1. Mario Allison Y Sus Estrellas: Son Con Cuero

2. Charlie Palomares y Su Conj: Guarjira Go Go

3. Los Mulatos Del Caribe: Que Quieren Gozar

1. Lobo y Su Grupo: Lobo

2. Joe Pappy And His Combo: Oye Tomasito

3. Los Corraleros De Majagual: Baila Mi Boogaloo

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.

1. Pablo Beltran Ruiz: El Pito (RCA Victor)

1. Carmen Rivero y Su Conjunto: Pata Pata

2. Carmen Rivero y Su Conjunto: Brincando Cha-Cha

1. Luis Gómez y su Conjunto: Descarga En Acordeon

2. Luis Gómez y su Conjunto: Descarga En Acordeon

1. Mongo Santamaria Orch: Yeh-Yeh!

2. Mongo Santa Maria Orch: Watermelon Man

3. Xavier Cugat: Watermelon Man

1. Memo Salamanca: Barranquillerita

2. Nelson Pinedo: Botecito De Vela

3. Los Gibson Boys de Xavier Reyes: Camisa De Fuerza

4. Ramiro Lopez con Conj Barranqueños: Cataclismo

5. Alfredo Gutiérrez: Cumbia

6. Eulogio Molina: Cumbia Morena

7. Carlos Campos y su Orquesta: Guajira Con Boogaloo

8. Emilio Dominguez: Marinero De Agua Dulce

9. Manolo Muñoz: Seremos Felices

10. Alberto Vazquez: Vamos A Bailar

2. Los Casmeños: Casma

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.

1. Los Destellos: Descarga Electrica

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. 

2. Los Destellos: Cumbia Morena

3. Los Destellos: Boogaloo De Los Destellos

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.   

4. Los Destellos: Me Resignare

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.

5. Los Destellos: Carnaval De Arequipa

6. Los Destellos: Boogaloo Del Perro

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.

7. Los Destellos: Noche De Garua

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.

8. Los Destellos: El Pacifico

9. Los Destellos: El Electrico

10: Los Destellos: La Cumbia Del Sol

11. Los Destellos: Tu Donde Estas

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. 

12. Los Destellos: Constelacion

13. Los Destellos: Pachanga Espanola

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!

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.

  1. Locos Del Ritmo: Donde Vas

2. Hermanos Carrion: Con Golondrinas

3. Los Johnny Jets: Dracula A Go Go

4. Desconocido (Los Yonicos?): Guapachosa

5. Toño Quirazco: La Familia

6. Johnny Zamot Y Su Orquesta: Oye Nicola

7. Memo Salamanca: Oye Rumbito

8. Desconocido (Can’t read the name): Viva Tirado

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!

http://www.divshare.com/download/5057036-2cc

http://rapidshare.com/files/137454240/Dj_Pablo_-_Tropical_Mix_Vol.2.mp3.html

1. Los Mozambique: Descarga Mozambique

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.

2. Los Pachas: El Hueleguiso

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.   

2. Eddy “Boogaloo” Cortez: Frijoles    

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

3. Clark Terry & Chico O’ Farrill: Spanish Rice

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.

2. The Boogaloo Combo: Muito Quente

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.

2. Roberto Carlos: Mi Cacharrito 

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”