Very nice boogaloo/mod 45 from Cuban/European outfit Los Matecoco. Couldn’t find out much about the band, however most of Los Matecoco’s records are on the French Riviera or Bel Air labels (probably made a career for themselves in that hexagon shaped country). And from what I gathered, this is probably their best stuff. The gut-punching Quieres O No Quieres (do you want it or not?) is actually a Wilson Simonal cover and is ripe with all sorts of sexual innuendo. Cubans + sexually suggestive lyrics = boogaloo win. Enjoy!
Archive for the 'Boogaloo' Category
This appears on Linares’s 1973 Sensacionales! album but I didn’t catch wind of it until I picked it up on 7″ first. I’m a huge fan of Linares’s work and so I was pleased and a bit stunned to realize that, unless I’m totally off-base, this is a cover of Bobby Matos’s “Nadie Baila Como Yo” (from his seminal My Latin Soul album of the mid/late ’60s). Matos isn’t credited (not an unusual happenstance) but certainly, there’s more than enough musical and lyrical evidence to suggest that Linares basically gives Matos’s original a salsa update. It’s still not nearly as deliriously fun as Matos’s song but I do like that Linares keeps elements of the boogaloo-influenced original, especially on rhythm piano.
Great music from Peruvian pianist Alfredo Linares - I have an earlier album of his and it’s always refreshing to hear South American’s straightforward/raw approach to salsa music. Also, a great big thanks to O-dub from Soul-Sides - not only has he been a regular contributor to the February 45′s sessions, but has been a huge supporter of my site since day 1 it seems. I am forever grateful for that. For all you Latin music loving fans, be sure to check out his latest post about Jimmy Sabater also – Yroco one of my favorites. Thanks Oliver!
I’m kinda cheating because I already wrote a huge article about Los Corraloeros De Majagual. But to be quite honest with you, it’s come to the point today where I don’t even want to look at my computer anymore. But rest assured I’ve been pulling/listening to about 200+ 45′s today, mostly music I’ve only gone over once. So my next posts will consist of more dope music, I promise. Also, anticipating a few more guest posts. Enjoy!!!
It’s no secret that I have a “mild” obsession with music from Panama. What started as a love for Salsa Dura Panameña and Funk from the Isthmus has slowly branched out into a heated search for everything from Tamborito street recordings to Musica Tipica from the highlands and sugarcane-growing regions of the country. It was through these searches that I came across this great 45 on eBay: Los Alegres de la Costa “Boogaloo Darien” on Loyola Records, Panama.
The song melds together so many beautiful styles of music at once it’s hard to know where to begin with a description. It starts off with a great guitar line that sounds equal parts NYC boogaloo and American Rock n’ Roll, but before long the Cumbia rhythm comes in and the great vocalist starts to give a shout out to the Muchachas Lindas from various regional Panamanian cities. The song then switches up nicely to a “Guaracha Tipica” while the vocalist, not content with the ladies from his own country, then gives daps to all the fine females from countries across South America. The vocals and accordion are the real stars of the show here!0
The record itself looks like it has been rescued from it’s geographical namesake: the impenetrable, sogging wet jungles of the Darien Gap , the only major break in the Panamerican Highway, so thank god the info on the label is still readable. Anyway, I hope you folks enjoy this great Boogaloo Guaracha de Panama.
-Adam Dunbar aka DJ Slim Jenkins
Thanks again Mr. Dunbar!!! If you don’t know Adam already, he runs the Musica Del Alma audioblog spot. Go check out his site. Also, if you’re in the Oakland California area come check us out djing @ the Layover in Oakland on Feb 24th (Adam is a pretty dope dj aswell) – for more info, just add me on facebook @ facebook.com/josephfranko – Enjoy
So the lack of posts here at Super Sonido would probably lead one to believe that I am still on vacation. Rest assured I’ve been home for almost a month now, staring at the wall and still thinking about my vacation. December and January have always been the slowest months for me. Those are the months I usually take a vacation, escape, and wallow in some form of weird self-pity/deprecation. To make things up to you folks, to redeem myself in a fit way, I have only 4 words for you:
28 DAYS OF 45!!!
That’s right – starting February 1st I’ll do another round of a 45 a day. But I’m going to need your help this time, so if anyone out there wants a day to post your thing = it’s all yours! Email me at firstname.lastname@example.org if you need more info/help.
