The Latin American Cultural Reverb
Un saludo al gran maestro Peruano Carlos Pickling y todos los sonideros Mexicanos que tocan su rolas chingonas. Sin y con rebajada. Andale!!!
1. Carlos Pickling y su Conjunto: Cumbia Del Sol
2. Carlos Pickling y su Conjunto: Noche De Estrellas
3. Carlos Pickling y su Conjunto: Cumbia Del Sol (rebajada)
Primitivo Santos was born in Santiago de Los Caballeros, Dominican Republic, on April 28th, 1935. His father passed away when he was two years old. From an early age, he was recognized as being a musical prodigy. In the absence of his father, his surrogate guardian, don Federico Camejo, nurtured Primitivo’s musical talents, providing him with classical training in musical theory and performance. Through his rapid mastery of the oboe, his first instrument, Primitivo would join the municipal band at the age of seven. At the age of twelve, he had formed his own band, and by the age of seventeen, having since traded the oboe for the ubiquitous sounds of the accordion and piano, Primitivo enjoyed his first successes on Dominican radio. His prodigious skill at the interpretation of Dominican rhythms brought his talents to the attention of the Trujillo regime, who were using rural musical forms as expressions of nationalist propaganda to rally popular support around the benevolent dictator. It was in this vein that Primitivo was appointed to the position of agregado cultural de la república dominicana, which is the equivalent of a cultural attaché to theUnited States. This would prove a pivotal point in Primitivo’s role in the popularization of Dominican music, as it allowed him to relocate to WashingtonD.C.
He held the position for over five years, performing at diplomatic functions in the U.S. and abroad. It wasn’t until he relocated to New York City that he was able to insert himself into the flourishing and vibrant Latin music scene. Along with Eduardo Brito and Ángel Viloria, Primitivo Santos was one of the driving forces behind the popularization of merengue and Dominican rhythms in the latter half of the 1950’s and into the 1960’s, not only in the United States, but throughout Latin America. As well as playing Radio City Music Hall, he played Madison Square Garden in 1967 with fellow Dominicanos, Joseíto Mateo and Alberto Beltrán, further establishing himself as on of the top Latin performers of the era. Here’s a link to a bio and interview with Primitivo Santos:
http://www.elsolweb.tv/noticia.php?Id=598
These three singles are from Primitivo’s most successful period in the 1960’s. Interestingly, none of them actually feature Dominican rhythms. “Herimpoke” was recorded in 1961 and comes from an album by the same name. It features the vocals Camboy Estevez and is essentially a boogaloo. I have no idea what a herimpoke is. This version of “El Manisero” was recorded in 1967 and comes from the album, “Primitivo y su Combo en Washington”. The single would become his biggest hit, earning Primitivo a gold record. It also features the vocals of Camboy Estevez Babarquiti is a great version of the tune made famous by Celia Cruz and La Sonora Matancera. It features the vocals of Tito Contreras.
- Marcos Juarez
Thanks Marcos. WOW!!! – Sonido (better late than never) Franko
1. Primitivo Santos y su Combo: Herimpoke
2. Primitivo Santos y su Combo: El Manicero
3. Primitivo Santos y su Combo: Babaraquiti
It would come as no surprise that singer and accordionist Lisandro Meza was catapulted to major stardom in 1980/90′s Colombia. Starting out as a modest vallenato musician (accordion heavy cumbia) to being part of the Discos Fuentes super-group Los Corraleros de Majagual - Lisandro would solidify his career by modernizing the vallenato combo sound. Through the combination of electric bass, congas, and an introduction of brass instrumentation - Lisandro Meza would become a national hero as both composer and performer.
The thing you have to understand is that salsa became the dominate Latin American music in the 80′s and 90′s, if not the world. Groups like La Sonora Dinamita really changed up the cumbia sound of the day, with a larger brass and vocal sections - most likely to compete with their salsero contemporaries of the time. The only difference is that Lisandro Meza moved even further away from the 2/4 and 4/4 cumbia beat and in essence created the new genre of vallenato-salsa. This is evident throughout the music presented in this post with the syncopated patterns, the introduction of montuno sections (Dejame Llorala) and the use of non-traditional cumbia instruments (steel-guitar ect).
