Labels

Vampisoul

  • 01. La Hossa
    02. Cumbia Tropical
    03. El Escándalo en la Familia
    04. Una Vez Caminando
    05. El Bulevar de la Desilusión
    06. Kabwlú
    07. Cumbia de Piedra
    08. Kabwlú Cavernario
    09. Mira Mira
    10. Gaita Roca
    12. Gaita en Villa-Roca
    cover

    LOS PICAPIEDRA

    Kabwlú

    [engl] 
    While Discos Fuentes was known for recording all sorts of interesting sounds from traditional folkloric Colombian music to the latest popular international styles, every once and a while they would put out a “novelty” record, perhaps to exploit a passing fad, and at times the label would green-light something strange or even outlandish. Many of those left-field releases have their merits and have subsequently become collectors’ items over the years.One such case is the mysterious Los Picapiedra (which translates as The Flintstones, no doubt inspired by the 1960s American sitcom cartoon show), a short-lived studio group with one album to their name, “Kabwlú” (an unpronounceable, invented “caveman” term that is also untranslatable, but seems to have been the ‘traditional rhythm’ of Los Picapiedra’s ‘homeland’). What is interesting about the record is that it is very musically diverse; not only are there the requisite genres that could be found on similar Colombian teenage-oriented groups’ records of the time, such as cumbia, gaita, rock, twist and pachanga, but there is also a smattering of surf, doo-wop, Latin jazz, guajira, ska, and calypso. But what makes the whole thing so special is the odd, off-kilter arrangements, spooky tunings, rudimentary clanging percussion, invented ‘cave’ language, prominent twanging electric guitar and many zany sound effects.
    Format
    LP
    Release-Datum
    04.09.2020
    Genre
    World
    Preis
    20,00 EUR
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  • 01. Pájaro Maluco
    02. Virgenes del Sol
    03. Me dejaste
    04. Negro con salsa
    05. Hogar campesino
    06. Cumbia y porro
    07. Chana
    08. Juan Manuel
    09. Parecito Faraón
    10. De Colombia pa´Venezuela
    11. Mi plegaria
    cover

    JUAN PIÑA CON LA REVELACIÓN

    s/t

    [engl] At the age of 24, Juan Piña formed the eight-piece La Revelación with his brother Carlos, releasing their first album in 1975 on Discos Zeida. This self-titled debut LP of Piña with his group is something of an anomaly in his discography as subsequent albums would feature a different sound and concentrated almost exclusively on Colombian coastal Caribbean and ‘sabanero’ genres.Although Juan Piña’s debut record never made much of a splash, it is an excellent little slice of Colombian mid-70’s madness, with a very diverse sound. An interesting and joyful sounding mix of New York style salsa, Cuban son montuno and guajira with Colombian tropical flavors, the simple, spare arrangements featured electric guitar, piano, Latin percussion, two trumpets, occasional sax, and Juan sang lead while Carlos backed him on chorus. It also sounds like Joe Arroyo may have done ‘coro’ chores on Juan Piña Con La Revelación (Arroyo was a very close friend of Juan and sang chorus on several Revelación albums).This album is hard to find in the original edition, but collectors in the know treasure it for its two hot salsa tunes (‘Negro con salsa’ and ‘Chana’, both written by famous Chocoano composer and vocalist Alfonso Córdoba “El Brujo”) as well as producer Rafael Mejia’s salsa guajira ‘Hogar campesino’ and the genius rendition of the Peruvian classic ‘Virgines del sol’.A beautiful and mature sounding work for the relatively young Juan Piña and his crew, and well-worth rediscovery by today’s Colombian music enthusiasts.
    Format
    LP
    Release-Datum
    28.08.2020
    Genre
    World
    Preis
    20,00 EUR
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  • 01. Vou Lhe Pisar
    02. Você Balança Meu Coração
    03. Amor Amargo
    04. A Menina Que Se Foi
    05. A Recordar
    06. A Confusão
    07. Meu Coração Nâo É Algema
    08. Minha Saudade
    09. Tempestade
    10. O Trem
    11. Carrossel Da Vida
    12. O Amanhecer
    cover

