Archive Page 4

Venezuela en Ritmo con Los Billo’s Caracas Boys

I was going through a bunch of music today and I found this record mixed in an album that I would more likely want to get rid of. So I thought it would be cool to toss it up. Also, I’ve never seen this Billo label before. Fate.

Orchestra conductor/band leader Billo Frómeta actually isn’t from Venezuela, however he happened to live, work and be remembered most of his life there. Being originally from the Dominican Republic and living a short stint in Cuba probably formed the sound you’re hearing by the Billo’s Caracas Boys. More Cuban son or rumba than anything else. I have more Billo stuff from the 70’s and 80’s (his career lasted 50 years), but it tends to stink really bad. The b-side label is ripped off, so I don’t actually know the name of this song, El Castigador? (the punisher) maybe. Anyway, the best song on the album. Sorry for not posting anything lately, tons of work and little romance has been eating my time up. But more amazing music to follow shortly. Enjoy!

1. Billo’s Caracas Boys: Unknown

Barcelona Freakbeat with Los Salvajes

I really have Spain on my mind right now and it has nothing to do with the World Cup. Eamon Ore-Giron and Dimitry Lvovsky, two of my best friends on this planet, are hanging out in Barcelona as I write this. Dimitry has been living in the BCN for over a decade now and Eamon is visiting. Huge shout out to both of you and I am super glad you guys are kicking it together. Have a great time and safe trip!

What a better way to tip my hat to these fine gents by dropping one of my first 45 purchases in Barcelona. Got this one back in 2002, I recall the year because the Paseta was being converted to the Euro at the time. Other than that, the Barcelona natives Los Salvajes were considered the “Spanish Rolling Stones” – listen to the songs, you’ll see why. Enjoy coños!!!

1. Los Salvajes: Es La Edad

2. Los Salvajes: Todo Negro

3. Los Salvajes: Que Alguien Me Ayude

Understanding Latin Rhythms

If anyone has noticed, I’ve been posting some really obscure records lately. I’ve been straightening out my record collection and I keep pulling albums I hardly ever play or listen to which is most likely the reason why.  Take the two instructional records Understanding Latin Rhythms for example. Not the best album for the clubs and not the best thing to listen to in it’s entirety on a Sunday morning. Unless I am trying to learn how to use a cow bell, but sadly I am not.

The only worth while track on the first volume is the heavy monster Masacote, a name taken from a style of Cuban percussion jam music. Puerto Rican José Mangual (bongo) and Cuban Carlos “Patato” Valdez (conga) really drop that heavy Nuyorican sound with this song. These two musicians have played with just about everyone, from jazz, latin jazz, to salsa. They just don’t happen to play on the second volume though, which is way more instructional than the first.

Both these albums came with instructional booklets, I posted some images up for you people. Instructional basics and an album to play along with. They didn’t have youtube in 1974. Really nice minimal stuff here nonetheless. A few essential records if you’re a beat maker aswell. Enjoy!      

1. Understanding Latin Rhythms Vol. 1: Masacote

2. Understanding Latin Rhythms Vol 2: Mambo & 6/8 Rhythms

DIY Chicano Rock With Luie Luie

These days you won’t find me in thrift stores looking for records anymore. Long have gone the days of digging for nothing in dollar bins, plus I’ve kind of out-grown wearing dead people’s smelly clothing. But I happened to be in Gilroy, California (of all places) about a year ago when I can across this LP in a Goodwill. I really purchased the record for the title, but to my surprise I ended up with a really wacked out private pressing gem.

However, I was even more astonished when I found out that someone actually re-issued this album on CD. The people at Companion Records, a label that specializes in obscure and idiosyncratic private pressing releases, was down with the “Touchy”. Here is Luie Luie’s bio straight from their pages:

_____

Some years ago, a Los Angeles area collector stumbled across an orphaned copy of the “Touchy” in a thrift store. It was shared through tape trading networks and bootlegged on vinyl — now, Companion Records is proudly offering this first official “Touchy” CD release.

Luie Luie has to be the most jaw-dropping one-man-band lounge act found to date. The “Touchy” serves as a conceptual dance album, an experimental album, as well as a sort of healing LP for ’60s burn-outs. What can his music be compared to? Nothing that we know of.

Luis Johnston is a Southern California screenwriter, painter, and musician who’s spent the past 30 years working in almost complete obscurity. But he’s also written and starred in a feature film and shaken hands with Elvis Presley. Luie has been playing live at various restaurants, lounges, and country clubs for three decades and is still going strong. He released a handful of 45s in the ’70s and one full-length LP, “Touchy” in 1974. And he continues to record unknown quantities of yet to be released CDs.