I have not gone to any dj gigs without these 3 45′s in the last 2 to 3 years. These songs can really get the dance floor going. The vallenato began as small town party music and in my opinion Lisandro Meza has never lost that edge, even when upgrading the genre. On a side note, I’ll be doing a La Sonora Dinamita post sometime this month. Ill elaborate on their super stardom aswell. Please enjoy!
3. Lisandro Meza: Dejame Llorarla
Ron & the Embracers were a semi-obscure group from East Los Angeles, CA. That’s about all that I know of them. “Latin Blood” is the A-side to their highly sweated Brown-eyed Northern Soul tune “You Came Into My Life” on Spectrum, and it’s a heavy instrumental complete with nice keys, a reverbed-out guitar and loud horns a la Los Vampiros. I’ve personally been jamming this out all winter, since it has a nice vibe to it that suits this time of year. Perfect for a crisp, sunny winter day in California.
Now for the Northern Soul tune. The horns on this track are what it’s all about for me here, but really it has a lot going for it. For one, Ron’s voice is like butter over the backing soul music. I’ve never heard of this fellow named Al Maldonado, who apparently produced both of the songs on this 45, but I’d love to hear anything else he had a hand in!
- Adam Dunbar
1. Ron & the Embracers: Latin Blood
2. Ron & the Embracers: You Came Into My Heart
Thanks for the great songs Adam. Be sure to check out Adam’s blog Musica Del Alma - not only has Adam been a guest here before, but he’s the type of guy who’ll come to your house with a bottle of whiskey and bag full of records I’ve never seen or heard before. He is a gentleman and a scholar.
For the last 2 years I’ve been trying to somehow fit the Prime Mates 45 “Hot Tamales” into these February sessions. The thing is, if I put this song into the mix, I am kind of straying Super Sonido’s path of all things “Latin”. But if Alan Toussaint (you can hear him playing piano) didn’t have a production credit or if it wasn’t on the Sansu label, I probably would assume that it was some obscure East L.A. garage band doing this number. Also, to the credit of Mr. Dunbar and the amazing instrumental “Latin Blood”, I would have never thrown up this comparable gem. Nevertheless, this is my blog so I can do whatever I want – Latin or not. Toussaint, the Meters, Art Neville (organ?), fuzz guitar, and hot tamales? I’m sure I can be forgiven. Enjoy!
- Sonido Franko
3. Prime Mates: Hot Tamales Part 1
4. Prime Mates: Hot Tamales Part 2
In 1991, when I was 20 years old, I took a bus from the Oakland Greyhound to San Diego. From Tijuana I took a direct 52+ hour bus ride to Guanajuato, Mexico (the 2 lane highways really sucked back then). If I had a nickel for every time I heard Yndio‘s Sin Tu Amor (without your love) on the radio, I could have purchased a small house down there (the peso was very weak back then).
Although the do-wop sounding Mexican ballad had been around for a while, it was the 1972 Sin Tu Amor that is probably the most famous. It was a massive hit for this group of norteños from Hermosillo. They really tried to run with that sound, as you can see with the two other songs in this post – both of which are from their next two subsequent albums. They do have some psych/hard rock numbers in the mid-70′s and recorded garage rock under the name Los Pulpos (hard to find/very rare) in the late 60′s. Otherwise, they fell into the Norteño/Banda trap like so many other musicians did in the 80′s. It was like $3000 pesos to the dollar in 1991, remember? Enjoy.
2. Yndio: Noches y Dias Perdidas
Best known for his country singing in the 70′s and his American Tejano sound of the 90′s, it would have come as no surprise that Freddie Fender began his career as a rock and roll/rockabilly/ranchera cross-over musician. Born Baldemar Garza Huerta in San Benito, Texas - Fender, who legally changed his name in 1958, would first find fame in that era covering a Spanish version of Elvis Presley’s “Don’t Be Cruel”. However, stardom was cut short in the early 60′s due to a marijuana possession arrest, something which he wouldn’t emerge/recover from for several years later.