    SILVERY BOYS, THE

    s/t

    [engl] 
    The Silvery Boys was created in 1965 in the district of Campo Grande, Rio de Janeiro, featuring a unique blend of organ, guitar, bass, drums, trumpet, and trombone. They became known as "The Famous Bandinha de Campo Grande” and released their debut album on RGE in 1967.At the end of the 60s, the sound of the garage beat and the bossa nova and samba coexisted smoothly in the repertoire of a good number of Brazilian bands. You could find playful farfisa licks and guitar riffs combined with moving bossa rhythm drum patterns and powerful brass arrangements, groovy club tunes next to lounge mood sounds, across the tracklist of so many albums released at the time. That is exactly what the second album of The Silvery Boys (1968) comprises.Band members José Carlos (trombone) and Fernando Soares (guitarra) sign most of the songs on this self-titled record that also includes some versions of the Spanish famous Duo Dinámico, ‘Amor amargo’ and ‘A Recordar’, as well as other international hits (Tommy James & The Shondells’ ‘Gone, Gone, Goner’). However, ‘Você Balança Meu Coração’ -composed by José Messias- is the stand-out cut here and became a much sought-after club tune after being included in the second volume of the cult compilation series “High Jazz” in the early 00s.
    Format
    LP
    Release-Datum
    05.06.2020
    Genre
    World
    Preis
    19,00 EUR
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  • 01. Estrelar
    02. Fogo Do Sol
    03. Samba De Verao
    04. Para Os Filhos De Abraao
    05. Naturalmente
    06. Tapa No Real
    07. Tapetes, Guardanapos, Cetins
    08. Dia D
    09. Mais Que Amor
    10. Viola Enluarada
    cover

    MARCOS VALLE

    s/t

    [engl] 
    Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. He settled in Los Angeles in the mid-70s, tired of living under Brazil’s military dictatorship, and started to collaborate with such talented artists as Leon Ware or Chicago.This self-titled LP from 1983 is the follow-up to the great “Vontade de rever você” (1981) and his second album after moving back to Brazil. It shows all the music influences received during his US years, especially boogie, soul and funk, featuring stellar collaborators: Lincoln Olivetti & Robson Jorge on keyboards and guitar and Leon Ware on backing vocals.The opening track, the Brazilian boogie anthem ‘Estrelar’, is Marcos Valle’s biggest hit from the 80s and one of the most celebrated songs in his entire career, making clear that what he accomplished while in LA would now make its way into Brazil.
    Format
    LP
    Release-Datum
    03.04.2020
    Genre
    Soul / Funk / Jazz
    Preis
    19,00 EUR
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  • 01. El negro Javier
    02. Pasa, pasa
    03. Trompeteros
    04. Bobby
    05. Astronautas a Mercurio
    06. El turrón de Pochita
    07. Guajira del amor
    08. Serrano
    09. Cancha, Mote y Papa
    10. Pal' gusto
    11. El culantro
    cover

    SONORA CASINO

    Trompeteros

    [engl] 
    Hugo Macedo was a member of the first sonora in Peru, directed by his brother: the Sonora de Lucho Macedo. His brothers were the singers of the band while he performed as a timbalero. After nine years he founded the Sonora Casino of Hugo Macedo in 1964, later incorporating his wife, Lucía "Pochita" Rivera as a vocalist.“Trompeteros” was released on the Peruvian record label MAG in 1972. Previously, the Sonora Casino had already recorded several albums for Philips since the mid-60s. At the time their repertoire was fed by rhythms such as cha cha cha, bolero, guaracha... Their MAG period would start in 1970 with the album “Pochita y la Sonora Casino de Hugo Macedo” in which Hugo Macedo's wife was granted with an important visual presence on the front cover, with a similar follow-up on “Trompeteros”, creating some confusion since vocalist Pachito Nalmy was the actual main singer on the record. The vocalist, who hails from Callao, demonstrates here a great vocal versatility as captured on songs like 'Guajira del amor', with a heavy rhythm that will surely delight boogaloo lovers, or the bolero number 'Pasa, pasa', being both songs own compositions of the multitalented Nalmy.Guarachas, descargas and cumbias complete the offering of this fantastic album, one of the strongest tropical LPs in the MAG catalogue.
    Format
    LP
    Release-Datum
    17.01.2020
    Genre
    World
    Preis
    20,00 EUR
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  • 01. Ganga
    02. Dora/Saudade Da Bahia
    03. Catedral
    04. Feitiço Da Vila
    05. Laberinto
    06. Escola De Samba
    07. Samba Do Aviáo
    08. Feitio De Oraçao
    09. Emboscada
    10. Rio Das Ostras
    11. Tornei A Caminhar
    12. Sambaden
    cover