Anyway, some amazing infusion of Latin music from Colombia’s Los 5 De Oro. Not much was to be found about the group, but it appears that pianist Angel Macias had made a name and career for himself outside of his quintet. Nevertheless, this album is outstanding - and it really holds up to the Fania/Tico sound they were trying to capture. The B side was my favorite, which all the songs posted come from - along with a rendition of Jimmy Sabater’s “Alafia” (Colombians can’t seem to put down the accordion). Strongly recommended album from beginning to end. Enjoy!
I have to admit that when I got the PR kit from a band called Spanglish Fly, I wasn’t to enthusiastic. Maybe I was just turned off by the name or maybe I’m just leery of anything with words that contain latin, soul or bugalu – in a contemporary context that is. Anyway, I’m a horrible man who has the fucked up penchant to judge a book by its cover…and I am sorry for that.
After collecting dust in my office for the last month, I decided to set aside my one-sidedness and actually listen to the 45. And with all fairness, I was pleasantly surprised. New York City’s Spanglish Fly really pulls off that Ray Barretto Hard Hands era groove that I love so much. You’d think someone would have done this already, right? In fact, I can’t think of any other group that has tried to embrace that sound today - much like Sharon Jones did for neo soul/funk. So with that I give them credit where credit is due. I really like that they made the effort to press 45′s also – big fan of that. The track I put up is a really low quality MP3, but check out Spanglish Fly at their website and I think you’ll be able to buy their 45 at Dusty Groove soon. Enjoy…
I have this running joke with my homeboy Dj Lengua: that there is either bad Gas or good Gas. Although it might be the flatulent type of gas we are referring to, it’s most likely the Mexican record label Discos Gas. You have to buy about 50 really stinky records in order to find a gem like this.
For the most part, Orquesta Hermanos Flores’ sounds more like a Mexican party/wedding band. But some member of the group or producer had the bright idea of having them do a funky cover of the James Boy’s “The Mule” (Phil-L.A. of Soul). Check out the Funky16Corners audio blog, they seem to write extensively about the “horse” subgenre of soul/boogaloo. Also check out my other post about the funky track from Los Socios Del Ritmo which I am reminded of.
I’ll be posting other songs I have from the Discos Gas label in the future. So keep posted.
Just wanted to apologize to everyone for the lack of work I’ve been putting into this blog lately. My business has doubled this month and I’ve been extremely busy. Tonight, for your sake, I found some breathing room. I’ll probably be busy all summer, well into September. But I’ll try my hardest to get these quality sounds out to you people. Lastly, I’m going to probably keep the audio format the same, it seemed like the consensus was overwhelming. But who knows, I am always down for some change. Enjoy!
Sorry folks, I’ve been super busy with work and events all month. Also, baseball season doesn’t help much either. Nevertheless, I’ve been thinking of changing things up a bit with Super Sonido. Possibly a newer media player? You know, one of those fancy flash type players. Or do you people like how the download system is now? What says you? Your comments are appreciated. Now if I can only change the my other malos modos (evil ways).
Sorry folks, I kinda vanished for the month of March. In fact, I really haven’t been checking my email either. So If I haven’t gotten back to you, please do not be offended. For you see I come from a very long line of family members who are really good at disappearing from time to time. Nevertheless, I wanted to share one email I got. And HOLY SHIT!!! it was like opening a really awesome birthday present.
From Aram Delgado (El Guapo):
Hola, que paso? I’ve been really enjoying your blog, It’s really hard to find good info on latino booty shakers out there. I thought I would pass on a find of mine from a few years ago and thought it might be a good post for your blog.
It’s a rare one from one of the Chicano Kings Mr. Freddy Fender. It’s amazing the variety of music this guy has done, not sure where to put this one? Soul? Psych? Your guess is as good as mine. I tried to find some more info on it but it was pretty limited. I gave an mp3 of this to sports casual after he begged me for it, I figured I had danced my ass off in his Brooklyn joint so many times It was least I could do. Anyway I thought you would enjoy this one, that is if don’t already have it.
Label: Discos Dominante DD-590-A (I’m assuming it’s 196??)