I’m thinking that the 45′s in this post come right at a time prior to his incarceration. Nevertheless, the same kind of musical fusion, like that of the country/rock/tejano music he was popular for in the late period of his life, is apparent throughout these tracks. A mix of rock, calypso, to an old school Mexican party standard with ”La Banda Esta Borracha” (the band is drunk) is a reflection of varying genres he was able to perform. Even his distinctive voice and dark emotional ballad like Que Tal Amor (how are you my love) reminded me instantly of Roy Orbison, another cross-over Texas native. Anyway, some super rare tejano roots music from the legend Freddie Fender. Be sure to check out an older post of a rare boogaloo number he did, still one of my favorite guest post/songs on this site. Enjoy!
1. Freddie Fender y Los Comancheros: Que Tal Amor
2.Freddie Fender y Los Comancheros: Por Que Eres Tan Mala
3. Freddie Fender: Las Cerezas
5. Freddie Fender: Mi Kingston Town
6. Freddie Fender: Cuando Te Conoci
7. Freddie Fender and the Streamliners: Todos Dicen
8. Freddie Fender y Los Comancheros: La Banda Esta Borracha
So once again Super Sonido presents another installment of 45′s all February long. This year though, we are blessed with an additional day, so stay tuned daily for some fantastic Latin American music. Perhaps I’ll save the best for last, on that leap year day. I already have Marcos on board as a guest this month, but as always, I invite any of the viewing/listening audience to participate. Just hit me up with any idea you have at sonidofranko@gmail.com - Please enjoy!
- Sonido Franko
Great 70′s psychedelia from the northeastern state of Pernambuco, Brazil. Composers/vocalists Alceu Valença & Geraldo Azevedo would eventually end up being part of a more main-stream/popular Brazilian rock scene later in their careers - but the Tropicalia/Veloso and Minas Geraes/Milton Nascimento sound can be heard throughout this debut album. Musically considered a regional take on what was happening throughout Brazil in the early 70′s. A great mixture of guitar driven folk, psychedelia, cabaret, with some splashes of percussive tropical sounds. Not a ground breaking record, but a solid effort from this obscure Brazilian gem. Enjoy!
1. Alceu Valença & Geraldo Azevedo: Mister Mistério
2. Alceu Valença & Geraldo Azevedo: Me Dá Um Beijo
3. Alceu Valença & Geraldo Azevedo: Seis Horas
4. Alceu Valença & Geraldo Azevedo: Horrivel
The Cuban Jam Sessions were a series of records produced and released by the New York record label Panart in the late 50′s. The series started when bass player Israel Lopez (Cachao) would gather a group of musicians and began recording late night/early morning jam sessions in Havana Cuba in 1957. The culmination of their efforts would result in probably the most influential form of Latin American music and the creation of the descarga, a musical improvisation or literally a “letting loose”.
Most of the songs on these records are standards and not much is new in terms of musical form. The vocabulary of popular Cuban music, the mix of European and afro-cuban influence can be heard throughout these tracks. It was more or less the minimal, raw approach taken to the music – a move away from the more orchestrated/sugar-coated mambo sound of the time. Much like American jazz, which similarly began composing “music in the moment”. Theses records had some success when originally released, however it is said that their influence reached many other musicians and genres of Latin American music – from Latin Jazz, Salsa, to Cumbia, to most present day forms of tropical music. Please enjoy.
1. Cachao y Su Ritmo Caliente: Cogele el Golpe
2. Cachao y Su Ritmo Caliente: Descarga Cubana
3. Cachao y Su Ritmo Caliente: Sorpresa de Flauta
4. Cachao y Su Ritmo Caliente: Estudio En Trompeta
5. Julio Gutierrez: Theme On Mambo
7. Niño Rivera: Montuno Guajiro
8. Fajardo and His All-Stars: La Flauta de Jose
9. Fajardo and His All-Stars: La Charanga
There probably isn’t much more I can say about Mexico City’s electro-maraduer Memo Rios. Basically he made a living ripping off 80′s techno cover songs, all the while butchering the lyrics to his own personal Chilango likings. Nevertheless, this is my third article about him, so I do give the man credit where credit is due. Even though I feel that his music is just ok – I personally respect his abstraction of this genre of music. And the more I find/listen to these recordings, the more I am convinced that Memo Rios is more conceptual artist than plagiarist. Tacos yes, sandwiches no!!!