– Companion Records

_____

I listened to the album on my studio monitors, the quality was there, I selected two of my favorite tracks off the album to share with others. Oh yeah, this guy talks about random shit before he plays each song …whoa. I personally think his music would have sounded better if he had a drummer and bass player, but when you’re a lounge act, it’s all about the economy of scale I suppose. True microeconomics. Enjoy!

1. Luie Luie: Lost

2. Luie Luie: Lord What A Wonderful World

Nelson Ned: El Enano Con Voz Gigante

Brazilian singer and composer Nelson Ned sort of carved out a niche in the 60’s and 70’s by singing sentimental ballads in both Spanish and Portuguese. Almost like the Brazilian Roberto Carlos did. However, his songs of suffering and sentimentality were probably taken even more seriously since he was so small in stature, him being a midget of course. During that era he gained international popularity, most notably in Mexico and Europe. I even recall him singing on Mexican television in the 70’s and 80’s.   

Later, Nelson Ned converted to Christianity in the 90’s (a lot of singers that crawled out of the 70’s seemed to have done that for some reason or another) and currently sings only Evangelical songs. I selected the song “No Digas No” (don’t say no), which is currently my favorite. The compilation album it comes from has no cover, so I just selected a photo from another album. Enjoy!

1. Nelson Ned: No Digas No

Perez Prado: Lupita

I’m gonna go out on a limb and just say it: Perez Prado was not only the king of the Mambo, but the godfather of Mexican Banda.

I cannot think of any musician that played or looked a style akin to the genre Banda before its rise. This influence makes sense on so many levels. After fleeing Cuba, Prado settled permanently in Mexico City, where he gained immense popularity. From film to tv, it seems that Perez Prado became part of the Mexican psyche. To this day countless Mexican bands have covered his songs and have emulated his showmanship. From his over-the-top kenitic sound, to the large matching ensemble. I’m sure there is not a single person from that era in Mexico who doesn’t know who Perez Prado was or what he represented. It only makes sense that the generation after his retirement/death would be strongly influenced by him.  

I selected several versions of the standard Lupita, probably his most famous song in Mexico, and Latin America for that matter. The thing is Prado would constantly try to reinvent himself and it is reflected in all three versions below. Yeah, it may seem a bit redundant and can be said that it was probably motivated by monetary gain. The Mexican music industry was great at repackaging El Rey Del Mambo. But honestly all three version speak for themselves. They are all really good. Enjoy! 

1. Perez Prado: Lupita (1960’s)

2. Perez Prado: Lupita (1970’s)

3. Perez Prado: Lupita (1980’s)

Techno-Banda Boom

There is no other song I know that exemplifies the popular techno banda style more than Grupo El Mexicano’s No Bailes De Caballito. This song is kind of a classic in the genre and still gets radio time to this day. In fact, I probably would have guessed that the song was written yesterday, rather than in 1992. Which really demonstrates the longevity the Banda sound has had in mainstream Mexico. Just don’t play this song too loud in Arizona, you might get deported.

To be honest with you, I’m not a huge fan of banda music, but these few tracks really stood out for me. Banda is more or less the fusion of Norteño music with larger brass instrumentation, fiery orchestras, larger hats, and matching suits. Techo banda however seems to take it a step further opting for synthesizers rather than tubas. Grupo El Mexicano rock synthesizer guitars. This music got really popular in the early 90’s and with that came a series of dance crazes like the quebradita – a dance, which at times, looks more like gymnastics.  

I tossed in the super fast track from Banda Guadalajara Express, which has a less techno sound than the first. But I couldn’t help think about the similarities between Banda, Merengue, and Perez Prado. Maybe it’s the kinetic break neck speeds and the matching outfits. I’ll definitely explore the Perez Prado influence in the next post. Enjoy! 

1. Grupo El Mexicano: No Bailes De Caballito

2. Banda Guadalajara Express: Anda Borracho El Buey

Funky Gas: Part 1

I have this running  joke with my homeboy Dj Lengua: that there is either bad Gas or good Gas. Although it might be the flatulent type of gas we are referring to, it’s most likely the Mexican record label Discos Gas. You have to buy about 50 really stinky records in order to find a gem like this. 

For the most part, Orquesta Hermanos Flores’ sounds more like a Mexican party/wedding band. But some member of the group or producer had the bright idea of having them do a funky cover of the James Boy’s “The Mule” (Phil-L.A. of Soul). Check out the Funky16Corners audio blog, they seem to write extensively about the “horse” subgenre of soul/boogaloo. Also check out my other post about the funky track from Los Socios Del Ritmo which I am reminded of.

I’ll be posting other songs I have from the Discos Gas label in the future. So keep posted.

