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1. Manuel Alvarez and Sus Dangers - Modern Slave

2. Cassimbas Negras - Bumburumbumbum

3. Abelardo Carbonó and its Set - Palenque

4. Son Palenque - Tungalala (The Toad)

5. Cumbia 20th Century - Naga Pedale

6. Wganda Kenya - Pim Pom

7. Band The Children Of The Light Girl - Let It Run

8. Pedro Beltran - Puyalo Ahi

9. Cumbia Moderna De Soledad- Tetero

10. Abelardo Carbonó and his Set - I Want My People

11. Lisandro Meza y Su Conjunto - Shacalao

12. Son Palenque - Palengue Palengue

13. Abelardo Carbanó - La Negra Kulengue

14. La Tromba - Calaba Calabao

15. The Soneros of Gamero - Katunga

16. Rabel And His Group - Manaye

17. The Nelda Pina - The Sucusu

18. Wganda Kenya - The Wolf

19. Son Palenque - Give Me A Drink

20. African Palm Group - The Botellita ​​p>

21. Wganda Kenya - Yoro

With twenty-one pulsating tracks from the shores of northern Colombia, "Palenque Palenque!" Reveals a unique and fascinating story of how Afro- Colombian music developed from 1970s and onwards and how the local sound systems (Sound - System, Picos) in Cartagena and Barranquilla played such an important role in the configuration of the sound of the Colombian champeta.

Co-compiled by Lucas Silva (resident in Bogota and the owner of Palenque Records) and Cleret Records Soundway 'Miles, the album highlights the long relationship that the Caribbean coast of Colombia has with Africa dates back to the 17th century. Specifically, the increased percussion sound heavy champeta out of a wave of popularity for psychedelic afro, Latin America and Caribbean music inspired by DJs of the time.

NELSON GARCÌA // May 11, 2010 Responde

I do not know if accidentally, but our friend Lucas Silva forgot a couple of important facts. If we go to the prehistory of the popular music of the Colombian Caribbean, the first recordings of Afro-Caribbean music in the country, have a special and evident fact with the release to the market of the album "Candela" by Pedro Laza and his Pelayeros, at the end of the 50s (1958, I believe). In that disc sings "The boss", Daniel Santos and was recorded for the seal Fuentes precisely. Here we find themes with Haitian rhythms such as tombs, meringues and congas, which carry a very black and African root. I invite you to listen to such cuts as "Panamà me tombè," "Carolina carò" or "Massà massa" where "El jefe" sings in a frank language of the Caribbean islands. The other fact that our friend Silva fails to mention is a group like "Afrosound", a subsidiary of the Wganda Kenya (Made in Fruko), essential when making an inventory of the Afro-Caribbean music made in Colombia, where values ​​such as the singer Juan Carlos Coronel began to emerge as important as the singer Juan Carlos Coronel and who tackled several songs in the Coastal Verbenas like "Don Chorrillo" or "Neguà" just to mention the most popular and those who used the electric guitar as the main instrument. The following are attached to you to hear:

Now to finish, and without the enthusiasm to ignite old polymers or bring to Byzantine discussions without office, I remind all our friends that the first picòs in Colombia, were made in the city of Barranquilla, here is the story told by the most ancient journalist of our country, with more than 90 years on his back, and who worked and boarded the Cartagena maritime terminal (they read well) ... The picó has always been present in the verbena. According to journalist and historian Marco T. Barros Ariza the appearance of the first picó goes back to the year 1939. Everything seems to indicate that the bite of Juan B. Sarmiento and his brother Juan A. was the pioneer. This picó belonged to a Social Club of the time; that could not maintain it economically, and happened to hand of the Sarmiento brothers. Others of the first picós were the old Domingo Rodríguez in the Chinatown and the one of Mr. Felix Ruíz, of profession Hairdresser that sounded diagonal to the Park Almendra Tropical. ...



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