Cumbia de Satanas

After the very acoustic "¿Dónde estás María?". I decided to try a new experiment taking as a reference the legendary group "Cumbia siglo XX" which is a group who explores a futuristic vision of coastal cumbia in the 80s, together with other groups such as "Grupo folclórico", "2000 voltios" and others, mainly under the label Machuca and Felito records. This new 80s cumbia was a combination of funky basses and a further evolution of the rhythms, blending this style with disco and even rock music and superimposing the traditional versus the urban context and the modernity.

Killer compilation of 14 cumbia tracks from 1963 to 1983 of South-American female singers.

Hits back to the '50s from Colombia's Disco Fuentes label, with history sweeping consistency aside–any gringo can tell Conjunto Tipico Vallenato's accordion side-closers are country and Rodolfo's coffee commercial isn't. But even if the accordion stuff belongs on a vallenata comp, it passes muster on a collection where at least half the songs bristle with the exigente hooks that sell classic pop the world over. And the unmistakable beat runs down a consummate South American groove, halfway between Euro clomp and Afro hipshake.

On 12 February 1949 an angry mob stormed into the centre of the Ecuadorian capital of Quito, burning the offices of the city’s main newspaper and its oldest radio station to the ground.

Gilda (Miriam Alejandra Bianchi) was an Argentine singer and songwriter. She was the most successful tropical singer of the 90's in Argentina. Gilda started getting involved in music while organizing festivals at a Catholic school. After meeting musician Tito Giménez, the teacher became a backup singer, joining a band called la Barra and soon participating in a second project named Crema Americana. In 1993, Giménez convinced her to start a solo career, recording De Corazón A Corazón after signing up to local label Magenta. The following year, "La Única" featuring the hit "Corazón Herido" and "La Puerta" was released. In 1995, Pasito A Pasito came out, getting the hit and one of her most popular songs "No Me Arrepiento De Este Amor."

Any DJ set tells you, unconsciously or not, about its author. Through the record choices and the way they are organized, one can feel the DJ’s state of mind and find out a bit more about the musical deposit discovered that is being shared and dug through by him or her at the moment.

Any DJ set tells you, unconsciously or not, about its author. Through the record choices and the way they are organized, one can feel the DJ’s state of mind and find out a bit more about the musical deposit discovered that is being shared and dug through by him or her at the moment.

Lovers of the Spanish Baroque may be surprised to see the subtitle "17th-century violin music in Spain" here, inasmuch as non-keyboard instrumental chamber music following Italian models has never surfaced before. Indeed, the booklet transmits statements by writers of the time bemoaning the lack of such violin music. What's happening here is that Spanish historical-instrument group La Real Cámara and its director-violinist Emilio Moreno have hypothesized that Spanish organ music might have been arranged for other instruments in the same way Italian music certainly was; Girolamo Frescobaldi specifically attested to this.