festival Hispanoamericano de la Danza y la Canción in Argentina. The repertoire performed at the festival was later included in this album, originally released in 1973 in Peru and Spain only. The lyrics and music of these songs reflect the country’s multicultural diversity, blending elements from the African tradition and echoes of Spanish-influenced melodies around stories of slavery days, rural labour and folklore.Although lesser known than music from other nearby countries, Peru Negro’s recordings are reminiscent of Afro-Colombian or Afro-Cuban rhythms. If you have an interest in Cuban son or Colombian bambuco, this record will be an essential addition to your collection and the perfect introduction to the fascinating música criolla.
    Format
    LP
    Release-Datum
    03.04.2020
    EAN
    EAN 8435008863630
     
  • 01. Pintura Roja - El Teléfono
    02. Sola
    03. Petiso
    04. Te Olvidaste
    05. Recuerdos
    06. Oh Virgen María
    07. Padre Olvidado
    08. El Chinito Nº 2
    09. Ayúdame Tu.
    10. Pintura Roja - Pinceladas Musicales

    PINTURA ROJA

    Pinceladas Musicales

    [engl] The nickname is superb, as unappealable: The University of Chicha. It is not an exaggeration that, 32 years after the release of Pinceladas Musicales, their second LP, the cumbia band Pintura Roja continues to be recognized as a monumental institution in the history of Peruvian music. Since its foundation in 1984, Pintura Roja has served as the quarry of the greatest exponents of "chicha" music, cultivating in the classrooms of its academy artists like Princesita Mily, considered one of the first women to integrate a chicha band, and Muñequita Sally, the disappeared queen of Andean folk, in addition to the legendary vocalist Toño Centella and the remembered Jhonny Orosco, founder of Grupo Néctar. Pintura Roja is revolution, innovation, success. It is a commitment to originality, as well as a history of defections and tragedies. But above all, Pintura Roja is Alejandro Zárate Espinoza, its founder, director, composer and lead guitarist. He’s "The Gentleman of Cumbia". In 1984, Pintura Roja is called by Discos Horóscopo to record an LP before the end of the year. The group begins to capture the attention of the public, otherwise, curious about the voice of a woman that they initially confuse with the voice of a child, or perhaps attracted to their lyrics that reflected the dramas and common situations experienced daily by migrants and their first generations in Perú’s capital: the abandonment of parents and sentimental counterparts, the incipient poverty and the uncertain present in which they lived. The woman as a fighter, capable of facing alone adversity and triumphant over sexism, appears in some songs, giving it greater relevance the fact that a woman with the power that her voice gave her, sang to them from the top of the stage. In 1985, Pintura Roja gained popularity on the radio and acquired a one-hour program on Radio Inca called "Pinceladas Musicales". That year, readers of the newspaper El Popular choose it as the favorite band of the year. It is for the second production that Zárate decided to seek support for Mily, who at that time danced and sang for up to six hours in each presentation. Zárate signs Sara Barreto, a 14-year-old huayno singer known as "Natachita", and gives her a new artistic name: La Muñequita Sally.
    Format
    DoLP
    Release-Datum
    22.03.2019
    EAN
    EAN 8517441224497
     
  • A1 Perdoname Leandro
    A2 Esa Mulata
    A3 Caribe
    A4 Los Carasucias
    B1 Salsa De Monte Adentro
    B2 La Mezcla
    B3 Toro Barcino
    B4 Josefina
    B5 Bajo El Palo ‘E Mango
    cover

    REVOLUCIONARIOS, LOS

    Last Band Standing

    [engl] A revolutionary album with a sound unlike that of any other tropical record before or after which could only have come from the Caribbean region of Colombia and the fertile mind of the band's leader, Alfredo Gutiérrez. What makes this record unique and a highly sought-after collector's piece are the innovative arrangements that mix a sax section with electric organ, piano and accordion, and its killer version of Javier Vázquez's hard salsa tune `Esa mulata'. The rest of the album has more hot salsa, boogaloo and descarga, plus local flavors like paseo and porro and even a Dominican merengue. Presented in facsimile artwork and pressed on 180g vinyl. Part of a new Vampisoul reissue series of classic LPs from Colombia's Codiscos and its group of labels such as Zeida and Costeño.
    Format
    LP
    Release-Datum
    24.05.2019
    EAN
    EAN 8435008863364