Sorry it’s a bit scratchy, but I have only ever seen one other so I was happy to take this one with no complaints. I wish I had an mp3 of the B-side, It’s an old school 50′s style rock & roll balada, half in Spanish half in English, but very Mexican with what sounds like a Bajo Sexto guitar up front. Anyway I hope you enjoy it, hope you can use it. Cheers!
- Aram Delgado (El Guapo)
Yo Aram I’ve already listened to your download like 100 times. I fucking love Freddy Fender. I have like 10 45′s from the early to mid 60′s. From garage, rock, to ska, and when I find them I’ll post em’. But I do not have this joint, never heard it before. Amazing!!! Thank You!!!
- Sonido Franko
Selected a few boogaloo 45′s from Peru. These unknowns really put up some huge sounds. Peruvians, for some reason or another, have a knack for placing their own stamp on the boogaloo genre. Awesome Ray Barretto cover, plus a real nice dance floor mover with Guajira Go Go. The last one is a stretch. Although pressed in Peru, I’m not really sure if these dudes are from there or not. Even despite their name (caribe? there is no caribe in Peru), the sound just doesn’t seem like it’s from there. I’m still sick. May god have some mercy on my soul. Enjoy!
A few relatively unknown bands on the boogaloo tip, plus a cumbia super group playing a boogaloo number. If you haven’t noticed by now, I like musicians/songs that are played outside of their element. The legendary Los Corraleros De Majagual are a pretty good example of this. Anyway, I would love to delve into this some more, but I’m nursing a pretty brutal cold. Enjoy.
I recently had the great honor and privilege to write the liner notes for an upcoming re-release of the Joe Cuba Sextet’s They Must Be Doing Something Right. That album’s big hit was “El Pito.” With its titular whistle and the repeated refrain of “I’ll Never Go Back to Georgia” (borrowed from Dizzy Gillespie/Chano Pozo’s “Manteca” even though none of the Sextet had actually been to the state), “El Pito” wasn’t the group’s most successful song (that belonged to their next major single, “Bang Bang”) but it’s arguably their most infectious.
Not surprisingly, “El Pito” proved to be popular with other Latin groups and notably, found an eager ear throughout the larger Latin music world. That included covers by everyone from Peru’s Alfredo Linares to Venezuela’s Frank Hernandez to this, recorded by Pablo Beltran Ruiz in Mexico. Unlike most other covers, Ruiz’s omits the catchy “I’ll Never Go Back to Georgia” line in favor of a MOSTLY instrumental affair, replaying the vocal line with a bank of horns instead. “El Pito” essentially gets a big band makeover – where the Sextet was punchy with their small size, Ruiz sweeps in with something closer to a mambo orchestra, making “El Pito” sound as if it was recorded a decade before it actually was.
The whistle though? That’s there. You can’t very well record a song called “El Pito” and NOT have the whistle and no matter what else in the song may change, that five-note melody inspires instant recognition…and an inevitable smile.
- O Dub
Great post. Thank you very much! Never heard this rendition of “El Pito” before. Be sure to check out O-Dub at Soul-Sides.com, undoubtedly the dopest audio blog on the net.
Big shout out to Sport Casual from Futurefunk.net for handing me an awesome version of the “Pata-Pata”. I believe it’s originally an African 60′s pop song, that for some reason or another, got popularized in Latin America. Although sugar-coated, it fits nicely with the whole go-go and boogaloo genre of that era. And if we are talking genres, there probably isn’t anybody who has gone through more of them than Mexican Carmen Rivero. Some even credit her as the innovator of the Mexican cumbia. But that didn’t stop Rivero from diving into every other category of Latin music that ever was. I have a ton of 45′s from Carmen Rivero and pulled one that seemed the most musically opposed. A cha-cha akin to Tito Puente’s sound. Enjoy!
Now I don’t know much about this person, and I’m sure he didn’t make many records, because this guy is really under the radar. Plus, I didn’t feel like searching when I googled his name. There must be over a million men in Latin American with the name Luis Gómez. At any rate, two great songs from one of my favorite Colombian labels: Tropical. It seems odd but these two songs mash-up descarga, boogaloo and the pachanga genre into one. And both have the same name? But what’s even more confusing is that musically they are playing in a more or less rag-tag cumbia conjunto style. South Americans trying to capture the New York sound….amazing!!! Listen carefully to the second track, the female singer is talking shit about Puerto Rican men. Why I find that funny, I have no idea.
