SUPER DISCO PIRATA, DE TEPITO PARA EL MUNDO 1965-1980 by VARIOUS ARTISTS

CD Version
SKU135455
ArtistVARIOUS ARTISTS
TitleSUPER DISCO PIRATA, DE TEPITO PARA EL MUNDO 1965-1980
LabelANALOG AFRICA
Catalog #AACD 099
Tag
ReleaseW 46 - 2024
FormatCD - EUCD
EAN Barcode4260126061835
Import
 € 19,50 incl. VAT, excl. shipping

Tracks

  1. Afro Oriental - Lucho Burbano
    https://objectstore.true.nl/rushhourrecords:files/tracks/a/aalp_039_super_disco_pirata_de_tepito_para_el_mundo_1965-1980/01_afro_oriental.mp3
  2. Cumbia De Los Bee Gees - Cumbia Machuca
    https://objectstore.true.nl/rushhourrecords:files/tracks/a/aalp_039_super_disco_pirata_de_tepito_para_el_mundo_1965-1980/02_cumbia_de_los_bee_gees.mp3
  3. El Tequilazo / Canelazo - Lucho Gavilanes
    https://objectstore.true.nl/rushhourrecords:files/tracks/a/aalp_039_super_disco_pirata_de_tepito_para_el_mundo_1965-1980/03_el_tequilazo_canelazo.mp3
  4. Palenque - Carlos Haayen Y Su Piano Candeloso
    https://objectstore.true.nl/rushhourrecords:files/tracks/a/aalp_039_super_disco_pirata_de_tepito_para_el_mundo_1965-1980/04_palenque.mp3
  5. La Quinta Sinfonia de Beethoven - Enrique Lynch
    https://objectstore.true.nl/rushhourrecords:files/tracks/a/aalp_039_super_disco_pirata_de_tepito_para_el_mundo_1965-1980/05_la_quinta_sinfonia_de_beethoven.mp3
  6. Venus - Los Pakines
  7. Lamento de Cumbia - La Protesta de Colombia
  8. Ritmo de Cumbia - Sonora Tropical
  9. La 3a De Los Toquecitos - Eduardo Zurita
  10. La Noche - Leon Cardona Y Los Internacionales
  11. El Compae Nuñes - El Combo Cienaguero
  12. La Luna y el Pescador - Gabriel Meza Y Su Organo Chévere
  13. Tanto Tienes, Tanto Vales - Los Destellos
  14. A Bailar El Son Satanico - Los Diablos Rojos
  15. Cumbia Tropical - Anibal Angel
  16. Hagan Ruedas - Camacho Y Cano
  17. Eso Es Con Velas - Orquesta „Rafalo“
  18. Cumbia Del Amor - Alex Acosta Y Su Orquesta
  19. Malinga - Ramon Ropain
  20. Platico Chino - Afrosound
  21. La China María - Los Destellos
  22. Te Gusta Como Azucar - Los Orientales de Paramonga
  23. Cumbia Candelosa - Francisco Zapata

Description

Dive into the golden age of Mexico City's mobile soundsystems, a journey filled with 23 tropical floor-fillers sourced from the finest and strangest pirata LPs. This compilation is dedicated to all the sonideros for their ground-breaking roles as ambassadors of tropical music within Mexican society.

CD comes with a 28-pages booklet containing extensive notes and photos 

"I am facing a dilemma: how does the founder of an independent music label – whose very survival depends on album sales – justify creating a project highlighting, even praising piracy, the very plague that has brought many labels to the brink of bankruptcy?

I first became aware of “pirata” LPs in 2020 while hunting for records in Mexico City: their weird-looking DIY covers – and the edited, tweaked, EQ-manipulated and pitched-down music they contained – got me hooked. There was no denying it: the more I became immersed in the world of these illicit productions the more I became intrigued; and before long it became crystal clear that I would one day release my own compilation compiled out of pirated compilations. But beyond my own fascination with that parallel world, it was undeniable that the “pirata” movement had played a significant role in shaping the musical scene of Mexico. So how did it all start?"

During the 1980s, a group of music dealers and record collectors from Mexico City joined forces to create a series of illegally manufactured vinyl records containing rare and highly-sought hits from Perú, Ecuador, Colombia and beyond. At the time, Mexico City’s dance-party scene was ruled by the sonideros, a highly developed network of mobile soundsystem operators. The popularity of the sonideros led to a growing demand for tropical music, as their fan base became increasingly hungry for the “exclusive” hits associated with particular sonidos. Additionally record dealers were getting frustrated with the music industry constantly “feeding” them streams of mediocre records and from this frustration came the idea of compiling and manufacturing LPs on which every song was a hit: “no matter where the needle dropped, it had to be a song capable of igniting the party.” These bootleg compilations – known as “pirata” – were pressed during graveyard shift on recycled vinyl in editions of no more than 500; they were cheaply produced and sold just as cheaply to people who otherwise wouldn’t have been able to afford them.
    
They were played extensively in every corner of Mexico’s heavily-populated barrios where, in addition to educating the ears of the youngsters, they also promoted some of the best tropical music recorded in Latin America. According to various first-hand accounts these “piratas” began to appear mysteriously in the early 1980s at various market stalls in Tepito, Mexico City’s infamous barrio, a place where one can attend daytime Salsa parties, get any drug imaginable, buy any kind of weapon and, of course, purchase pirated music in all formats. It seems that the manufacturers of pirata LPs worked on the principle that “what happens in Tepito stays in Tepito” and getting information about their bootlegging operations was difficult, not to mention dangerous. My partner in crime – Carlos “Tropicaza” Icaza, who had agreed to write the notes to this project – was quick to point out that: “We won’t be able to disclose any names. We’ll have to be careful how we tell the story!”

At first the pirata LPs came in a simple generic covers, had made-up company names such as Discos Music-Hall, Carioca, Garden, or Miami, and contained popular street-dance songs in nearly every tropical genre. As these unlikely compilations became successful and new ones started being produced at a rate of one per month, the pirates began designing and printing interesting looking covers which often featured the logos of some of the most popular sonidos such as Rolas, Pancho, La Changa, Arco-Iris, Casablanca. The pioneer of this design style was Jaime Ruelas, who had started out as a DJ for the legendary mobile discoteque Polymarchs before using his illustration skills to design their flyers, posters and logos. Taking direct inspiration from science fiction movies and heavy metal covers, the graphics he created became a key element of sonidero culture. The anonymous manufacturers may not have realised it at the time but, in daring to create pirata LPs, they were helping to consolidate and expand a love for tropical music and dance among the population of Mexico City and beyond. The records themselves are a key element of the sonidero culture that was recently declared as part of the Intangible Cultural Heritage of Mexico City for the impact that it has had on multiple generations who identified with the communal experience of the street party, and for whom music and dance became an essential part of daily life.

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