- Sonido Franko
Ramón Antonio Ropaín Elías was born in Río Frío in 1920, and was raised in Ciénaga, Magdalena, Colombia. He studied both piano and pharmacology, traveling to the United States for a time, before returning to Colombia in the 1950’s and settling in Barranquilla, where he became the piano player in the orchestra of Lucho Bermúdez. He composed, amongst other pieces, the classics, Cumbia Bonita, La Danza de la Chiva, and Cumbia Gitana, and led his own conjunto and orchestra for many years. He passed away in 1986.
Composed by Lucho Bermúdez, Ropaín’s rendition of Cumbia las Fichitas (also known as Gaiteando), is a beautifully understated piano driven cumbia. The simplicity and class of
Ropaín’s playing bring to mind the recordings of Peruchín or Noro Morales in the Afro Cuban model, stripped of all accompaniment, save the rhythm section and the piano. The lack of brass, woodwinds, or accordion make for a particularly intoxicating and trance inducing cumbia, as Ropaín’s gentle touch on the keys glides effortlessly through the interplay of the maracas, güiro and tambora. Its energy is substantially enhanced by multiple false endings, which increasingly raise the intensity level. This is a Mexican pressing on Son-Art, licensed from the Colombian label, Discos Tropical. Great for the sala or the salon!
- Marcos Juarez
1. Ramón Antonio Ropaín Elías: Cumbia De Las Fichitas
Super rare cut from Eddie Aleman’s Omega label out of San Antonio Texas. It seems that Mr. Aleman was part of the whole Tex-Mex rock/soul movement that arose out of Texas in the 60′s. For the most part, I haven’t had much luck with music on the Omega label, mostly ranchera and corrido numbers – so it was awesome to find this brown-eyed boogie funk track. Not much else is known about these guys, but it appears that Aleman had something to do with the ultra rare San Antonio labels CG Production and Mr. G - all which seemed to have disappeared into obscurity. This one is going in my rotation. Enjoy!!!
- Sonido Franko
1. Brown Sugar: Yo Te Quiero Mucho
Jean Gesner Henry, dubbed Coupé Cloué during his early years of playing professional soccer in Port-au-Prince, was one of the most influential performers and composers of Haitian music in the latter half of the twentieth century. While the vast majority of his recordings were issued under the Coupé Cloué moniker, his earlier recordings as the singer and leader of Trio Select mark a crucial moment in the evolution of Hatian popular music. Trio Select was formed on September 6, 1957, according to the back of the album. The group featured Gesner Henry and Raphael Benito on vocals, Georges Celestin on lead guitar, Andres Serant on second guitar, Colbert Desir on percussion, and Prospect on bass. Gesner Henry was known for his humorous use of double entendres and colloquial slang, endearing him to his public and earning him the nickname, “La Coqueluche D’Haiti” or “The Whooping Cough of Haiti.” At least that’s what it says in the album notes, but I can’t help but think that something is lost in translation.
Of the Trio Select albums, Plein Caille released in 1971 on the burgeoning Brooklyn based Marc Records, is perhaps the most thoroughly satisfying and rewarding. Although the larger ensemble sound of the Konpa Direk of Nemours Jean Baptiste and the Cadence Rampa of Webert Sicot had opened the flood gates in the early 1960’s and on into the 70’s for a slew of Haitian bands performing in that style, Gesner Henry’s Trio Select is firmly rooted in the subdued Cuban Son and Bolero influenced Twoubadou style. The vocal harmonies are sublime giving the slower pieces a beautiful melancholy quality. The guitar work is stellar as well, with substantial soloing. I wish I was able to understand the lyrics.
- Marcos Juarez
Marcos has written a few posts for super-sonido in the past, but for the last year I’ve been bothering him to be a more active participant for this site – which he has gladly agreed to do and which I am totally greatful for. So for future visitiors of this audio blog, please be aware that this is as much as Marcos’ as it is mine. If you have any direct questions for Mr. Juarez you can add him on facebook or you can listen to his radio show every Thursday 3 to 6 p.m. on KALX radio. Amazing music from Haiti, I am completely floored. Please enjoy!!!