Just wanted to apologize to everyone for the lack of work I’ve been putting into this blog lately. My business has doubled this month and I’ve been extremely busy. Tonight, for your sake, I found some breathing room. I’ll probably be busy all summer, well into September. But I’ll try my hardest to get these quality sounds out to you people. Lastly, I’m going to probably keep the  audio  format the same, it seemed like the consensus was overwhelming. But who knows, I am always down for some change. Enjoy!

1. Orquesta Hermanos Flores: La Mula

Chicano Batman June 10th to the 12th

Ladies and Gentleman please join us Thursday night June 10th for a very special edition of Carne Tremula @ The Layover.

It is a complete honor and privilege for us to introduce Chicano Batman to their very first Northern California show.

If you live in the Oakland please come down and support them by dancing your nalgas off to the sounds of sweet Latin soul and psychedelic cumbia beats. Rigo Tovar never died! Try to arrive early because I think we are going to capacity on this one. The $5.00 cover is worth it, these guys are fucking amazing live. Hosted by the incredible Vivian Bovell & the infamous Sonido Franko.

Also, if you can’t catch them on Thursday or you want to see them again, be sure to check them out Saturday night June 12th at El Super Ritmo @ The Make Out Room in San Francisco. The cover charge is usually $5 to $7, but it is also well worth the admission. Homeboys El Dj Roger Mas y El Kool Kyle have been hosting this excellent cumbia dance party for the last 3 to 4 years. Should be a really awesome show.

There is even more! Listen to KALX from 12 to 3 pm on thursday for a live set of Chicano Batman. And if you miss that they’ll be performing live for Pirate Cat Radio  in San Francisco at 12 noon on Saturday. Lastly, we don’t have a show for them for Friday the 11th, if you have a venue or house party that needs an extra band……Chicano Batman will save the day.

 

Mucho Mambo For Dancing

Three completely different approaches to 1950’s mambo from three of the greatest musicians in the business. Perez Prado’s take on this genre clearly stands out head and shoulders above the rest. Especially with the chaotic, dizzying brass arrangements, to his signature grunt (he is actually grunting ¡Dilo! which translates to “Say it!”). Way more on the Afro-Cuban rhythm tip than his Puerto Rican contemporaries Tito Puente and Tito Rodríguez (peep the stand-out track Babarabatiri).

I grew up listening to Tito Puente, so in a way it’s almost like listening to Jimi Hendrix. I love and have tons of respect for both musicians, who were both kings of their genres at one time, but I think my ears have heard way too much. Perhaps it’s a bit too mainstream or too polished. Note that Puente’s American jazz/Big Band influence even comes out in the song I provided. On the other hand, Tito Rodríguez’s arrangements were a pleasant surprise. I must have owned this 78 rpm for over 7 years and I’ve never listened to it. And I’m really liking the heavy emphasis on the vocals.    

Anyway, pardon all the hissing, skips, and pops. It’s safe to say that these 78’s & 33’s are older than your parents. I also threw in “Mambo Del Fut Bol” since the World Cup is about to begin. Honduras is one of the 3 biggest underdogs, so I want them to win. Central American Love. Nicaragua sucks at futbol. We are only good at baseball and boxing, basically throwing balls and beating each other up. ¡Bárbaro!

1. Perez Prado: Mambo Del Fut Bol

2. Perez Prado: Mambo No. 8

3. Perez Prado con Benny Moré: Babarabatiri

4. Tito Puente: Cha Cha Mambo

5. Tito Rodríguez: Joe Lustig Mambo

6. Tito Rodríguez: Besame La Bembita

Road to Los Angeles

Whenever I have doubts in life, I jump on a plane and fly to the Bob Hope International Airport of Burbank California.  I’ll be there to attend the record release party for Chicano Batman’s new LP. You should try to join us if you are in the area too. Word!

Los Malos Modos de Sonido Franko

Sorry folks, I’ve been super busy with work and events all month. Also, baseball season doesn’t help much either. Nevertheless, I’ve been thinking of changing things up a bit with Super Sonido. Possibly a newer media player? You know, one of those fancy flash type players. Or do you people like how the download system is now? What says you? Your comments are appreciated. Now if I can only change the my other malos modos (evil ways).

1. Emily Cranz: Malos Modos     

Nuevos Exitos = Mas Exitos

I eat bacon wrapped hot dogs with Dj Lengua, DJ Ganas, and Dj Enorbito. AND SO SHOULD YOU!!! Check out the newest mix they made for Super Sonido….Click to listen:

MAS EXITOS OYE MIX

The Mas Exitos latin dance party has changed their venue to Footsies Bar in Los Angeles. The best in obscure Latin sounds and rare vinyl in the whole So Cal area. Please pay them a visit tonight if you are in town. For more information and future dates click this link here: Mas Exitos  

Moog Pop with Katunga

There wasn’t much to be optimistic about in 1975 Argentina. From the death of Juan Perón in 1974, it seemed like this polarized South American nation was beginning to unravel. With waves of political violence, near-hyperinflation, strikes, to assassinations: Argentina was boiling over. I thought Nicaraguan politics were screwy, but I have to say that Argentina takes the cake. Trotskyites  vs. fascist extremists?

