{"id":257652,"date":"2024-03-08T00:00:00","date_gmt":"2024-03-07T23:00:00","guid":{"rendered":"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/product\/africamore-the-afrofunk-side-of-italy-1973-78\/"},"modified":"2025-01-22T18:35:19","modified_gmt":"2025-01-22T17:35:19","slug":"africamore-the-afrofunk-side-of-italy-1973-78","status":"publish","type":"product","link":"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/producto\/africamore-the-afrofunk-side-of-italy-1973-78\/","title":{"rendered":"Africamore. The Afrofunk Side Of Italy (1973\/78)"},"content":{"rendered":"<p>Continuando con la dedicaci\u00f3n de Four Flies a profundizar en per\u00edodos menos explorados de la m\u00fasica italiana, Africamore nos lleva en un viaje cautivador a la intersecci\u00f3n del afro-funk y el paisaje sonoro italiano durante los seis a\u00f1os comprendidos entre 1973 y 1978, una \u00e9poca en la que la m\u00fasica disco se avecinaba y el horizonte y el mercado de discotecas se expand\u00eda r\u00e1pidamente.<br \/>Antes de llegar a las costas italianas, el sonido contagioso procedente de ra\u00edces africanas y afrocaribe\u00f1as atraves\u00f3 tanto el Mediterr\u00e1neo como el Atl\u00e1ntico, aterrizando en las pistas de baile de Nueva York, donde el DJ Dave Mancuso descubri\u00f3 \u00abSoul Makossa\u00bb de Manu Dibango. En 1973, a partir de las fiestas Loft de Mancuso, el ritmo hipn\u00f3tico de la canci\u00f3n se extendi\u00f3 al resto del mundo, incluida Italia, donde provoc\u00f3 una ola de imitaciones y variaciones.<br \/>Las influencias tribales encontraron as\u00ed su camino en el soul-funk italiano y en los primeros tiempos de las producciones disco lanzadas entre 1973 y 1978, desde melod\u00edas con tintes psicod\u00e9licos como \u00abAfrica Sound\u00bb de Jean Paul &#038; Angelique hasta el \u00e9xito de club de inspiraci\u00f3n afrobeat \u00abKumbayero\u00bb del compositor y productor Albert Verrecchia (tambi\u00e9n conocido como Weyman Corporation); y desde innovadoras canciones afroc\u00f3smicas como \u00abAmore\u00bb de Chrisma, coescrita por Vangelis y con los ritmos de la banda de afro-rock ghan\u00e9s-brit\u00e1nica Osibisa, hasta alucinantes canciones como \u00abWhy O\u00bb de Beryl Cunningham, una re- Escribe sobre \u00abCalypso Blues\u00bb de Nat King Cole arreglado por Paolo Ormi, con pausas de percusi\u00f3n que suenan muy parecidas a lo que m\u00e1s tarde se conocer\u00eda como techno.<br \/>Combinando vibraciones placenteras con ritmos impulsores, percusi\u00f3n de estilo mundial e incluso sintetizadores, todas estas producciones traspasaron los l\u00edmites de la m\u00fasica dance en una \u00e9poca en la que la discoteca a\u00fan no hab\u00eda tomado el control. Al hacerlo, sembraron muchas de las semillas de la escena c\u00f3smica italiana posterior y su mezcla \u00fanica de elementos africanos, disco-funk y m\u00fasica electr\u00f3nica.<br \/>Este fue un per\u00edodo breve pero lleno de matices en la historia de la m\u00fasica italiana, uno que merece ser recordado y redescubierto.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Continuando con la dedicaci\u00f3n de Four Flies a profundizar en per\u00edodos menos explorados de la m\u00fasica italiana, Africamore nos lleva en un viaje cautivador a la intersecci\u00f3n<a class=\"read\" href=\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/producto\/africamore-the-afrofunk-side-of-italy-1973-78\/\"> (...)<\/a>","protected":false},"featured_media":258203,"template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[23258],"product_tag":[],"class_list":{"0":"post-257652","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-afro-funk-afrobeat-es","7":"pa_artist-various-artists-es","8":"pa_format-2lp-es","9":"pa_gender-afro-funk-afrobeat","10":"pa_label-four-flies","11":"pa_location-europe-es","12":"pa_other-filters-vinyl-only-es","14":"first","15":"instock","16":"taxable","17":"shipping-taxable","18":"purchasable","19":"product-type-simple"},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.9 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>VARIOUS ARTISTS - Africamore. The Afrofunk Side Of Italy (1973\/78) -  (2LP) | Guerssen<\/title>\n<meta name=\"description\" content=\"Continuing Four Flies&#039; dedication to delving into lesser-explored periods of Italian music, Africamore takes us on a captivating journey into the intersection of Afro-funk and the Italian soundscape during the six years between 1973 and 1978 - a time when disco was looming on the horizon and the nightclub market was rapidly expanding.Before reaching Italian shores, the infectious sound originating from African and Afro-Caribbean roots traversed both the Mediterranean and the Atlantic, landing on New York dancefloors, where DJ Dave Mancuso discovered &quot;Soul Makossa&quot; by Manu Dibango. In 1973, from Mancuso&#039;s Loft parties, the song&#039;s hypnotic groove spread to the rest of the globe, including in Italy, where it sparked a wave of imitations and variations.Tribal influences thus found their way into Italian soul-funk and early-disco productions released between 1973 and 1978 - from psychedelic-tinged tunes like Jean Paul &amp; Angelique&#039;s &quot;Africa Sound&quot; to the Afrobeat-inspired club banger &quot;Kumbayero&quot; by composer\/producer Albert Verrecchia (aka Weyman Corporation); and from groundbreaking Afro-cosmic songs like Chrisma&#039;s &quot;Amore,&quot; co-written by Vangelis and featuring the rhythms of Ghanaian-British Afro-rock band Osibisa, to mind-blowing floor-fillers like Beryl Cunningham&#039;s &quot;Why O&quot;, a re-write of Nat King Cole&#039;s &quot;Calypso Blues&quot; arranged by Paolo Ormi, with percussion breaks that sound pretty much like what would later become known as techno.Combining feel-good vibes with driving rhythms, world-style percussion, and even synths, all these productions pushed the boundaries of dance music at a time when disco had not yet taken over. In doing so, they sowed many of the seeds of the later Italian cosmic scene and its unique mixture of African elements, disco-funk and electronic music.This was a brief but nuanced period in Italian music history, one that deserves to be rediscovered, with love.