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Alfonso Carlos Santisteban was an anarchic genius, he was scorned on, or worst, ignored. Talent and necessity as well as geniality and the most prosaic worldliness collided in his persona.
If we can blame Santisteban for anything it would be for the way he lived and breathed music. A tireless Spanish music workaholic, he made no differences between copla, rumba, pop or soul and didn’t mind if it was for Bambino, La Polaca, Mara Lasso, Calibre 38, Ellas or Mila. A sincere devotee of jazz and immediately seduced by bossa and by cinematographic music, his full works, full of inevitable flaunts as well as moments of geniality, can be critiqued for negligence and an unfinished sense of accomplishment but at the same time his panoramic view and daring musical vision, sometimes just as reckless as accurate, was evident and has made his work endurable several decades later. "Spanish Moog", is one of those strange and almost invisible musical milestones that our man portrayed in Italy.
Just as he wrote in his autobiography, in 1973 and thanks to the help of José Antonio de La Loma, he met two of the capos of the most important film music publishing empire in Italy, Giuseppe Campi and Giuseppe Giachi. They were about to open a C.A.M. (Creazione Artistiche Musicale) delegation in Madrid so they could start building their business in the most exciting times for Spanish film industry. The company started by signing two Spanish composers: our man, and Waldo de Los Ríos.
Deception and frustration would come soon. Apart from a large number of small (or more like embarrassing) film scores, Santisteban published five library albums - catalogues of fragments and music pieces offered on a menu and sold afterwards to both co-producers as well as film producers - up until 1975 for C.A.M.: Ambiente e Folklore, Rinascimenti, Night Club, Situazione per Orchestra and this one, Spanish Moog.
Five of the songs included (Jugando al toro, Nuestro Ayer, Gitanos, Torremolinos Soul and Todo ha sido un sueño) were originally recorded by Santisteban and Rafael Ferro for the album Flamenco Pop (Sintonía, 1969), and three more (Zorongo, Nuestro ayer and Tierra mojada) were originally meant for “Sabor a fresa” (Belter, 1971) by La Nueva Banda de Santisteban.

Beyond the supposed editorial filibusterism what is left is a wonderful festival of grooves and beats; an omnipresent Moog, Wah Wah and ‘cañi’ soul blend in “Torremolinos soul”.
Dreamy melancholy, fuzz and southern tocuh in “Tierra mojada”, impeccable arabesque beats in the steadfast “Zorongo”, funk and folklore sown tight in “Noche en Marbella” and pure space Blaxploitation in “Tute de Reyes”…
As like other pioneers and talented adventurers in our country, Alfonso Carlos Santisteban would collide inevitably with a time already lost in the annals of history. We cannot think of a better way to resume his works and his person than the sentence he used to open his autobiography:
…I speak with the authority given to me by failure…”

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Naino! Spanish Gipsy Soul Funk Disco, 1974 - 1984

    Adarce beat away the winter blues with compilation dedicated to the fusion of black music and gipsy music created during the last century in Spain. Mainly focussed on a breakthrough movement that was started by "rumberos" and "flamencos" by mixing soul, funk and disco, this style reached its maximum splendour in the late seventies. By mixing these genres, all perfectly executed, musicians were able to explore new sounds and discover links between these two well-known musical traditions, so distant and yet so close. For this compilation, the folks at Adarce have chosen fourteen of the best songs, all recorded during those times and released between 1974 and 1984.
    The Spanish interest in soul goes back to the sixties and, fundamentally began with the arrival of Motown and Atlantic records. Stevie Wonder, James Brown, Bee Gees, Barry White, Isaac Hayes, Boney M., Earth Wind & Fire, and many more were released in the 1970s. Enlightened by this music, a group of "flamencos" and "rumberos" started to perform soul, funk and disco in their own way, creating a genuine and unrepeatable musical phenomenon. The aim here is to illustrate this journey from "calé" music to black music. To do so, we Adarce select tracks released by Belter, DB Belter, Discophon and Olympo; showing the different stems of this amazing phenomenon.
    With this fusion, you get danceable music that culminates the passage from tablao to the club. 

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