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Disc 1
01
El Sexteto Miramar Pachanga Miramar
03 :36
02
El Combo Loco Cumbia De Luna
02 :44
03
Lisandro Meza Y Su Combo Gigante Juventud Flaca Y Loca
02 :58
04
Peregoyo Y Su Combo Vacana Sabor De Vacana
03 :19
05
Orquesta Ritmo De Sabanas Que Se Hicieron
02 :56
06
Los Corraleros De Majagual Pompo Del Pilon
02 :25
07
Los Teen Agers Goza Mi Tamborera
02 :43
08
Michi Sarmiento Y Su Combo Bravo Calenita
03 :52
09
Banda 20 De Julio De Repelon Rosalba
03 :10
10
Adolfo Echeverria Y Su Orquesta Locura De Mi Cumbele
04 :30
11
Fruko Y Sus Tesos Achilipu
03 :41
12
Afrosound Banana De Queso
03 :17
Disc 2
01
Wganda Kenya Fayab Fayab
03 :13
02
Tita Duval/El Nuevo Ritmo De Bobby Rey Batukacuto
02 :43
03
Wganda Kenya El Nativo
03 :11
04
Chico Cervantes Y Su Nueva Banda El Soncito
03 :50
05
The Latin Brothers Dale Al Bombo
03 :43
06
Los Corraleros De Majagual Juana Rosa Manzano
03 :17
07
La Integracion Caiman Y Gallinazo
02 :34
08
Los Bestiales Yolanda
02 :47
09
La Banda De La Boquilla La Rochela
02 :57
10 03 :20
11
Fruko Y Sus Tesos Luz En La Inmensidad
03 :39
12
Machuca Cumbia Staying Alive
04 :09
ARTIST
TITLE
The Afrosound of Colombia Vol. 2
FORMAT
CD

LABEL
CATALOG #
VAMPI 156CD VAMPI 156CD
GENRE
RELEASE DATE
11/25/2014

Vampisoul is back with a fresh batch of funky, folky and psychedelic tropical bangers from the deep vaults of Discos Fuentes (and its other properties, Tropical and Machuca). As previously stated in the first volume of this series, the term "Afrosound" is an invented concept appropriated from Discos Fuentes. If the term seems a bit vague or slippery, rest assured that with this second installment you will come closer to understanding the Afrosound aesthetic. This Afro-vibration was sent out from the cold, misty high mountains and bounced back down to the flattened plains, meandering rivers, verdant valleys, steaming jungle and whispering shores of the azure sea, where it was resold to the original regions that inspired it and traveled to further lands beyond the horizon, like Mexico, Peru, Venezuela, Argentina. There were also several smaller coastal-based labels like Curro and Tropical that did much the same thing, but maintained a local base of operations for their work. You would have found this sound in little moldy hardware, musical instrument and dry-goods stores, or broadcast on radios in buses, cars, trucks, fishermen's canoes, even lashed to burros. It blasted in bars, hotels, on beaches from transistors. It was played on the booming sound systems at the outdoor black champetero parties under the palm trees and in the palenques, social clubs and house parties in working-class barrios, on crackling loudspeakers blaring from street festivals, in plazas. This incredible stream of black gold adorned and enriched the public airways of Cali, Buenaventura, Cartagena, Baranquilla, to become a symbol of pride and part of Colombia's collective identity. Afrosound is not really something tangible that can be tied down and bound to a critic's rules. Nor is it some venerable folkloric strain passed down through generations from time immemorial. It's a modern bastard hybrid, syncretic and synthetic, spawned in the studio, co-opted by government, commodified by an industry that could only have been born in the era of the global village. The unifying factor of this second volume is still the same: African roots or influences and the period of experimentation, self expression, upheaval, rebellion and rebirth in the industry, nurtured by Discos Fuentes and its stable of musicians, producers and engineers.