- Sonido Franko
1. Trio Select: Juge, Juge’m Bien
Somewhere between the powerhouse salseros of New York and the exceptionally rich soneros of Colombia, there is Salsa Venezolana. Pretty much considered a national music in Venezuela, with Oscar D’Leon being the country’s biggest export. Although the differences in sound may be subtle to their contemporaries, it is said that the Venezuelan brand of salsa is more rooted in a Cuban son-ryhythm style. The piano intros are good examples of this, to the crooning/falsetto singing of both Carlos “Tabaco” Quintana and Oscar D’Leon.
I think I’ve run out excuses for not updating this site lately - but rest assured I’m taking care of business. Anyway, more music to follow. Please enjoy!
1. Tabaco y su Sexteto: Mi Pueblo
2. Oscar D’Leon: Bravo De Verdad
Entry #2 in our “Exitos” mixtape series is “Acid Sonidero” by DJ Lengua, or Eamon Ore-Giron as he’s known to his parents. A DJ, producer, and artist (whose work has been exhibited frequently, including at LACMA), Eamon has bounced up and down the Americas, having lived in Peru, DF, SF, and now LA (he’s originally from Tucson). One of the founders of Club Unicornio, the late, great San Francisco monthly, he’s now one of the forces behind the always-fun Mas Exitos, which takes place the first Thursday of every month here in LA.
I met Eamon (and his rad wife and fellow artist Gina Osterloh) at a bar in Pasadena during Euro ’08, and since then I’ve watched him put on excellent solo art shows, release the killer Cruzando album (get it here), and organize great events like a screening of El Mundo de Los Pobres, the rare 1986 film that stars chicha legends Los Shapis. So it’s an honor to have such a busy person take the time out to make a mix for EPR, and “Acid Sonidero” is fantastic, a mad mix of drowsy drops, washboard rhythms, and bass for hips, ending with a sample from Dr. Dre. It’s a crazy flight through the Andes up to Mexico City, with a trip back home to California. Thank you Eamon!
Taken from Echo Park Records
A great fuzzed out rendition of country singer/song writer Don Gibson’s “I Can’t Stop Loving You”. The song would go on to be covered by the likes of Frank Sinatra, Ella Fitzgerald, and immortalized by Ray Charles. I think that Pucho and His Latin Soul Brothers even does a version. But for singer Chucho Avellanet, “Jamás Te Olvidaré” scored a massive Latin American pop hit. Apparently he would go on to adapt more pop standards into Spanish on the United Artists label in the 1970′s. Also popular for being a comedic actor in this native Puerto Rico and continuing his success with a string of romantic hits in the 1980′s. From the looks over everything else Chucho has done – it doesn’t get any better than this. Enjoy!
1. Chucho Avellanet: Jamás Te Olvidaré
I just wanted to post the full Panamérika show for you. It seems that the interview got picked up by the Ibero 90.9 FM, which is a private college radio station in Mexico City. The funny thing is, there is a ton of pretty awesome record dealers right next to the Ibero (Universidad Iberoamericana) – I’ve come up huge there in the past, so this post has come full circle so to speak. Anyway, I’ve been getting a lot of accolades from the Mexican blogosphere – twitter for the most part. So thank you for all the love. Also, I wanted to drop some Mexican cumbia while I had the opportunity. All you Ibero kids remember, di no a las drogas!!! Disfrútalo!!!
1. Los Supersonicos Del Ritmo: Escucha Juventud
2. Panamérika.fm: Programa 142 (large file)
It kind of makes sense that both Eartha Kit and Perez Prado would collaborate together in the 1950′s. Both being known for their stage presence and both being synonymous with “versatility” during their careers – it only lends to the idea of how well an early soul/jazz/Latin crossover works together.
Eartha actually didn’t like the outcome of these recordings she did with Perez Prado, on account of her being sick throughout the entire session. Nevertheless, both Kit’s highly distinctive style of singing and Prado’s brand of mambo are apparent throughout these two amazing tracks. I prefer the B side myself, but I’m a sucker for the slower jams sometimes. Please enjoy!!!
