Please excuse our recent absence from this space. We’ve been doing some remodeling and maintenance, but we’re back now! We’re still very excited to continue sharing more music and culture. In fact, last week we got together and recorded our very first Pelangacast live from our LP clubhouse! The concept is not to have the typical radio “programmed show,” but instead to invite you into our cozy wall-to-wall collection of culture on vinyl as we share stories and discoveries from our musical addictions.
Below is our first episode with more to come soon. Have a listen, and let us know what you think.
Advice – I. C. Rock
Ce La Vie – Les Difficiles De Pétion-Ville
Ah Ah Oh No – La Protesta (ft. Joe Arroyo)
El Preso – Louis Towers [NOTE: This unlabeled record was in a Grupo Kuwait sleeve, but it’s actually Louis Towers]
(Where Were You) Last Night – Sumy
Banana Juana – Ralph Robles
Guami Guami – Sir Victor Uwaifo and his Melody Maestros
I like the new year’s resolution, Pozole! I’ve also been feeling like it’s time to turn up the heat around here. Luckily Pozole and Smokestack have been doing just that for a while, but it’s time to do my share. Here are two records I’ve been meaning to track down for a couple of years (without paying a fortune for them), and finally got a hold of.
We keep coming back to Fruko; we’re neither the first ones nor the last ones to pay tribute to him. You probably know El Preso. Classic! But the man is behind so much more of our favorite Colombian music (Michi Sarmiento, Corraleros de Majagual, Wganda Kenya, Afrosound, Joe Arroyo, Latin Brothers…) and was pretty fundamental in shaping the sound of Colombian salsa in the 70s: rooted in the cumbia tradition, and incorporating a Nuyorican style horn section, a punk rock attack, and a good dose of flower-powered experimentation.
Fruko y sus Tesos started out heavy with “Tesura”, of which supposedly there are only 400 copies. How’s this for an introduction?
Teso! “Dude is wearing a pistol around his neck, a necktie as a belt, a giant gold medallion on his dog, and ready to throw down with salsa breaks so hard that they’re breaking bottles in the middle of the song.” Pozole, here’s your request:
Sometimes I think that Joe Arroyo’s crazy versatility is one reason why he was not even more famous outside of Colombia. He was a massive salsero, but he was so much more than that! Hardcore salseros often like their music a bit more predictable. You never know where El Joe is gonna take you, or how you’re supposed to dance there. (But that won’t stop you – who else can get a bunch of stiff bogotanos to dance mapalé?)
I was thinking about this, and I remembered the stories of the Festival del Caribe in Cartagena in the early 90s where Joe Arroyo got onstage, completely unrehearsed, to trade verses with Haiti’s Rara Machine, Zaire’s Loketo, and a group from Cuba (forget which) one after the other. We thought we were pretty original when we started La Pelanga 3 years ago, to bring all these musics to the same space. But this man beat us by about 15 years! Well, we can still try our best.
Here’s Sheila Degraff with Clifford Sylvain from Rara Machine. (Short attention span? Your patience will be rewarded.)
And Loketo! Superstars of “TGV soukous” (the branch of soukous named after the French high-speed rail system), huge Pelanga favorites, and the only band I know to feature a car-honking solo:
In preparation for our Tribute to Joe Arroyo on Sept. 9, I promised you that we would post a whole bunch of his music in the next couple of weeks. A bit of a slow start, yes, but it’s time to deliver.
Maybe we’ll start with the basics. Not sure if you’ve heard Joe Arroyo before? If you’ve been to just about any “Latin night” in the US, you have. They probably played his classic Rebelión (“No le pegue a la negra”), about an African slave in Cartagena rebelling against his Spanish master after he beat up his woman. Here’s the video -which has a bit of an awkward time balancing the dancing and the history lesson- and a great interview (in spanish) of Chelito de Castro about his famous piano solo.
But there’s so many other great songs in that album! El Joe had just come out from a dark period of excesses and illnesses that he barely survived. He came out of it stronger than ever, with the album Me le Fugué a la Candela, “I escaped the fire”. (The next album,”Musa Original”, has almost the same songs – dunno what’s up with that.) Another classic salsa from that album is his love declaration to his wife at the time:
El Tumbatecho is his first “Joesón” – his trademark fusion of salsa, Afro-Colombian, French-Caribbean music, and delicious 80’s arrangements. This is one of his many songs about partying so hard – and putting who knows what in his body – that he’s not able to sleep.
Once again we’ll be bringing together our community around a crazy, positive dance floor and some really good music. We’ll be cooking up our tasty stew of cumbia, salsa dura, soukous, reggaetón, samba, plena, coupé decalé, merengue, champeta, konpa, funaná, currulao, and any other fresh ingredients that we find in our crates.This time we pay special tribute to Joe Arroyo, the man who could squeeze all these musical genres into one song. You can read/see/hear/dance more about him here:
La Pelanga officially declares this month El Mes del Joe, and we’ll be posting some (more) of our favorite tracks here. (Any requests? You can post them in the comments, or send them to email@example.com.)
Admission is $5-20 sliding scale. Part of the proceeds go to benefit La Peña Cultural Center.