Maybe Katunga’s popular Mira Para Arriba Mira Para Abajo struck a chord with the uncertainty of the everyday Argentine. A positive reaffirmation, escapism perhaps. But I’m pretty sure this song would have been harder to write a year later. With the March 1976 coup d’état and the start of the “dirty war”, their song seems a bit less effective.

Nevertheless, a few great bubble-gum flavored numbers from the band Katunga, who by the way, remind me a lot of the popular Spanish group Formula V. Sorry I couldn’t get much from the bands webpage/bio, but it appears that Katunga still performs to this day. Enjoy!

 1. Katunga: Mira Para Arriba Mira Para Abajo

2. Katunga: Palo Bonito

Dublab Proton Drive

Hey fans of Super Sonido, do me a huge favor and please support LA-based non-profit web radio collective dublab.  I had the awesome opportunity to DJ @ Dublab once and those guys were HELLA cool! They really have their act together and they play some of the hottest web-radio music around, from some of the best DJ’s in LA and beyond. Check out their site, and if you are familiar with them, please donate. Thanks!

– Sonido Franko

The Open Wide Proton Drive starts on May 11th and features a never-before-heard theme song created by Lucky Dragons. Dublab is an art collective that has teamed up with musicians and visual artists like Flying Lotus, Shepard Fairey, HEALTH, Kozyndan, Ariel Pink, and many more. They need your help to keep creativity flowing and continue making awesome projects!

Merengue Tipico con Tatico Henriquez

If I keep finding 45’s like this, I’m gonna have to visit the Dominican Republic someday. In fact, I think I’m going to throw my passport away and just move there. Forever.

When I hear music from people like Tatico Henriquez, it would make me consider doing something rash as this. The kinetic style of the music taps into something I suppose. Anyway, Tatico was known as one of the best accordionists of the merengue tipico. His career began in the 1960s and the early 1970s. He was known for his skill on the accordion and the addition of new instruments to a standard merengue tipico band. Unfortunately his life and career ended in a drunk driving accident in Santo Domingo. Still a huge influence in the merengue scene to this day. Enjoy!

1. Tatico Henriquez y Sus Muchachos: Cabo De Vela

2. Tatico Henriquez y Sus Muchachos: Mano Poderosa

El Expreso de Medianoche

I was a guest on KALX with El Roger Mas. Check out our all organ Latin set. You can hear me talking @ 14:00 minutes into it. Man I sound like a little kid. Enjoy!

El Expreso de Medianoche

Carlos Pickling—Cumbia Morena
Mariachi Nuevo Tecalitlan—Cumbia Arabe
Chicken y Sus Commandos—Cumbia Sampuesana
Los Aragon—Mar y Sol
Mario y sus Diamantes—Quena
Negros de Colombia—La Especulacion
Negros de Colombia—Bomba Tropical
Gustavo Pimintel—Pata Pata
Camacho y Cano y su Grupo—Gaita Numero Uno
Los Diplomaticos—La Samaria
Grupo Standard’s—Cumbia en el Palmar
Grupo Salas—Mar y Sol
Jose y sus Antillanos—Melodia Antillana
Los Beltons—Adios Pueblo
Jose y sus Antillanos—Morena Linda
Manzanita y su Conjunto—Asi Asi Asi
Elkin y su Organo Electronico—El Burro
Elkin y su Organo Electronico—Fiesta y Parranda
Los Socios del Ritmo—Chilito Piquin
Chico Sonido—A Bailar

Anibal Velasquez: Mambo Loco (new release)

If I was to ask Anibal Velasquez anything, it would probably be why he was on so many different labels and in so many different bands. The man was the most prolific musician in South America. But this PR text pretty much answers my question. Read this and then go out and buy this record. Strongly recommend album. Available on Amazon.com April 27th.

-Franko

http://analogafrica.blogspot.com/
http://www.myspace.com/analogafrica

Nestled between the Caribbean Sea and the Rio Magdalena, lies the city of Barranquilla. Hailed by its locals as Colombia’s “Puerto de Oro” or Golden Gate Barranquilla has served as a gateway for “Caribbean Tropical Sounds” for almost a century. Home to the countries biggest cultural celebration, El Carnaval, and the birthplace of the radio and recording industry in Colombia, Barranquilla has always been a city deeply rooted in musical traditions. Its port-city status, has allowed its citizens to remain up-to-date with the latest grooves coming out of the Caribbean basin; with scores of LPs arriving from Cuba, the Dominican Republic, Mexico, Puerto Rico, and the United States; the city soon became a bastion for musicians and vinyl enthusiasts from all over the world.