1. Eartha Kit and Perez Prado: Fredy
2. Eartha Kit and Perez Prado: Sweet and Gentle
It’s kind of a sad thing that the Gypsy Kings had to put crossover gypsy rock on the global map. It’s not that their music is all that bad – but every time I go to a mediocre Italian restaurant, much to my chagrin, I’m subjected to their music playing in the background. I’ve even heard Bandolero blaring out of a lime green convertible Mustang once. Oh lord.
Before all that, there was a true king of this genre: Peret - the Spanish Romaní singer, guitarist and composer, who was pretty much the embassador of the Catalan Rumba sound. If you are interested in this music please do check out the articles Soul-Sides has about Peret and Los Amaya (O-dub always has the finger on the pulse). What I wanted to add was that I found this in the KRMX lot of 45′s I have. So even though Peret is Spanish, his music was still heard in Latin America, although I am not quite sure what impact it had, if any. Either way, two really solid tunes from El Rey de La Rumba Catalana. Enjoy!
1. Peret: A Mi Las Mujers, Ni Fu Ni Fa
When a man by the name of Uriel Waizel emailed me from Mexico City wanting to do an interview at my house, I have to admit that I was a bit skeptical at first. For a while now, I have been familiar with the online radio/tv station he works at: Panamérika.fm - they have spoken about Super Sonido in the past, so that wasn’t the problem. The dilemma I had, was if Uriel was even going to show up to my house or not. Now if you have ever lived in Mexico City (which I have), you’d understand that there are two completely different ideas of time. Gringo Time, where one hour means one hour - and Mexican Time, where one hour can mean a day or two. And sometimes you have to take an appointment with a grain of salt.
Nevertheless, Uriel showed up at my house - and yes, on time. Please go check out my interview at Panamérika.fm if you can. I had the great pleasure of hanging out, drinking, talking, and listing to some great music with Mr. Waizel and his wife. His love for really obscure cumbias made me like this Chilango instantly. Anyway, I wanted to take the opportunity to drop some of the more obscure tracks that you can hear in the interview. Also, I want to take the time out to thank them for coming over, braving my freezing flat and listening to me rant for 3 hours – you guys are awesome. Enjoy!
1. Los Bobby Soxers: Aguardiente y Limon
2. Tita Duval y su Cumbianba: Cumbia a Go Go
3. Lemaire y su Klan: Mar y Sol
4. Los Teen Agers: La Gaita Marciana
Known as the father of the modern Afro-Cuban sound, the blind musician and bandleader Arsenio Rodríguez would further develop and modernize the sound of Son, the predominate musical force in Cuba. Up until the 50′s, son centered around the tres (a triple set stringed guitar), bass and clave. By adding more melodic elements to his arrangements like a horn section, piano, and congas - Aresenio Rodríguez garnered instant fame in Cuba, earning him the nickname El Ciego Maravilloso (the marvellous blind man).
Born in Güira de Macurijes, as a young child, Rodríguez was blinded when a horse kicked him in the head. It is said that his musical roots come from the Congolese rituals of his family, instilled in him by his grandfather, who was apparently a slave. There probably hasn’t been a bigger influence in Cuban music than Arsenio Rodríguez. His sound can be heard in the rustic streets to the large Salsa brass arrangements to this day. Even listening to the first 5 seconds of Cambia El Paso (change that step), you instantly recognize the sound of son, something which has almost become a national symbol for Cuba.
On a side note, Andy Harlow does a really good version of Cambia El Paso and his brother Larry does a whole tribute album to Rodríguez. Also, I think it would be cool if someone knew what the word bochinche means. I think it’s Cuban slang for “gossip” – anyway peep the Cubans yelling at each other at 1:35 minutes into the song. The Tropical/Secco label was like the Putamayo world music label of it’s day. The actual album is probably from the 60′s, but this is a collection of Arsenio’s 78′s of the 50′s. Enjoy!
1. Arsenio Rodriguez: Cambia El Paso
2. Arsenio Rodriguez: Se Formo El Bochinche
Peep the new Mas Exitos Menudo Mix, it is awesome (what the hell is the second to last song??? amazing) - Ill be djing with these guys on May 7th, so if you’re in Los Angeles, be sure to check us out. Enjoy!
