A music video directed by Steven Wells and Nick Small was also filmed. It consists of the band playing the song in concert, and occasionally footage of different people performing martial arts moves are cut in to the video. All tracks written and composed by Tim Wheeler ; except where indicated. From Wikipedia, the free encyclopedia. For the song, see Kung Fu Fighting.
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Two decades later, restless musical explorers Vampisoul offer up a longer, deeper look at the s and s output of Discos Fuentes, offering two and a half hours of catchy and curious tracks from the aforementioned artists and others involved in this golden period of Afro-influenced, funked-up tropical music.
If Mango's compilation was a retrospective review of still recent recordings, Program 2 (Vinyl), Vampisoul's is more explicitly a work of vinyl archeology, unearthing the spatially and temporally remote in a manner not dissimilar to contemporary projects by Now Again, Soundway, and Analog Africa, all of whom have been looking to Colombia on recent releases. In fact, Soundway have already covered very similar territory, having released a collection of Discos Fuentes material from the same era in Although there are a number of artists represented on this compilation, one Program 2 (Vinyl) name turns up again and again.
Julio Ernesto "Fruko" Estrada was as important to this era of the label's output as Fuentes himself, acting as multi-instrumentalist, bandleader, arranger, and studio technician for a variety of projects emerging under his name and those of others. Reading the excellent and voluminous liner notes by compiler Pablo E Yglesias a. DJ Bongoheadone gets the impression of a Zelig-like figure, someone present at all the important moments in the "Afrosound" era, and who appears amongst the line-up of numerous acts playing a wild variety of styles.
Fruko y Sus Tesos, the group most obviously identified with Estrada, offered up a fuzzed-out salsa quite distinct from the variety being developed in New York at the same time. The group provide 11 of this album's 43 tracks, several of them featuring wonderfully smooth vocals of sonero Joe Arroyo.
Arroyo also takes control of "El Ausente", his confident croon seemingly unbothered by the spicy stew of brass and percussion behind him, or by the distorting guitar that marks this as a product of s experimentalism. Afrosound, the group that gives this compilation its title and theme, are represented by nine tracks.
The genre was exemplified by groups such as Los Mirlos, whose signature tune was covered by Afrosound on the latter's first album in Fruko's contribution to the genre was reportedly to add more tropical percussion and more experimental sounds, though it is arguable whether these were lacking in the so-called "chicha" music of Peru, as other Vampisoul compilations have made clear.
Afrosound's music was indeed experimental, though its quirkiness can occasionally grate. A few listens of "Dog, Cat" complete with animal noises and "Jungle Fever" cue sex noises will probably prove enough for most people. Less annoying psychedelia can be found on the timewarping "Salsa con Tabaco", which moves deliriously Program 2 (Vinyl) salsa piano to trippy electric guitar, only to come back for an almost clear-headed Kung Fu Fighting - Various - Volume 1 before shooting off into the ether once more.
It's hard to gainsay DJ Bongohead's observation that "the use of a flute mellotron, psych-fuzz guitar, and 'chopsocky' film shouts is nothing short of dope" on this track. Another of the group's contributions, "El Caterete", manages to simultaneously dig deep into African trance styles and head for the weird jugular via what Bongohead accurately describes as "jungle opera yodeling".
Both these aspects are briefly set Program 2 (Vinyl) for some jazzy piano vamps that, along with some semi-scatted backing vocals, suggest the exotica of Arthur Lyman or Martin Denny. The track, fromanticipates the keyboard-heavy sounds of various Caribbean musics in the following decade, not least those that would dominate the "pico" soundsystems of Colombia's coastal regions.
The rest of the album's tracks come from a handful of other groups in the Discos Fuentes stable, all of whom mix elements of established styles such as salsacumbiaand vallenato with more recent, often experimental, sounds.
Sexteto Miramar, for example, serve up a "Salsa Boogaloo" which does exactly what it says on the tin. Another group from the s, Los Corraleros de Majagual, provide more rural textures via the accordion of vallenato legend Calixto Ochoa. One of the balmiest, yet most beguiling, tracks on The Afrosound of Colombia is a take on Los Falcons' early s hit "Cumbia de Sal" by an outfit called Cumbia en Moog.
Like so much else that got "mooged" in the s, the version is novel both in its function as an obvious novelty track, but also, more notably as we listen across the years, in its clear pointers to the future.
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