Now all you die-hard collectors out there are either probably sticking your thumbs down or sticking your middle finger at me right this second. Yeah, these aren’t the rarest one’s out there. Almost like Latin Boogaloo/Soul Jazz 101. In fact, I’m really not going to explain who Mongo Santamaria or Xavier Cugat are. But before you decide which appendage you’re gonna use, I think we can all agree that all these songs really capture the amalgam of genres that were slowly crossing over in early 60′s New York. From soul jazz, pop/rock, go-go, to almost a pre-cursor sound of the boogaloo. But most importantly, the songs sound great. On a side note, I was really surprised with Xavier’s “version of a version”, usually the guy is a bit more tame than that. Enjoy!!!
I’m anticipating a busy September so I thought I’d toss up a bunch of music while time was on my side. Discos Musart is a label from Mexico and I kind of scrapped together 10 little gems for you people. The great part of Musart was not only their home grown acts but they would also license music from various other Latin American labels and different Latin American countries. They really ran the gamut of genres. From cumbia, boleros, rancheros, to surf rock. The records themselves were often printed in Mexico, Los Angeles, and Hialeah Florida. Thus, the Pan-Americanism. Good friend and Mexican dj Sonido Apokalitzin reissued a few compilation CD’s for Musart about 2-3 years ago. Unfortunately you could only buy those CD’s in Mexico (I have one of them). Seems like he went through their vaults and picked out some really funky numbers. I hope my 45′s stack up.
Don’t know too much about these dudes except for the fact that Enrique Delgado happened to have written some of the songs. I’m not even certain if he plays guitar on this album. The person who sold it to me indicated that it was pre-Los Destellos (peep my prior post about them). But from the look and sound of the record, it would be safe to say that it was produced around the same time. Casmeño is a person from the Casma region of Peru. Tried searching for more info on this band, but nothing else turned up. Looks like this is there only one on the super rare Futuro label.
Under the direction of lead guitarist Enrique Delgado, Los Destellos (the sparkles, like a star) are pretty much known as the founders of Cumbia Peruana circa 1966. Now I am pretty sceptical about using the word chicha to define their genre of music. I feel that chicha is more associated with 70′s and 80′s transient Andean cumbia, a music that is probably rooted more in Amerindian sounds, beliefs and the harshness of the Amerindian experience (hardship, displacement, lament). Whether they influenced the chicha movement later on or became part of it by default, I’m not 100% sure. However, Los Destellos appear to be more part of the Lima Mestizo culture (mixture of Indian/Spanish blood). And can be reflected in the way which their sounds fuse Latin boogaloo, psychedelic rock, soul, Colombian cumbia, tropical and indigenous music in a whole host of ways.
Charangos(Andean mandolins), requintos, and guitars are a huge part of Peruvian musical culture. Tavern life is filled with them supposedly. So any transition to a modern sound would probably have been seem-less for a group like the guitar laden Destellos. And Peruvian music at this time seems to really embrace the electric guitar. The Cumbia Morenais a great example of them playing a traditional Colombian cumbia with this more electric sound. Whereas, the Boogaloo De Los Destellos almost sounds like a Latin version of the American psychedelic rock band The Byrds. With an electric 12 string and the highly melodic guitar playing, it reminded me instantly of Roger Mcguinn’s style.
The albums I’m posting are in order by catalogue number. I have a few other LP’s that should be in this group, but I have seemed to have misplaced them. Maybe I’ll amend this post if I ever find them. But for the most part this is pretty good discography and I am trying to run the entire gamut of sounds Los Detellos produced. On a side note I know that from looking at some of the musicians in the band that they show up in other groups on the Odeon/Iempsa label. The dude playing the bongos is in Los Orientales De Paramonga. Perhaps they were session musicians at the time.
Arequipa is a the second largest city in Peru and is way up in the Andean Mountains. This song is a pretty traditional number. You’re probably more likely to hear this tune being played by Andean pan-pipe and poncho musicians. Definitely on the chicha tip this one.