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/producto\/africamore-the-afrofunk-side-of-italy-1973-78\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"VARIOUS ARTISTS - Africamore. The Afrofunk Side Of Italy (1973\/78) -  (2LP) | Guerssen\" \/>\n<meta property=\"og:description\" content=\"Continuing Four Flies&#039; dedication to delving into lesser-explored periods of Italian music, Africamore takes us on a captivating journey into the intersection of Afro-funk and the Italian soundscape during the six years between 1973 and 1978 - a time when disco was looming on the horizon and the nightclub market was rapidly expanding.Before reaching Italian shores, the infectious sound originating from African and Afro-Caribbean roots traversed both the Mediterranean and the Atlantic, landing on New York dancefloors, where DJ Dave Mancuso discovered &quot;Soul Makossa&quot; by Manu Dibango. In 1973, from Mancuso&#039;s Loft parties, the song&#039;s hypnotic groove spread to the rest of the globe, including in Italy, where it sparked a wave of imitations and variations.Tribal influences thus found their way into Italian soul-funk and early-disco productions released between 1973 and 1978 - from psychedelic-tinged tunes like Jean Paul &amp; Angelique&#039;s &quot;Africa Sound&quot; to the Afrobeat-inspired club banger &quot;Kumbayero&quot; by composer\/producer Albert Verrecchia (aka Weyman Corporation); and from groundbreaking Afro-cosmic songs like Chrisma&#039;s &quot;Amore,&quot; co-written by Vangelis and featuring the rhythms of Ghanaian-British Afro-rock band Osibisa, to mind-blowing floor-fillers like Beryl Cunningham&#039;s &quot;Why O&quot;, a re-write of Nat King Cole&#039;s &quot;Calypso Blues&quot; arranged by Paolo Ormi, with percussion breaks that sound pretty much like what would later become known as techno.Combining feel-good vibes with driving rhythms, world-style percussion, and even synths, all these productions pushed the boundaries of dance music at a time when disco had not yet taken over. In doing so, they sowed many of the seeds of the later Italian cosmic scene and its unique mixture of African elements, disco-funk and electronic music.This was a brief but nuanced period in Italian music history, one that deserves to be rediscovered, with love.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/es\/producto\/africamore-the-afrofunk-side-of-italy-1973-78\/\" \/>\n<meta property=\"og:site_name\" content=\"Guerssen records\" \/>\n<meta property=\"article:modified_time\" content=\"2025-01-22T17:35:19+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/wpguerssen-test.odoo.rgbconsulting.com\/wp-content\/uploads\/2024\/02\/46971.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"1200\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"VARIOUS ARTISTS - Africamore. 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In 1973, from Mancuso's Loft parties, the song's hypnotic groove spread to the rest of the globe, including in Italy, where it sparked a wave of imitations and variations.Tribal influences thus found their way into Italian soul-funk and early-disco productions released between 1973 and 1978 - from psychedelic-tinged tunes like Jean Paul & Angelique's \\\"Africa Sound\\\" to the Afrobeat-inspired club banger \\\"Kumbayero\\\" by composer\/producer Albert Verrecchia (aka Weyman Corporation); and from groundbreaking Afro-cosmic songs like Chrisma's \\\"Amore,\\\" co-written by Vangelis and featuring the rhythms of Ghanaian-British Afro-rock band Osibisa, to mind-blowing floor-fillers like Beryl Cunningham's \\\"Why O\\\", a re-write of Nat King Cole's \\\"Calypso Blues\\\" arranged by Paolo Ormi, with percussion breaks that sound pretty much like what would later become known as techno.Combining feel-good vibes with driving rhythms, world-style percussion, and even synths, all these productions pushed the boundaries of dance music at a time when disco had not yet taken over. 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In 1973, from Mancuso's Loft parties, the song's hypnotic groove spread to the rest of the globe, including in Italy, where it sparked a wave of imitations and variations.Tribal influences thus found their way into Italian soul-funk and early-disco productions released between 1973 and 1978 - from psychedelic-tinged tunes like Jean Paul & Angelique's \"Africa Sound\" to the Afrobeat-inspired club banger \"Kumbayero\" by composer\/producer Albert Verrecchia (aka Weyman Corporation); and from groundbreaking Afro-cosmic songs like Chrisma's \"Amore,\" co-written by Vangelis and featuring the rhythms of Ghanaian-British Afro-rock band Osibisa, to mind-blowing floor-fillers like Beryl Cunningham's \"Why O\", a re-write of Nat King Cole's \"Calypso Blues\" arranged by Paolo Ormi, with percussion breaks that sound pretty much like what would later become known as techno.Combining feel-good vibes with driving rhythms, world-style percussion, and even synths, all these productions pushed the boundaries of dance music at a time when disco had not yet taken over. 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