In his natural musical environment full of Latino rhythms, percussions, flutes, brass and electro, El Gato Negro thought he could blend in without being spotted, the most colorful feline of the afro-tropical jungle.

It was counting without Guts, the tireless sound digger who, camouflaged under his eternal bush hat, was making one of these famous expeditions on that day in search of new sounds. With his ear sharp and always on the lookout, it didn’t take him long to spot this cat which, from the canopy, taunting him in Spanish and French.

Just the time to draw his blowpipe to pull some hypodermic sapphires in order to hunt him down but, already, El Gato Negro had decamped, leaving behind him two titles that Guts hastened to store in his shoulder bag.

Back to his studio, and rather than displaying them as trophies, Guts set out to exploit their potential. By redistilling the groove, cutting, remixing, extending parts to revitalize others, he made edit versions of “T’aime Pas Ca”and “Toca Y Toca”.

Pressed on vinyl in the wake, and decorated with the Pura Vida Sounds label, both tracks were ready to bite the dancers’ ankles on the dancefloors. Or rather scratch them.

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