Nobody embodies more Barranquilla’s rich musical heritage than the master accordionist Anibal Velasquez. Known affectionately by his fans as “El Mago” (the Magician), Anibal has been one of the most prolific musicians of Colombia’s Musica Tropical movement. Anibal Velasquez Hurtado was born on June 3rd 1936 in Barranquilla into a musical family. His father was an accomplished musician but Anibal´s biggest influence was his older brother Juan who first introduced him to the secrets of the accordion. “I knew already how to handle the clarinet, the Guacharaca and other instruments, thats a talent I must have received from my father. In those days music was everywhere – people would come together and dance to cumbia’s and mapale’s…it was all very spontaneous.” 

“As you know Barranquilla has always been a musical city, but when I started to play the accordion, the instrument was not very popular, It had not become part of Costeno culture as it was considered a second-class instrument. A bit foreign and awkward, used primarily by campesinos in rural towns off the banks of the Rio Magdalena – but we´ve changed that. One of the turning points was an encounter with Robertico Roman a musician from Cartagena who I´ve met in a record store on a rainy day. We both had a deep love for Cuban Music and he often came to my place where we jammed. Its with Robertico Roman that I founded my first band called

“Vallenatos de Magdalena”. I made my first recording with that band in 1952. Four songs were recorded including a track called La Gallina, which became a huge hit. It really spread the costal sound toward the center* of the country (interior*).

With the death of Robertico In 1955 the band disbanded and Anibal became a session musician for disco Eva in a band called “El Conjunto Colomboy” which was directed by the Costeño Master “Lucho Campillo” till 1960 when Anibal decides to form a new group. Included in the band are his two brothers Juan and his younger brother José who was instrumental in the sound he wanted to achieve. Instead of using the bongos like in the Cuban Guaracha and Rumba, José decided to use the Traditional Colombian caja drum. The leather skin was replaced by an X-rays Film (radiografias Medicas) an innovation which enabled him to generate a much harder and dryer sound then the cuban bongos. But The cuban style I was producing wasent right – some sounds simply didn’t work on the accordion so I decided to create my own Guaracha which is much faster and a lot hotter then the cuban one. We´ve started recording for various record companies – I didn’t like to exclusive to a specific label – so they dubbed me “Anibal Todo Sello”  (Anibal all labels)

“thats when I met with Antonio Fuentes who had just started his broadcasting company called Emisoras Fuentes in Cartagena. I really enjoyed working with him because he understood the mind of the musician and gave us lot of creative freedom. Encouraged by his attitude I began by playing different styles adapting regional elements to the accordion. I would play cumbia, merecumbe, Mapalé, Pompo, and corrido and later also began to incorporate Cuban and Puerto Rican elements into my music. It was in many ways the golden area of the Musica Tropical movement. Lucho Bermudez and Estersita Forrero had taken the genre into new heights spreading the warm tropical sound of the coast to Bogota and reaching as far Cuba and the United States. I recall playing in a small venue called “Mi Kioskito” here in Barranquilla. I was playing there every week and all the greats musicians of this country would appear one after the other; Pacho Galan, Rufo Garrido, Pedro Laza , Michi Sarmiento…Costeno music was taking over the country and we were pioneering a new movement, a new identity for Colombia – Amazing times – I began to have an impressive amount of followers…(including some future legends) guys like Alfredo (Gutierrez) and Lisandro (Meza) were greatly influenced by my style and used it to developed their own.”

The interest for Anibal´s innovative sound started growing and recording offers started pourring in. This was Anibal´s most productive period were many records were produced for innumerable costal labels. Discos Fuentes worried by the artist´s dominance who´s sound had started spreading like a wildfire by forming a super group called Los Corraleros de Majagual composed of Lisandro Meza, Alfredo Gutierrez, Ernesto Estrada (aka Fruko), Calixto Ochoa and few other giants.

The rivalry between the two bands came to an abrupt end with the arrival of the drug cartels. By the mid-1960s, music in La Costa began to change drastically. With the onset of the hippie movement in the United States and America’s new found craving for marijuana, Colombia’s Caribbean Coast had become a main trafficking hub. A new economy of drugs had emerged in the coast and with it a style called Vallenato rose to prominence. It’s distinct accordion sound and bleusy appeal made it a favorite among drug lords and Mafiosos alike, eventually becoming the soundtrack for their feverish life-styles. According to Anibal, “for a short period, people found happiness in the new economy of drugs and Vallenato had became the manifestation this new found happiness. This new brand of prosperity was soon followed by a dramatic upsurge in drug-related violence. The Drug Cartels ruled the streets and people did not feel safe. Life changed and so did the music.” The Drug-lords delighted in the accordion and the instrument soon become a trademark in local festivals and public gatherings.