- Sonido Franko
Mas Exitos is a monthly Los Angeles event that traces the connections between the music made on both continents of the Americas by exploring the various migration patterns through sound. Think of it as a National Geographic documentary on sound that will take you from the Andes of Peru to the East Side of LA. From fuzzy cumbias, to jumping boogaloos, to funky soul oddities, to disco aztecas, rock n’ rolleros, a-go-go latino, paisadelic-psychedelic freak outs and janky electro beats… * Mas Exitos: Dj Ganas, Dj Enorbito, DJ Lengua *
MAS EXITOS: “Menudo Mix” (DJ ENORBITO + DJ GANAS)
I guess I could provide you with more content, but this song really defies all explanation. No? Enjoy!
Sorry folks…I kinda ripped off the above title from another audioblog. But everything in this post is either bootlegged or stolen, so at least I’m consistent.
Anyway, I was in Nicaragua for about a week visiting family and came across some bootleg CD vendors – which is the pretty much how Nicaraguans get down with their music. I didn’t dig for any vinyl because I only had a smaller carry-on suitcase. Plus it was so fucking hot that I really didn’t want to stray to far from my cold beer. But I did get a few contacts for vinyl collections in both Managua and Leon, which I will exploit the next time I go back (October perhaps).
Despite all that, Nicaragua doesn’t really have a large music tradition like Mexico, Brazil or Colombia. I still did find some pretty cool stuff from the 60′s and 70′s. Most the music is 60′s rock, but I did manage to find a pretty dope descaraga track from Leon’s Los Hermanos Cortez, a group which was featured in Adam’s Musica Del Alma audioblog. Also, I found some music from the Atlantic coast, palo de mayo stuff, which I wrote about a while back aswell. I was going to throw up some Carlos Mejía Godoy (famous Nicaraguan folk singer), but COMMUNIST MUSIC IS BORING. ¡a la gran púchica!
1. Los Hermanos Cortez: El Apolo 9
2. Los Barbaros del Ritmo de Bluefields: Canción Desconocida
3. Los Pancho 5 Hippie: Cocktel Margarita
4. Los Rockets: Tema de William
I just got back from Nicaragua which can account for the lack of posts lately (sorry I didn’t dig for any records while there – hung with the family). Luckily for the listening audience though, I’ve been trying very hard to avoid a social life since I’ve returned. To pass the time, I now devote my life on reading, working, playing video games, and going through the tens of 1000′s of 45′s I have yet to listen to. Here is one 45 I found last night. I have no idea who Carlos Guzman y los Fabulosos Cuarto are – but their song El Tren (the train) is totally awesome. Enjoy!
1. Carlos Guzman y los Fabulosos Cuarto
Opening Scene Japan meets Peru from SONIDO LENGUA on Vimeo.
Mauka Zapato from SONIDO LENGUA on Vimeo.
This is a video of my uncle Glenn Ore de la Fuente playing his guitar in Japan. He is playing the style of music I did a post on earlier called “Guitarra Ayacuchana”. The lyrics he sings in are a mixture of Quechua (indigenous language of Peru) and Spanish. The story goes that he married a Peruvian woman of Japanese decent and they moved to Japan. When my dad got this DVD from Glenn he thought it was a CD of his music, not realizing it was this amazing video of him playing musica Ayacuchana in Japan of all places. We haven’t heard anything about Glenn for a while and my dad has been trying to find out his whereabouts. I looked up this statue and it seems to be called Ushiku Daibustu, in Ibaraki Prefecture. From what I saw online it was one of the areas hit hard by the tsunami/earthquake. I hope there is an end in sight to the suffering they are experiencing right now and that Glenn and his family are safe. Big love to our Japanese Super Sonido readers!
-DJ LENGUA
I did a short post about Los Tigres Del Norte over two years ago, but since then, drug smuggling in Mexico has since slipped into epic proportions; therefore, I thought I’d do another.
I summed up Los Tigres pretty well in my last post – I wrote about how Norteño music and corridos formed the sound-tract to the social problems and successes of the Mexican people. But it was the number Contrabando y Traicion (contraband and betrayal) that had catapulted not only the band, but the whole Norteño genre to massive success in the early 70′s. A lot earlier than I had previously indicated.
