It's a pleasant enough ditty, but I think the diehard fans will want the A side material to keep their party jumping. To round things out there's a bonus track, "Mira para Arriba, Mira para Abajo (Look up, look down)," with now fuzz tone added to the organ. There's only one slip: a limp ballad, "Entre tu y yo," but it is soon washed away with more goofy organ and quirky vocals. Why the album was ahead of its time may be because of the looseness and the free-for-all quality of the recording which seems like one jam after another. A Brasilian cover (apparently) kicks off the B-side (the blistering "El Caterete" which sounds like a descarga to me), but it's the Afro-funk that made this album a keeper and it was a trend-setter for the time. The counterpoint is held down brilliantly on cowbell, for those craving more of that dissonant clank. Blues and Latin merge in "Tifit Hayed," another dance-floor crasher with Farfisa, piano and assorted jungle noises. The maestro who led so many sessions in the day, Fruko, directs from his bass and he and singer Joe Arroyo were clearly having too much fun in the studio when they cut "Fiebre de Lepra (Leprosy fever)" which is loosely in a Makossa style. Opening up is "La Torta" which riffs off of Haitian compas and takes us on a wild carousel ride. The picóteros loved this disc to bits back in the day as it has a wide variety of sounds. This is the first reissue of an LP from 1975, featuring one of the most sought-after albums from Colombia, showcasing the Afro-funk style of Wganda Kenya.
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