Vallenato was everywhere. “I quickly began to redefine my playing style because I became bored with Vallenato mostly because its lyrical content had become decadent and too closely associated with violence. So while the other bands started playing slower music I became faster, much faster. I began incorporating new sounds and techniques creating a new fast tempo style known as “Guaracha de Anibal Velazquez” which became an incredible success during Carnival here in Barranquilla. Unfortunately due to the violence in this country I decided to packed my luggage and moved to Caracas where I stayed for 18 years (Half of the  300 LPs recorded by Anibal Velasquez were recorded in Venezuela).

We are very proud for the opportunity to bring this sound to you. Many of the tracks presented here have set fire to more then one dance-floor and have become essential during Analog Africa Dj Sets.

Samy Ben Redjeb
Analog Africa – Rare Afro Sounds from the 70s
Friedberger Landstr 128
60316 Frankfurt am Main / Germany

Analog Anibal

Dj Lengua and I had the great pleasure of helping out Dj and record collector extraordinaire Samy Ben Redjeb on his new compilation release entitled: Anibal Velasquez: Mambo Loco. Even though most of our selected tracks hit the cutting room floor, we were still happy to help him out with his record in anyway we could.  Samy, aka Analog Africa, has been a huge supporter of our label Discos Unicornio  from day one and he’s a super friendly cool-ass German dude to boot. I got to hand it to him, Mr. Redjeb has probably got the best ear for music in this whole reissue/compilation business. He will always leave you asking, where the hell does he find this amazing stuff? 

Presented in this post are some of the samples that didn’t make it on his record. Nevertheless, the record Anibal Velasquez: Mambo Locos (on LP and CD) is spot on and Samy once again nailed it with probably every important and stand-out song that Anibal Velasquez has ever done. A highly recommended record, which I will give you more details of in my next post. The music below is divided by artist/song/album. Enjoy!!!

Anibal Velasquez /El Cucarachero/Tropical 

1. Panga Pajapa (Afro-Criollo) 

Anibal Velasquez/Self Titled Lp/Var-bo (pressing is off on this – not a great recording) 

2. Burun Bumba (watusy) 

3. El Guamo (cumbia) 

Anibal Y Jose Velasquez/Cumbia Brava/Sonolux  

4. Cumbia Brava 

5. El Sucusu-Sucusu (sucusu) 

Anibal Velasquez/En Tremenda Salsa/Fuentes 

6. Que Paso (descarga) 

Anibal Velasquez/Bailela…Y Gocela!/Lyra 

7. Charanga Cucutena 

Anibal Velasquez/Boogaloo Descarga Mosaicos/Tropical 

8. Descarga Loca

 

 

Mi Cacharrito #2

I did a post about this song Mi Cacharrito (my little car) almost 2 years ago, if anyone remembers or not. Anyway, I was literally given an alternate cumbia version of the song on 45 about 30 minutes ago from friend and colleague El Dj Roger Más.   

You see, I made him a fried egg sandwich at my house for which I was given a 45. Mi Cacharrito is basically about a guy who needs work on his large Cadillac, so the shop loans him a small car (like a vw bug). He finds out that all the girls love him because his small car, thus refusing to return it.

Nevertheless, the 45 is pretty banged up, so sorry for all the skips and scratches. Maybe the egg sandwich trade wasn’t so good after all. Just kidding. I tossed in the B side for good measure. On a side note, if you haven’t noticed already, both songs have accordion impressario Anibal Velasquez on them. Enjoy.  

1. Los Curramberos De Guayabal: Mi Cacharrito

2. Los Curramberos De Guayabal: Mira Mira

Dos Almendras

From the high-class orchestration of Orquesta Aragon to the low-brow minimal Peruvian sounds of Los Kubaney, we have Almendra (almonds), one of my favorite songs from the Cuban danzón era.

Orquesta Aragon is the type of cuban orchestra where you really can hear the European waltz influence more than an afro-cuban one. Perhaps its the stringed instruments and tight ensemble style that they present. Nevertheless, highly popular and regarded as the best charanga orchestras in the 50’s and 60’s, the Orquesta Aragon still performs to this day.

I probably have 3 other versions of Almendra. This standard is done by all the big names from Perez PradoTito Puente to Johnny Pacheco. But I was really floored by this version from the unknown chicha group Los Kubaney. Even though they forgot their bass player when they recorded this track, this minimal psychedelic electric guitar driven version also boarders on greatness. Enjoy!  

