Analog Africa to release Diablos del Ritmo - The Colombian Melting Pot 1960-1985

 Independent label Analog Africa are set to release another great compilation CD of old classics rescued from the vinyl vaults.  "Diablos del Ritmo - The Colombian Melting Pot 1960-1985" is due for release on 12 November 2012.

This collection showcases the colourful diversity of the music from Colombia, a country where the tropical sounds of Puya, Porro, Gaita, Cumbiambe, Mapelé, Chandé clashed effortlessly with hybrids of Afrobeat, Terapia and bass-driven Palenque music - resulting in a thick brew of irresistible dance music.

Listen on SoundCloud - "Schallcarri" by Grupo Abharca:

There are a number of theories as to how, in the mid-20th century, African music made its way to Colombia's vibrant port city of Barranquilla, today's mecca of Caribbean tropical music, filled with the chaos of loud music, frenetic taxis, delicious Sancocho soup aromas and a charmingly colourful aura. Some maintain that a man named "Boquebaba" remains responsible. Others claim that seafaring traders and merchants imported the first sizeable amount of African vinyl.

An absolute certainty is that in March 2007 Analog Africa founder Samy Ben Redjeb arrived in Barranquilla, which by some is still considered the "Golden Gate of Colombia." He brought along several African records to be used as trading currency for Colombian records he was after (unaware of the impact some of these African records would have at Barranquilla's carnival in the years that followed). Ben Redjeb's collection allowed contemporary diehard music collectors to finally hold their cherished records and learn the real names of many of their favourite songs, which they had heard through coastal sound systems for nearly three decades. In return, the gesture opened pathways to depths of Colombian music the likes of which Ben Redjeb would not have encountered otherwise.

After half a decade in which seven expeditions were made to Barranquilla, Analog Africa is honoured to present "Diablos del Ritmo," an anthology of - and tribute to - the immense sound of 1970s Colombia. Thousands of records were collected, and eventually boiled down to a colourfully diverse selection of 32 tracks mainly recorded in the 70s, with a few songs from the 60s and 80s, split between Afrobeat, Afrofunk, Psychedelia-inspired rhythms on part 1 and an array of danceable tropical rhythms on part 2.

Perhaps nothing epitomises the lush tropical character of Colombia's Caribbean coast more than Barranquilla's carnival, the city's most important cultural event. The pridefully celebrated occasion was once a grand stage on which record labels of the 70s would competitively showcase their best material for the first time to an endearing public. Competitions continue to take place these days to crown the collector with the most exclusive tracks - and some have been won in recent years with records originally provided by Analog Africa's founder. This sort of exchange between African and Colombian music typifies what was happening beneath the surface in 1970s Colombia.

Colombian music in general, especially the music from the Caribbean coast, is heavily influenced by the drums, percussion and chanting of African rhythms. Music from big players of the day – from Nigeria, Congo, Ivory Coast and Cuba - entered Barranquilla constantly. Afrobeat, Terapia and Lumbalú clashed effortlessly with the tropical sounds of Puya, Porro, Gaita, Cumbiamba, Mapelé and Chandé to create a rich amalgam of irresistible dance music while traditional styles were refined by an elite cadre of accordion players that included Alejandro Duran, Alfredo Gutierrez, Calixto Ochoa, Anibal Velasquez and Andres Landero.

Significantly, Colombia is home to the largest black population in the Hispanic world and second only to Brazil. And, as such, communities of African descendants, like the Champetuos and the Cimarrones, were empowered by the thick African ether consuming the country, and stirred the musical melting pot even more. The heights Afro-Colombian music had reached by the early 80s was nothing short of exceptional. But, none of it could have been possible without two vital engines. One was the Picó sound systems - roaming street clubs dedicated to mobilising and spreading the rawest music of Africa, the Caribbean and the rest of the transatlantic black world. The second were forwarding-thinking producers: Discos Tropical, named after the palm tree-filled tropical character of Barranquilla, Felito Records and Machuca, amongst several other key players, governed and diversified the psychedelic and coastal music scene of Colombia.

Alongside an all-encompassing 60-page booklet inclusive of 40 vintage photographs, 24 interviews and documented first-hand knowledge, the deep cuts of Analog Africa's 12th compilation (available on double CD, 2 x double LPs and digital format) will instantly transport any listener to Colombia's thriving Caribbean coast to indulge in the succulent belly of tropical music's untold historic tales.

Please note: The 32 songs will all be included on the double CD. For the vinyl release they will be divided into 2 separately available double LPs.

