Tigers Milk Records new Paco Zambrano/Juaneco 7 inch (review)

Check out my earlier post on Chicha music, you can actually hear the Juaneco y Su Combo song (my 45 ended up being the master for this project). Nevertheless, these guys from England purchased the rights and reissued the song on a new 7 inch.

The interesting part was that the Peruvian record label INFOPESA or DIMSA (I forget which one) didn’t even have the masters anymore. It just illustrates how important the reissue business can be, it’s like they’re doing the world a favor. Also, I had a record label once, and believe me you, there is no money in it. This is a labor of love if you think so or not.

But the great thing about all this is the Paco Zambrano boogaloo track. Great track and I never heard it before – I just hope I get my FREE!!! copy. Anyway, check out their site, purchase the 45. Highly recommended!

– Sonido Franko

Well, this is just a one off email to introduce you to a new record label set up by myself and Martin Morales, a sister project of Martin’s Ceviche restaurant based in Soho, London.

The label will be covering the spectrum of PERUVIAN music from vintage psych rock to electronica – the common thread will be it’s heritage. Artist albums, comps, the lot and for a quick listen to our first single, click on the bandcamp link.

Check us out if you have a moment,

– Duncan B

LISTEN & BUY: http://tigersmilkrecords.bandcamp.com/

Ranchera Rock y Frontera Funk

So I’ve been digging through some of the very last 45’s in the KRMX collection (it’s taken like 7+ years) and I recently set aside about a hundred or so records out of the last few batches. The bulk of the records were regional Mexican music that I ended up selling. But rest assured, I still have well over 2,000+ 45’s that hopefully I can re-examine and post at one point. I would like to add that I sold most of the Tex-Mex music in my collection to people who actually live in Texas and I believe I sold some to a music museum in Austin. I’m sure they are in good hands and I’m happy they found a home where the vinyl is super appreciated.

To be honest, I’m not a huge fan of the ranchera or Tex-Mex genres, but every now again I’d find gems like the 2 45’s in this post – great examples of something I’d keep rather than sell. The prerequisites were that they had to sound really good, they had to sound really odd/weird, artists playing music outside of their genre and/or most English/Spanish cover songs. Anyway, Laredo Texas’ Rene y Rene are probably the most popular band in this post and Los Mayans’ do a nice cover of the Mexican folk song “Cuatro Milpas“.

If you haven’t noticed I am posting more than usual – effectively my baseball season is over, so I’m sure you’ll be seeing more posts from me. Go Oakland A’s. Enjoy!

1. Los Mayans: Cuatro Milpas

2. Rene y Rene: Mi Corazon Esta Llorando

Dj Lengua: Perdido ***Official Music Video***

I just did a post on music from Peru, so I thought I’d toss this video up from artist/musician/homeboy Dj Lengua. Most the footage is taken in Peru, taken by Dj Lengua himself – and it’s really cool. I’m sure some animals were hurt in this production, but Lengua was kind enough to omit any of the bloody stuff.

I’ve been to a pelea de gallos once in Panama, and it is pretty hardcore stuff. People where acting so drunk and so fucking crazy that I thought the world was coming to an end. Anyway, cocks fighting and old ladies dancing is pretty standard stuff in Latin America. Please enjoy!

70’s Peruvian Funk-Rock with Zulu

Not quite sure how to classify this type of music. In fact, I couldn’t find much information about Zulu for that matter – it seems that the band came and went as quickly as their only self titled release. What I did gather was that the group was fronted by Lima native Miguel Angel Ruiz Orbegozo and that the song “Candela” appears on the Vampisoul compilation “Back to Peru Vol 1“.

I read other articles from Peruvian blogs which weren’t sure of the music’s origin. One author thought it might be Huayno rock (Native Peruvian) and other people argued that it’s possibly Landó rock (Afro-Peruvian). So people in Peru were just as baffled as I am. But apart from sounding like mellow 70’s rock/funk, if you listen to the last part of “Candela“, I can see where someone might think it’s Landó – which is an Afro-Peruvian/musica criolla drum driven form of music. I did find a photo of Miguel Angel Ruiz Orbegozo, but I ain’t even gonna try to determine his roots. Not going there. The music is great nevertheless. Enjoy!