The gritty tune Contrabando y Traicion is a song about a couple who smuggles drugs across the US/Mexican border. Lyrically, it is a cover of an older corrido, which is kind of like a country ballad which can have a parable of some sort at the ending. As the story goes, Emilio Varela and Camelia the Texan smuggle marijuana in their tires from Tijuana, Mexico to Hollywood, California. But as Emilio wants to leave the business and follow a more sobering life in San Francisco, he is murdered by his female partner.
Ballads about anti-heroes, drug dealers, immigrants, and the modern ills of society were nothing new at the time. The Mexican corrido is a musical tradition that lasted over 100 years. The only difference was the approach Los Tigres Del Norte had taken musically to the genre. The combination of instruments, the use of the accordion, the loud/heavy use of the electric bass, and the nasal singing style were the subtle differences that modernized the corrido sound into what is now called Norteño. These guys popularized this sound, an approach which was copied by nearly all of Los Tigres’ contemporaries of the time.
Now the story of Contrabando y Traicion may very well be an exaggeration of some sort, but one can almost see this song as a lament to the trails and tribulations of the Mexican immigrant, a reflection for some, of how much bullshit one has to go through just to cross a border. On a side note, a few movies in the 80′s were made about this ballad. Probably one of my favorite songs of this entire genre. Please enjoy!
1. Los Tigres Del Norte: Contrabando y Traicion
Sorry about the quality of these 45′s – judging from their condition, the owner probably locked themselves in their room and really grinded these suckers down. But I guess that’s what teenage angst and rock-n-roll is all about.
The history of rocanrol Mexicano is pretty extensive, something that is carried over and still lasts to this day. It’s apparent that some of the best rock/garage bands of the 60′s era hailed from border towns like Tijuana (Los Rockin Devil’s, Tijuana 5, Los Hermanos Carrion ect). I suspect they had easier access to what was happening north of the border. And most these acts do justice to cover songs and bands they were influenced by.
I’m not going to delve too much into that, these songs are what they are – cover songs. What I wanted to mention, and what is worth noting, was that most these groups ended up being part of the onda grupera in the early 70′s - a mixture of cumbia, norteño, rock and ranchera. Groups like Los Freddy’s and Los Yonics are great examples of this. Bands that left their rock roots and blended it with a more northern/traditional type of sound. But the whole tradition of covering an American song, how the band is set up, and instrumentation is very similar in the norteño style to this day (sans the accordian). Enjoy!
2. Los Rockin Devil’s: Loco Me Patina El Coco
3. Los Americans: Al Final Del Dia
4. Los Freddy’s: Vuelve Mi Amor
6. Los Belmonts: Enciende La Luz
7. Los Rockin Devil’s Juego De Amor
I’ve been pressed for time the last few days, so sorry I have to poop out a really quick post here for you guys. Anyway, I found this 45 in the KRMX batch I’ve been pulling from for the last 3 to 5 years. But the awesome audioblog Office Naps actually did a really good article on this 45 a while back – you can check it out here. Enjoy!
1. Julio Gutierrez: Last Tango In Paris
Who would have thought that music from Peru would have affinities towards a more Cuban and/or Nuyorican sound - well the Peruvian MaG label sure did. Be sure to check out O-dubs article this month – I’m expanding a tiny bit on what he had started.
From the 50′s to the 70′s the MaG label was putting out some very gritty hard-edged sounds from South America. From the tune O-dub dropped, to the songs here, you can see the wide range of influence on this label. There is even a Bobby Cruz and Ricardo Ray cover. But from what I gathered, it was pianist Lucho Macedo who was the record labels most popular artist (sorry I don’t have any 45′s of his on MaG). In fact, most musicians posted here played in his Sonora at one point in time, almost like an Alegre All Stars for the MaG label of sorts. Nevertheless, all these musicians really capture that 60′s Antillean sound very well. Please Enjoy!
2. Coco Lagos y sus Otares: Guajireate
3. Mita y su Monte Adentro: Mita Descarga
4. Carlos Muñoz y su Sonora: Oye Mi Descarga