    SEBASTIÃO TAPAJOS AND PEDRO DOS SANTOS

    Vol. 2

    [engl] 
    The ION studios, located in the Buenos Aires neighborhood of Balvanera, have been the usual setting for recordings by Argentine artists as popular as Les Luthiers or Charly García. In the early 1970s they also hosted Brazilian guitarist Sebastião Tapajos for several sessions accompanied by other musicians such as Arnaldo Henriques, Maria Nazareth or Pedro "Sorongo" Dos Santos. Two albums would be published in the Argentine record label Trova of the recordings along with the latter.In this "Vol.2" the connection between the delicate guitar of Tapajos and the surprising experimental percussion of Pedro Dos Santos, based on unusual objects such as spoons, deodorant containers or matchboxes, creates extraordinary beauty throughout the 12 songs on the album. The sound of the flute is another of the ingredients present in several of the songs and, although his actual involvement is not confirmed on the sleeve credits of the album, everything seems to indicate that Danilo Caymmi was the musician invited to accompany the Tapajos-Dos Santos duo.Since its first release in 1972, this album has been highly sought after by all Tapajos fans, both inside and outside Brazil, becoming a title hard to get hold of due to the fact that it was initially only published in Argentina.
    Format
    LP
    Release-Datum
    17.01.2020
    Genre
    World
    Preis
    21,00 EUR
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  • 01. Intro
    02. Bongos Suspence
    03. Smookie
    04. Asfalto In Agguato
    05. Ossessione Omicida
    06. Base Pericolosa
    07. Suspence Subacqueo
    08. Corsa Pericolosa
    09. Immagini
    10. Thrilling Mortale
    11. Temporale
    12. Boxes
    13. Drumming Free
    14. Tensione Ed Attesa
    15. Tema Di Raven I Vers
    17. Atmosfere Spaziali
    18. Giallo
    cover

    I MARC 4

    Thrilling Mortale

    [engl] Welcome to the third instalment in our series dedicated to the original Italian library music from the vaults of Nelson Records. In this album we dig deeper into the most experimental recordings in the archives of Nelson Records.The label was founded in 1970 by the musicians Maurizio Majorana, Antonello Vannucchi and Roberto Podio (who along with Carlo Pes would be known as I MARC 4), after establishing the Telecinesound studio, right where the New Italian Library Sound was created. They recorded with Armando Trovajoli, Piero Piccioni, Ennio Morricone, Piero Umiliani, Henry Mancini and many others, and created a special sound, mixing jazz, pop, rock and psychedelic music, to produce records aiming to be used by the programmers of the Italian RAI television.The music of “Thrilling Mortale” is mostly special effects, drum breaks, fast bongo rhythms and groovy Hammond background sounds inspired by cinema noise experts who did not use any musical instruments and had only a few objects to recreate the noises of the films; from horse rides to closing gates, everything was done in the traditional way. I MARC 4, instead, would recreate those sounds with bass, guitar, drums, piano and Hammond organ.Many musicians, record producers and film directors still like, look for, rediscover and re-use for their work, and the music on these albums recorded by I MARC 4 between 1970-1976 have reached cult status among library music collectors.
    Format
    LP
    Release-Datum
    13.12.2019
    Genre
    Soul / Funk / Jazz
    Preis
    24,00 EUR
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  • 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.
    Format
    LP
    Release-Datum
    15.11.2019
    Genre
    World
    Preis
    19,00 EUR
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  • 01. Macondo
    02. Mi sonora
    03. Vamos al bohío
    04. Oye mi ritmo
    05. Historia fugaz
    06. Juanita Morel
    07. Se formó la salsa
    08. Mi son montuno
    cover

    ROBERTO DE LA BARRERA Y SU SONORA

    La clavada

    [engl] 
    Colombia has produced many fine pianists in the Antillean traditions rooted in Cuban music. Discos Fuentes had its share of geniuses that tickled the 88s in the salsa idiom, yet most of them, even when headlining an orchestra, remain unknown or relatively obscure outside of collector’s circles. Such is the case of Roberto de la Barrera, who not only cut several LPs under his own name for the label but also was an uncredited session pianist and arranger on various other Fuentes records. De la Barrera did not hail from the commercial centers of the interior like Bogotá or Medellín, nor did he come from the “salsa capital” of Cali or even the port of Buenaventura where so many Cuban and Puerto Rican records first entered the country. His birthplace was the Caribbean city of Cartagena, which, along with Barranquilla and Santa Marta, forms an area with its own rich musical traditions like the cumbia and porro, but also was one of the first regions in Colombia to feature imported Antillean genres like mambo, cha cha cha and pachanga. Also, significantly, Cartagena was the original home of Discos Fuentes before it moved to Medellín, and is the birthplace or initial stomping ground of other important figures in the salsa idiom like Joe Arroyo, Michi Sarmiento, Joe Madrid, Johnny Moré, Víctor del Real, Juan Carlos Coronel, Joseíto Martínez and Hugo Alandete.
    Format
    LP
    Release-Datum
    15.11.2019
    Genre
    World
    Preis
    19,00 EUR
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  • 01. Noches de cumbia
    02. Locura es mi cumbelé
    03. Amor zalamero
    04. Perdóname
    05. No puedo vivir sin ti
    06. Sabroso bacalao
    07. Fantasía marina
    08. Pobrecito mi corazón
    09. Mi viejo barrio
    10. Llorando por ti
    cover