1. Orquesta Aragon: Almendra

2. Los Kubaney: Almendra

Tremendo Ritmo con Los Orientales De Paramonga

I kept getting emails from people who couldn’t get enough of the Peruvian group Los Orientales De Paramonga. So there, bam! Not only do I pander to the crowd, I oblige them. Check out the post I did in February that caused all the ruckus: Day 13.  It’s not like it comes without any merit, these guys are awesome.

Super deep chicha with a touch of psychedelic rhythms. It’s like the cholo (peruvian indians) version of Los Destellos. Both full length Lp’s were produced by the infamous bump-bump Enrique Lynch. And the Bailando Con Dolores chicha compilation, like the previous 45, is on the Colombian Caliente label.  Which is a nice little treat since the song La Danza Del Mono (the dance of the monkey) doesn’t show up on any other of their albums. Gozalo!

1. Los Orientales De Paramonga: Chiquilla En Onda

2. Los Orientales De Paramonga: Guajira Oriental

3. Los Orientales De Paramonga: Siempre Contagiando

4. Los Orientales De Paramonga: El Botecito

5. Los Orientales De Paramonga: La Danza Del Mono

April Showers: Boogaloo With Freddy Fender

Sorry folks, I kinda vanished for the month of March. In fact, I really haven’t been checking my email either. So If I haven’t gotten back to you, please do not be offended. For you see I come from a very long line of family members who are really good at disappearing from time to time. Nevertheless, I wanted to share one email I got. And HOLY SHIT!!! it was like opening a really awesome birthday present.

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From Aram Delgado (El Guapo):

Hola, que paso? I’ve been really enjoying your blog, It’s really hard to find good info on latino booty shakers out there. I thought I would pass on a find of mine from a few years ago and thought it might be a good post for your blog.

It’s a rare one from one of the Chicano Kings Mr. Freddy Fender. It’s amazing the variety of music this guy has done, not sure where to put this one? Soul? Psych? Your guess is as good as mine. I tried to find some more info on it but it was pretty limited. I gave an mp3 of this to sports casual after he begged me for it, I figured I had danced my ass off in his Brooklyn joint so many times It was least I could do. Anyway I thought you would enjoy this one, that is if don’t already have it.

1. Freddy Fender & The Comancheros: Boogaloo en Monterey

Label: Discos Dominante DD-590-A (I’m assuming it’s 196??)

Sorry it’s a bit scratchy, but I have only ever seen one other so I was happy to take this one with no complaints. I wish I had an mp3 of the B-side, It’s an old school 50’s style rock & roll balada, half in Spanish half in English, but very Mexican with what sounds like a Bajo Sexto guitar up front. Anyway I hope you enjoy it, hope you can use it. Cheers!

– Aram Delgado (El Guapo)

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Yo Aram I’ve already listened to your download like 100 times. I fucking love Freddy Fender. I have like 10 45’s from the early to mid 60’s. From garage, rock, to ska, and when I find them I’ll post em’. But I do not have this joint, never heard it before. Amazing!!! Thank You!!!

– Sonido Franko

Los Corraleros De Majagual

Probably one of the most popular Discos Fuentes super groups, Los Corraleros De Majagual would eventually bridge the gap between vallenato and the big band cumbia sound of the early 60’s. Large brass sections, percussion, and a heavy emphasis on the accordion. Los Corraleros brought the music of the Atlantic coast region of Colombia to national and even international levels.   

Every member of this band, be it past or present, would eventually become some of the biggest heavy hitters in the Colombian music scene. Alumni included:  Lucho Argain, Tony Zuñiga, Alfredo Gutiérrez, Calixto Ochoa, Lisandro Meza, “Chico” Cervantes, Eliseo Herrera, Anibal Velásquez, Abraham Nuñez, Julio Erazo, Julio Ernesto Estrada “Fruko”, just to name a few. The list goes on.

Keep in mind that the cumbia began as a low-brow form of music. Being born out of interactions between Indian populations and African slaves, the cumbia was not always looked favorably upon by the Colombian upper classes. Simple 4/4 rhythms with distinctive/hypnotic looping beats, minimal compared to the popular music genres from Cuba and Puerto Rico at the time. Take the song Cumbiamberita for example, its like riding a horse at a fast trot. This is definitely the music of the campesino. I purposly pitted the album covers “En Nueva York” and “Aqui Estan” together. Los Corraleros look happier in their sombreros  vueltiados  Enjoy! 

