• 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


    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.
    EAN 8435008863517

Einsortiert unter


Mehr vom Label »Vampisoul«

  • cover


    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"
  • cover



    [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 so
  • cover



    [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, wit
  • cover



    [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 Ba
  • cover



    [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 r
  • cover


    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
Zeige alles vom Label »Vampisoul«