    ADOLFO ECHEVERRÍA Y SU ORQUESTA

    Sabroso bacalao

    [engl] 
    Born on September 3, 1934 in the barrio of San Roque in Barranquilla, Adolfo Ernesto Echeverría Comas started singing on the radio first as a young man, forming his own conjunto and signing with various labels over the years, becoming one of Colombia’s premier band leaders, composers, interpreters and producers of tropical costeño music in the process. Among many other accolades, he is a winner of five Congo de Oro and one El Cacique de Oro awards; his holiday songs ‘Las cuatro fiestas’ and ‘La Inmaculada’ are recognized as national treasures. During his long and successful career, he has toured Venezuela, Panamá and Ecuador, and while performing in the United States was befriended by Celia Cruz and Tito Puente. Recognizing his songwriting talents, the pair asked him for a tune and he gave them ‘Salsa de tomate’, inspired by Tito’s hatred of the term, which they recorded for their “Alma con alma” release on Tico Records in 1971.By 1976, Adolfo Echeverría had signed with Discos Fuentes, where he was to remain until 1990 when he suffered a heart attack and was sadly never able to resume his career. Echeverría’s first year with the label was a great success, with his eponymous debut LP containing his biggest hit, the self-penned cumbia party anthem ‘Amaneciendo’.
    Format
    LP
    Release-Datum
    15.11.2019
    Genre
    World
    Preis
    19,00 EUR
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  • 01. El huevo
    02. Barranquilla, Sol y cumbia
    03. Mira muñeco
    04. Oye cómo va
    05. A la Fiesta del Mar
    06. Bomba pa' los cueros
    07. La bailadora
    08. Tus lindos ojos
    09. Pan con salsa
    cover

    EL AFROCOMBO

    Pan con salsa

    [engl] 
    Although Pete Vicentini’s El Afrocombo did not have the overwhelming commercial and international success of Fruko y sus Tesos, Joe Arroyo y La Verdad or Grupo Niche during the height of Colombian salsa in the 1970s and 80s, Pedro “Pete” Luis Vicentini del Valle (born in 1946) and his combo did have a popular following among fans in the Atlantic and Caribbean coastal areas of Colombia (especially in his home town of Barranquilla) and consequently, Vicentini has won the respect and admiration of many salsa aficionados for his long career of excellent performances and recordings, plus his professionalism and artistic quality as musical director, composer, bassist, pianist and arranger. In addition to founding what would become El Afrocombo, Vicentini was associated for several decades with the popular singer Jackie Carazo and was a member of Carazo’s El Clan Antillano as well as Chico Cervantes y su Sonora Caliente.“Pan Con Salsa” is Vicentini and El Afrocombo’s first long play and was released in 1971. As the title (and humorous cover) suggest, the majority of selections on the record are in the salsa genre that was gaining steam at the time in South America. In reality, though, the album includes Vicentini’s native costeño rhythms like cumbia and porro as well (on the tunes ‘Barranquilla, sol y cumbia’ and ‘Tus lindos ojos’).
    Format
    LP
    Release-Datum
    15.11.2019
    Genre
    World
    Preis
    19,00 EUR
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  • 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.
    Format
    LP
    Release-Datum
    02.08.2019
    Genre
    World
    Preis
    19,00 EUR
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  • 01. Samba do Carioca
    02. Inútil paisagem
    03. Mar azul
    04. Luciana
    05. Borandá
    06. Amor a êsmo
    07. A paz de un homem só
    08. Sem mais adeus
    09. Se você pensar
    10. Canção da liberdade
    11. Só tinha que ser você
    12. O menino das laranjas
    cover