Garuais the dry winds that hit the lower western slopes of the Andes creating a low-level of cloud. Within the Andes Mountains the garua blocks out the sun for the cooler six months of the year, and there is almost no rainfall during this period. With the title, this instrumental song sounds almost like something the Ventures would do. Surf/garage music was pretty big in Peru in the early 60′s. Groups like Los Saicos, Los Shains, Los Yorks, Los Doltons are to name a few.
Hands down my all time favorite record of Los Destellos. In fact, I like it so much I began to eat to lower right hand corner of the album cover. Peep the break beat ballad Tu Donde Estas (where are you?), it’s a hip-hop track waiting to be copped.
I probably have 3 more Los Destellos records, but like always, their later stuff just isn’t as good. Apparently Los Destellos had a resurgence of popularity in the 80′s that lasted until Enrique Delgado died in the early 90′s. The band still performs today, but I believe it’s the widowed wife of Enrique who runs the band now. If I find any more records of theirs, I’ll amend the post. Also, thanks to all the Japanese viewers as of late who have been vibing this site. Word!
Possibly one of the best indicators of a economic recession is when I start selling records on ebay. Wall Street should use that as an economic barometer of some sorts. Anyway, it was around November when I first drafted this post, business was slow, I was bored, and I had an urge to unload some wax. I tend to slang vinyl when I start thinking I have way too many records or when I am just not that into the music (I usually end up with sellers remorse). Nevertheless, I just so happened to record some of the 45′s that I sold, songs which I was luke-warm with at the time. And the 45′s in this post are a sample of such.
Its a real mixed bag in terms of genres. From Mexican ska, cha-cha, garage, son, salsa ect. ect. I won’t get into much detail about each band, but I’ll let you guys decide if I made a good choice or not. Please note, that at the time, I scanned the images so small that I am now unable to read them or know some of the artist’s names. Damn I am full of regret today.
I truly think it’s great that old school Latin beats and breaks are gaining popularity. It’s awesome to hear dj’s playing more Spanish language music and it’s about time America starts appreciating it. I’ve been selling records on Ebay for about 8+ years and in the beginning the majority of the Latin music I sold would have gone straight to Western Europe. Lately though my buyers are popping up all over the world. And who would have ever thought that you could hear cumbia in Russia?
Anyway, the other day I got an email from Dj Pablo (Pavel). Thank you for the accolades. Looks like people in Moscow have their first sonidero. Check out the links to the two mixes he sent me. Amazing music. Fucking brilliant!
A super rare track from the Afro Peruvian Descarga scene. The unfortunate thing is that I couldn’t find out much about this group and this is the only item of theirs which I own. But oh man….what a killer song.
This is a far cry from Eddie Palmeri’s María Caracoles or his LP Mozambique. But leave it to a bunch of Peruvians to adopt a genre of music and take it into some other awesome direction. The repetition and vigor are there, but like always, performed in a much more relaxed and informal manner.
Whoever is reading this, you must think I’m the worst audio blogger in the world. Yet again I have absolutely no information about these guys. In fact, I researched this label years ago and I actually found the website for Dinsa. But now I can no longer find it. Man I suck.
Pretty much the only thing I can tell you is that the Peruvian artist Manzanita does a version of this song (which i’ll put up some day). And I found out what huele (smell) guiso (stew) actually means. From what I gathered from other Peruvian blogs, a hueleguiso is an uninvited guest that comes over because he smells the food that you’re cooking. It’s slang for a freeloader I suppose.
This song is considered a boogaloo number. Like the first song, just a bunch of dope hybrid sounds from Peru.
On a side note, I’ve had more luck with Peruvian pressings than any other South American record. Not only can they be colorful and thick, but they’re super fucking loud. Anyway, I just thought I’d throw that out to all the diggers out there.
I was asked by an acquaintance a few years back to put together some Latin songs with a culinary flavor to it. I guess he was going to make a mixed tape of some sort (I never received a copy by the way). I actually found this task quite daunting, for food tends to be a very common subject in all forms of Latin American music. I could have gone in many different directions with this request. Nevertheless, I tried to keep it on the lighter side and these are the three songs I came up with.
The relationship between Latin American culture, food and music can be felt on a myriad of suggestive levels. Sexual innuendo, the double entendre, and cultural identity are to name a few.
