Fruko, El Bueno – Ayunando (1973) Fruko y Sus Tesos

Released 1973
Disco Fuentes (LP 200748)

01 – Fruko Power
02 – Ayunando
03 – Tu Sufriras
04 – Yo Soy el Punto Cubano
05 – Lamentdo del Campesino
06 – Mosaico Santero: A Santa Bárbara – San Lázaro – A la Caridad del Cobre
07 – El Ausente
08 – Canto a Borinquen
09 – Pa’ Teso Yoi

Vocals: Joe Arroyo and Wilson Saoko
Trumpets: Jorge Gariria, Salvador Pasos
Trombones: Gonzalo Gómez, Freddy Ferrer
Timbales: Rafael Benitez
Conga – Fernando Villegas
Bongo: Jesús Villegas
Electric Piano: Luis Felipe Basto
Bass, arrangements: Fruko

Executive Producer: Jose Maria Fuentes E.
Produced by: Mario Rincon P
Musical Director: Fruko
Recording Engineer: Mario Rincon P.

Vinyl -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 24-bits 96khz -> Click Repair light settings, some isolated clicks removed using Audition -> dithered and resampled using iZotope RX Advanced. Tags done with Foobar 2000


Anyone who has heard the compilations from the likes of Soundway Records or VampiSoul covering cumbia, salsa, or Latin funk sounds has no doubt had the tracks from Fruko jump right out at them. His band went through a variety of sounds over the 70s and I haven’t heard anything I didn’t like yet. Here we see him in a humorous counter-spin on the campy ‘bad boy’ image he had been using (modeled somewhat after Willie Colon’s album covers) on his earlier album art, by becoming the benevolent “Fruko the Good”!

Fruko’s discography is so huge, and I am familiar with such a small portion of it, that it’s difficult for me to say anything of much profundity. However, he is known to a lot of us non-Colombians for some of the funkier stuff he recorded as well as his bad-ass cumbias. But on this record, the only thing funky is the rather creepy and slightly nauseating album cover (thank the stars for the strategic use of glass decanters…) featuring Fruko in his best Bacchus impersonation, and there is no cumbia to had. This is pretty much a straight salsa album with strains of Latin Soul via the Nuyorican scene. Although I prefer Joe Arroyo’s vocals slightly over Wilson Saoko, Wilson definitely knows how to kick it on the more ‘soulful’ bits, and his singing on the wonderful “Lamento del campesino” is fantastic. The idea of having two lead singers in his band — both of them great, really – is just one of the things that makes Fruko and this record special. That, and the disturbing album cover. Check out the electric piano (Wurlitzer, I believe) work on this album too, in place of the more traditional acoustic piano. There isn’t a bad tune in the bunch, with some of my favorites being the title cut, “Mosaico Santero”, “El Ausente” (which has appeared on some compilations), and the tribute to ‘my people’ in Puerto Rico, “Canto a Boriquen.”

Oddly enough there are not just song samples but entire songs from this album available from the website of COLOMBIAN NATIONAL RADIO

I would like to say that personally I find my own vinyl rip much more satisfying to the ears…

flac button


password – palavra chave – senha – magickal invocation – ponto cantado e ponto riscado can be found in the COMMENTS

Colombia! The Golden Age Of Discos Fuentes. The Powerhouse Of Colombian Music 1960-76


Colombia! The Golden Age Of Discos Fuentes. The Powerhouse Of Colombian Music 1960-76
Various Artists
Soundway Records (SNDWCD008)
Every Soundway compilation is a labor of love and this one is no exception. This collection focuses on the Fuentes label of Colombia, which has been active there since the 1930s. Covering a mighty chunk of stylistic territory and a span of over fifteen years is no mean feat and it’s remarkable the collection holds together as well as it does. It has its flaws but they are relatively minor and far outweighed by the fact that Soundway is making this music available to a wider audience that to a large extent have not had much access to it.

Trust me when I say you do not want to be in the middle of a conversation between a Puerto Rican, a Cuban, a Venezuelan, and a Colombian about who was the best salsa music or, Lord have mercy, it’s origins. This release does nothing to clarify that contentious morass. In terms of the salsa and descarga jams on this collection, the influence of the Nuyorican sound is definitely in force, not too surprising given its enormous popularity during the time period, as well as merengue and mambo. And while these tracks are excellent, what really interests me here is the costeña music, the sounds from Colombia’s pacific coast with its heavily African and indigenous elements. Particularly cumbia but also fandango, mapalé and other variants, this stuff is the shit you want off this compilation. Unfortunately there just isn’t enough of it to satisfy me.


And you thought Colombia’s finest export was.. oh, nevermind

The liner notes by Costa Rican music scholar Roberto Ernesto Gyemant start out beautifully with a compelling narrative of his experiences as a crate-digger and fanatic of Colombian music trying to track down some of these records and the people who made them. They provide a lot of historical and cultural context for which I am always grateful, and a fair amount of detail. Unfortunately that detail starts to bog the text down after a while, and is perhaps catering to musicologists and specialists. After the strong initial pages the text takes on a hurried, somewhat sloppy quality, as if the writer was rushing to meet a deadline. Exhibit A is the sentence appearing at the end of one paragraph that says merely, “Sentence about cienaguera,” obviously a note the author made to himself… I know I am an asshole for pointing that out but it cracked me up. Besides, I am dying to know what he was going to write about cienaguera, it keeps me awake at night, restless and anxious.

The text also spends a lot of time focusing on Fruku e sus Tesos (see photo below) and The Latin Brothers to the exclusion of other artists included on the disc. Some of the personalities involved in this part of Discos Fuentes story went on to have huge international hits, none of which are included on this collection. Thus in a way, for the relative outsider to this scene it is as if you are missing some important elements of “the big picture”, as I imagine that some of those smash hits are still generating royalty revenue for the artists and are were thus not available for inclusion on a comp such as this.


The tracks included by Wganda Kenya (the farfisa-driven “Tifit hayed” and the highlife of “Elyoyo”) are pure delight but relegated in the text to the last paragraph, where we are told this sound was popular in the mid-70s but nothing else beyond that declaration. (Actually Wganda Kenya is described as relying on “a new generation of synthesizers”, none of which are present on these two tracks..) I would really, REALLY like to know more about the band Afrosound, whose sole track here closes out the compilation and brings a genuine creole fusion of African and Latin American musical greatness.

The album jackets included in the booklet are one of the best things here, a visual feast of kitschy contemporary design and layout. However the lovely sultry cover featured above appears to be unrelated to any of the music on the album, although I’m not about to complain about it’s inclusion.

On the whole this is not as organized and coherent a collection as Soundway’s Panama compilation (actually, there are three volumes now but I only have the first one and can’t comment on the others in the series). There is still plenty here to sink your teeth and ears into, so those who are interested should most certainly check this out.


 in 320 em pee tree


**P.S. There are typos in the archive folder that originated in the freedb (Free Database) information from which tracks and artists get downloaded within EAC. Thus, they are not my fault, I swear!! I know better than to spell Colombia with a “u”. However I will take the blame for not noticing it until now. I will probably rename the folder and rehost it, because I am obsessive-compulsive that way. Until then you can do it yourself. Just highlight the folder and press F2….

(password / senha in comments)