    OS SEIS EM PONTO

    s/t

    [engl] 
    Francis Hime has been a fundamental artist of Brazilian music since the mid-1960s. He began to play the piano when he was only six years old and in 1963 he started working with Vinicius de Moraes, with whom he would compose many songs. For example, ‘Sem mais adeus’, included in “Os Seis Em Ponto”, his first album as part of the band of the same name, released in 1964 on the prestigious RGE label.Hime’s rhythmic piano swings between bossa and jazz along the entire record, with the typical groove of the then emerging Brazilian sound and the characteristic arrangements and solos of the American jazz genre. The complexity of the instrumentation present on the album already anticipates what would be the pianist’s later career as arranger and director of orchestras. But the instrumental depth does not diminish the infectious groove of many of the tracks on the album, a wonderful repertoire by such solid composers as Carlos Lyra, Roberto Menescal or Castro Neves, as well as absolute legends like Vinicius, Jobim or Edu Lobo.“Os Seis Em Ponto” is a representative record from the time of its making: the golden age of bossa jazz, full of sweet and luminous melodies, but also of energetic moments in which Francis Hime’s piano receives the brilliant backing of the flute and the trombone, or the effective guitar of Nelson Motta.
    Format
    LP
    Release-Datum
    26.07.2019
    Genre
    Soul / Funk / Jazz
    Preis
    19,00 EUR
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  • 01. Mi hermana
    02. Salsa boogaloo
    03. Cuando salí de Cuba
    04. Apriétame
    05. Mambo flamenco
    06. Dónde estás Yolanda
    07. Abacoa Miramar
    08. La bola
    09. El invierno
    10. El gato
    11. Buena suerte
    12. Las villas
    cover

    SEXTETO MIRAMAR

    !Salsa! Mi hermana

    [engl] 
    By the time Sexteto Miramar’s groundbreaking “¡Salsa! Mi hermana” LP was released in 1968 they had been performing for over a decade and had gone through changes in both personnel and instrumentation. Formed in Medellín as a children’s “murguita” (little holiday party band) that used to annoy the neighbors, they quickly grew into a hot teen combo specializing in Cuban and Colombian music with accordion and sax arrangements in a conjunto (small group) format, eventually recording for local labels including Zeida. During this time the group had several hits that became standards (later covered by domestic and foreign artists) including ‘Carruseles’ and ‘Cumbia del sol’. By the mid-1960s the old band had dissolved and original founding member and bandleader/arranger Hernán Builes had formed a new outfit, signing with Zeida rival Discos Fuentes. Miramar then recorded an obscure album of tropical music called “Cumbias con El Miramar”, sounding much like their earlier records.However, inspired by New York’s Joe Cuba Sextet and La Playa Sextet (as well as the savvy record label head Don Antonio Fuentes), several years later Builes decided to swap the folkloric accordion for the more contemporary sounding electric guitar, piano and vibes and signed a new contract with Fuentes under the name Sexteto Miramar.
    Format
    LP
    Release-Datum
    11.01.2019
    Genre
    World
    Preis
    19,00 EUR
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  • 01. A la memoria del muerto
    02. Mi verdadero son
    03. Payaso
    04. Los Niches
    05. La fruta bomba
    06. Achilipú
    07. A bailar oriza
    08. Descarga Fruko
    09. Bomba africana
    10. Baho Kende
    11. Rumbo a la ciudad
    12. Tihuanaco
    cover

    FRUKO Y SUS TESOS

    A la memoria del muerto

    [engl] 
    "A la memoria del muerto" is Fruko y sus Tesos' second album, released in 1972, and features exclusively the soaring and soulful vocals of Cali native Edulfamid Molina Díaz, aka "Píper Pimienta", Fruko's previous vocalist Humberto "Huango" González having left after the first album "Tesura". The record is a mix of spirited cover versions and authentically Nuyorican-sounding originals with a Colombian twist, while the cover art, enhanced by an abundance of blood-red design, is quite something, featuring Píper Pimienta and Fruko dressed as gun-toting hippies doing drugs in a cemetery while a transistor radio plays. Just as eye-opening as the music is celebratory! According to Fruko, the Woodstock generation was finally making itself felt in Colombia, and they were embodying the name of the album literally, ostensibly pointing out the dangers of said drug-thug lifestyle in no uncertain terms (the police threw them out during the shoot thinking they were authentic gangsters).Produced and engineered by Fruko's uncle Mario "Pachanga" Rincón, the album has an uncompromisingly stark, hard sound that is appealing to today's collectors of 'salsa brava' just as it was impactful on the Colombian scene when it was made at the beginning of the 1970s (very little of this type of music was produced in Colombia at the time).
    Format
    LP
    Release-Datum
    31.03.2017
    Genre
    World
    Preis
    19,00 EUR
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