However, Monguito Santamaria seems to be following a long line of other performers of this time (his father included) who used food titles to reflect a playful feeling of the overall tune. “Greens and Beans” is probably the most down home, griittiest and rawest food you can eat, just like like the overall sound hints at.
Like the rest of this album, the song Frijoles (Beans) makes no sense at all. Maybe this bilingual album was sung in both Spanish and English to garner the attention of young hip Argentinians at the time? Maybe Eddy “Boogaloo” Cortez was Anglophile of some sort (like most people in Argentina pre-Faulklin War)? Well despite the laughable English/Spanglish, this joint is chalked full of dope Latin beats and breaks. The only thing I know about this fellow is where he is from, couldn’t find any other info. Sorry
Two real heavy hitters here. From swing to hard bop, the trumpet player Clark Terry was one the most influencial jazz musicians of an entire generation. He actually schooled Miles Davis for a bit. Whereas the trumpet player Chico O’ Farrill was at the forefront of creating the fusion between bebop and Afro Cuban jazz in the 40′s and 50′s.
I guess what interested me the most about this song was that the lyrics, the title, and the fusion of music styles in itself becomes a reflection of the food in which they’re singing about. Pretty much the precursor or beginning to the whole New York boogaloo movement. Oh yeah and they’re pretty much copying Willie Bobo’s popular song/album “Spanish Grease“, which came out prior to this. Both songs sharing a common thread.
p.s. I put volumne 1. becuase I am sure I revisit this subject in the future. word!!!
It should seem ok that I stick Wilson Simonal in a “boogaloo” category. He never was really part of the bossa nova movement in Brazil and is more typically associated with soul, jazz, and other more popular black American pop music of the 60′s. Pais Tropical (tropical country) is probably the more boogaloo sounding tracks on this LP. The song is pretty common and I’ve heard versions from Jorge Ben (I think he pen’s it), Gal Costa, and Sergio Mendes.
It was tunes like this that made Wilson Simonal a national idol in Brazil. A style of music which became known as pilantragem (mischief). I guess it was risque for the times, something that always propels ones career. However, that all came to an end during the early 70′s when he was accused of being an informant for the police during Brazil’s military dictatorship. Although the accusation was never substantiated, Simonal was blacklisted by the media industry, fellow artists, and was never able to recover from this.
I couldn’t find much info on these guys. I have another one of their albums and I’ve seen (not heard) another. This lp is the best in my opinion. Despite singing in Portuguese, The Boogaloo Combo really captures the 60′s boogaloo sound more associated with the Fania and Cotique labels. They’re pretty spot on. In fact, there is a Lebron Bros. cover song and they do a version of Good Lovin’ by The Young Rascals. Muito Quente!!!!!!!!! (so groovy)
The song is a rendition of country singer/songwriter J.D. Loudermilk’s “Road Hog“. Performed by actor/musician Manuel Muñoz, El Esqueleto (The Little Skeleton). “Mi Cacharrito” (my little car) is basically a story about a guy who needs to get his car repaired so he can go pick up some girls.
Now Manuel Muñoz is considered by many as the godfather of Mexican Rock & Roll. From the late fifties he was cranking out tons of rock & roll cover songs until the end of his carear as a ballad/mariachi singer. I guess that’s where Mexican pop singers go when they’re through being popular, they become Mariachi singers. He also appears in numerous Mexican movies (he reminds me of the Mexican version of Jerry Lewis for some reason or another). Anyway, this is probably one of my favorite cover songs he did. Short and sweet with a garage rock feel to it.
Another great version. Both songs seem to be emulating the sound of a car traveling with the rhythm of the music. And even though Brazilian singer/actor Roberto Carlos’s tune is a bit different than Manolo’s, both do share a slightly similar career.
The one legged (he wears a prosthesis) Roberto Carlo also started as a Brazilian pop rock & roll singer/actor and is considered by many as O Rei (the king) of that genre. He also is known for his romantic ballads now that he’s in the twilight of his musical career. Please not that it is common that Brazilian musicians sing in Spanish and even English (i.e. Nelson Ned, Caetano Velso, ect. ect.), maybe to obtain a larger listening audience.
“There exisits 1000 women who want to go out with me, but it is only becuase of my car”