2xCD with 60-page booklet / 2 x 2 x Gatefold LP / Digital
Catalogue No. AACD 072 (2xCD) / AALP 072A (2xLP) / AALP 072B (2 x LP)
Distributed in the UK by Proper (vinyl also distributed by F-Minor)


Part 1 - Afrobeat, Palenque Sounds, Tropical Funk, Terapia
1. "El Caterete" - Wganda Kenya 4:13
2. "Enyere Kumbara" - Julian y su Combo 3:38
3. "Amampondo" - Myrian Makenwa 3:04
4. "Wasamaye" - Wasamaye Rock Group 2:36
5. "Schallcarri" - Grupo Abharca 3:15
6. "Bajo El Trupillo Guajiro" - Sexteto Manaure 2:45
7. "Pégale a La Nalga" - Fuentes All Stars 3:29
8. "Juipiti" - Grupo Folclórico 2:23
9. "Shakalaodé" - Wganda Kenya 7:32
10. "Amor Salvaje" - Los Salvajes 2:54
11. "Lumbalu" - Calixto Ochoa y Los Papaupas 3:31
12. "Quiero Mi Gente" - Abelardo Carbono 3:43
13. "Cumbia San Pablera" - Conjunto Son San 3:37
14. "Calambre" - Conjunto Barbacoa 4:39

Part 2 - Puya, Porro, Gaita, Cumbiamba, Mapalé, Chandé
1. "Eco en Stereo" - Sonora Dinamita 2:48
2. "La Veterana" - Peyo Torres y sus Diablos del Ritmo 2:42
3. "Lluvia" - Sonora Tropical 2:28
4. "La Cascada" - Pianonegro 2:32
5. "Busca La Careta" - Andrés Landero 2:50
6. "Cumbia Costeña" - Alejandro Durán 2:51
7. "La Pava Congona" - Andrés Landero 3:08
8. "Agoniza El Magdalena" - Ramiro Beltrán 5:11
9. "Santana en Salsa" - Cresencio Camacho 6:10
10. "La Motilona" - Los Alegres Diablos 2:39
11. "El Garabato" - Cumbia Soledeña 02:46
12. "Cumbia Sincelejana" - J. Alvear 2:56
13. "La Nena" - Juan Piña Y su Muchachos 2:57
14. "Sabrosón" - Roberto de la Barrerra y su Piano 3:19
15. "La Bulla" - Los Curramberos de Guayabal 2:45
16. "La Pegajosa" - Conjunto Típico del Valledupar 2:36
17. "Fantasías Del Carnaval" - Carmelo Gutiérrez Y Su Conjunto 2:30
18. "Pájaro Madrugador" - Alfredo Gutiérrez y sus Estrellas 2:59

About Analog Africa:

Analog Africa was set up by Samy Ben Redjeb to release African music from the 70s, music with a certain twist that will surprise you or that you didn't expect to hear from Africa, and that often had a strong impact on its country of origin. Frequently these recordings - all fully licensed – were never released outside of Africa before. Considerable importance is also placed on detailed liners notes telling unusual stories about unusual musicians, complete with rare photographs, interviews and full discographies.
In addition to releasing African compilations, Analog Africa has also ventured into 70s tropical music with a release by Colombia's Anibal Velasquez and the compilation "Diablos del Ritmo - The Colombian Melting Pot 1960-1985", and the label has also launched a series called "Analog Africa - Limited Dance Edition", the objective of which is to release African and tropical records in strictly limited editions which concentrate on single artists's releases. The first release in the series was the first ever LP of Orchestre Poly-Rythmo, one of the best Beninese Afrobeat recordings from 1973. In fact Analog Africa has played a pivotal role in resurrecting the force that is Orchestre Poly-Rythmo de Cotonou, as well as having successfully organised the first ever European tours for Anibal Velasquez and Ghana's Ebo Taylor.
Since its foundation in 2006, Analog Africa has won over music fans and critics alike. Record Collector calls Analog Africa "an increasingly essential label .... which ventures where others fear to tread," whilst The Arts Desk website remarks: "In this age when music fans are turning to the inferior sound-quality medium of downloads, it's immensely reassuring when a record company puts so much effort into making their product as desirable to the consumer as possible." The label has also picked up a number of awards and nominations, including:
*German Record Critics' Prize 2011 Winner - "Angola Soundtrack"
*Gilles Peterson Worldwide Award 2011 Nominee - Label of the Year
*fRoots Reissues & Compilations of 2011 Nominee - "Bambara Mystic Soul"
*Red Dot Designer Award 2008 Winner - "African Scream Contest"
*European Design "Silver" Award 2010 Winner - "Legends of Benin"

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