1. Los Corraleros De Majagual: No Me Busques

2. Los Corraleros De Majagual: Cumbiamberita

3. Los Corraleros De Majagual: Ritmo De Juventud

4. Los Corraleros De Majagual: Pachanga En La 13

5. Los Corraleros De Majagual: Lamento Cumbiambero

6. Los Corraleros De Majagual: Tingo Al Tango

7. Los Corraleros De Majagual: Bailen Charanga

8. Los Corraleros De Majagual: La Tos

La Mezcladora Mexicana

It can get dizzying when one tries to distinguish the plethora of traditional Mexican genres out there. And with every region in Mexico, comes every type of ensemble and every type of musical form. From orquestas/grupos like the mariachi, the banda, and the conjunto, to the musical genres of the ranchera, corrido, bolero, huasteco, vals, danzón mexicana, cumbias, trio music, polkas, ect. ect. ect. The list keeps going.

It’s in my opinion that most regional/traditional Mexican music sounds way better live. Take the Mexican mariachi for example. Fucking BORING on vinyl. But when you’re drunk, with a girl, in the center of some small Mexican town, there is nothing like paying a mariachi group to play Cucurucu Paloma for you (one of my favorite mariachi numbers).

Anyway, I selected some smaller regional Mexican acts with rather interesting sounds for this post. It’s safe to say that the bands presented here probably started out as a kind of a “party” or festival group in their smaller towns and villages. Somehow they were convinced that the should put out a record, usually at the expense of the band, and at a financial gain of music recording studios and/or music labels. There probably wasn’t much of an audience for this kind of music, so the rest is history. Digging the psychedelic polka. Enjoy

1. Lalo Garcia y Su Conjunto: La Cobija De Narcisa

2. Banda Mochis de Porfirio Amarjillas: La Estereofonica

3. Los Gavilanes de Mario Saenz y Wally Gonzales: Frijolitos Pintos

4. Banda Sinaloense de Chico Herrera: Las Menuderas

Feliz Aniversario Super Sonido

Two years to the day and still going. I was going to make a mix anniversary cd to hand out free, but I got lazy. So I guess what we can all take from this event is that nothing ever changes.

Big thanks to all the supporters, listeners, and collaborators of Super Sonido. Couldn’t have done it with out you. Saludos!!!

– Sonido Franko

Dj Lengua: Rebajada Mota Mix

It’s seems odd to me that I have to introduce musician, artist, producer, and friend Eamon Ore-Giron: Aka Dj Lengua. I mean we bother each other on the phone on a daily basis, constantly yelling at each other and singing songs to one another. It’s even come to the point where my old friend and I dream of French dip sandwiches together. We speak in tongues.

At any rate, Dj Lengua was kind enough to drop a little gem of a mix for all you listeners at Super Sonido. We spoke about the Mexican dj style rebajada (to reduce, to lower) in Lengua’s post last February. Rebajada essentially is slowing down the beat of a super fast gaita, guaracha and cumbia to create a much more tangible music to dance to. Some sonideros take it even a step further by tranquilizing the cocaine induced beats of Colombia and Peru. The end result, music on heroin.

Anyway, enjoy the mix and look out for Dj Lengua’s next EP release coming out on Disco Unicornio, our shared record label. Should be out in a few months, and without surprise, it sounds f’in amazing.

Dj Lengua: Mota Mix      

2 Upcoming Events

I djing a few events for the month of March. So if you’re in the San Francisco Bay Area during these times, please stop by and have a drink. Word!

28 Days (minus) 3 Days of 45

I had a few dj gigs at the end of February, so I kind of let the last few days of my project fall to the wayside. But I think that 25 out of 28 days ain’t so bad. I’m still proud. There are tons of great songs below. So sorry to disappoint, if anyone feels like they were let down. Anyway, I want to thank everyone who participated directly and indirectly. Big shout out to all who commented and wrote me emails. But a super huge thanks to all the excellent guests who shared their amazing music and insight. O-Dub from Soul-Sides, Adam from Musica Del Alma, Sacha from Future Funk, and Dj Lengua. I owe you guys one. Taking a week off, we’ll see you then.

– Sonido Franko

Day 25: Boogaloo Who #2

Selected a few boogaloo 45’s from Peru. These unknowns really put up some huge sounds. Peruvians, for some reason or another,  have a knack for placing their own stamp on the boogaloo genre. Awesome Ray Barretto cover, plus a real nice dance floor mover with Guajira Go Go. The last one is a stretch. Although pressed in Peru, I’m not really sure if these dudes are from there or not. Even despite their name (caribe? there is no caribe in Peru), the sound just doesn’t seem like it’s from there. I’m still sick. May god have some mercy on my soul. Enjoy!

1. Mario Allison Y Sus Estrellas: Son Con Cuero

2. Charlie Palomares y Su Conj: Guarjira Go Go

3. Los Mulatos Del Caribe: Que Quieren Gozar