1. Zulu: Candela

2. Zulu: Sueño De Amor

El Trío Servando Díaz – El Viejito Cañandonga

Sorry for the lack of posts on this site lately. When the IRS takes money out of your bank account, any inspiration you once had for music slowly gets diminished.

But thank god for the Cuban group El Trío Servando Díaz to light a fire under my ass, otherwise you people would be waiting for another two months. Check out my other posts on Arsenio Rodríguez and trio music – those posts somewhat cover what’s happening musically. I heard this song on a cd a while back and since then it’s been difficult finding music from Trío Servando Díaz – most records were made prior to the 50’s on 78 rpm format. But I recently grabbed this old school Cuban son/trio compilation album on the Peerless label via Panart. The whole album is great, but El Viejito Cañandonga was the real stand out.

Cañandonga is a fruit found in Central America and the Antilles. I think it’s called carao in Nicaragua, kind of a pod fruit similar to tamarind. The more I listen to the drunk old man complaining on the track, I think that cañandonga may have been also an alcoholic beverage in Cuba at one time and made famous by sending a known actor allegedly to alcoholism, but not sure about it. There are treatment for chronic alcohol abuse in Austin as well as in Cuba I’m sure. Thanks everyone asking/emailing me where the hell I was. I’ve been a hermit lately so sorry if I seemed flakey. Totally sorry. Anyway enjoy!

– Sonido Franko

1. El Trío Servando Díaz: El Viejito Cañandonga


Mexico City Bootleg 2

If you ever get a hold of a Mexican cumbia bootleg record that has no song names and only the dj’s names on the front cover – rest assured it comes from the cumbia sonidera subculture movement in Mexico City that was happening in the 80’s. Much like the Northern Soul movement that took place in England in the 70’s, it was Mexican sonideros discovering rare, previously overlooked tropical/cumbia songs, and putting them on wax. Oh yeah…and the same type of paranoid secrecy over the artist and song title that persisted in England was happening in Mexico as well. Luckily I know the name of the artist and song of the track I am presenting, unlike the first post I did about Mexico City bootlegs. Anyway, Los Borrachitos (the drunks) is performed by Junior y su Equipo who is actually led by Ecuadorian synthesizer virtuoso Polibio Mayorga. I have nothing to hide. Keep the faith!

1. Junior y su Equipo: Los Borrachitos


Day 29: Te Ves Buena

I couldn’t find much information about Grupo Mayor, but I do know that the song Te Ves Buena was written by Panamanian reggae artist Edgardo Franco, aka El General. Although reggae en español had been around for a while, El General had scored one of its first international hits with this dancehall tune. When I lived in Nicaragua in the early 90’s, this form of early reggaeton was blowing up all over Central America. There probably wasn’t one country where I didn’t hear this song or ones like it – even Banda Vallarta Show did their own banda version. On a side note, I did recall that reggae en español would only be played at house parties after the parents left or weren’t around. As insinuated by my cousins,  the music may have been too risque in Nicaragua for the time – I never understood that one.

Anyway, just wanted to thank everyone who helped out with the February 45 sessions: Adam Dunbar, Marcos Juarez, Eamon Ore-Giron, Oliver Wang, Alex LaRotta, and Cameron Thompson – thanks a ton guys!!! Gonna talk a break from the site for a while, but if you need anything at all please feel free to bother me – sonidofranko@gmail.com. Enjoy!

1. Grupo Mayor: Te Ves Buena

2. Banda Vallarta Show: Te Ves Bien Buena

Day 27: Trio Music and the Bolero Tradition

Although the roots of the bolero are said to have begun in Spain, it wasn’t until the early part of the 20th century that the genre progressed in the country of Cuba. Having emerged as a dance form and a musical cross with Cuban son – it would go on to evolve throughout Latin America in trio form, as probably one of the most recognizable vocal and guitar idioms. Lyrically the bolero is unashamed of being over-sentimental. With songs about eternal passion, death, or the wallowing/lamenting of unrequited love. Musically, as evident in this post, trios began fusing the bolero with other musical genres, that you can enjoy in presentations and concerts, so if you’re a concert goer or a person who works in loud and noisy places, you could invest in a pair of concert ear plugs to protect your ears.
. Probably the closest to its Cuban roots would be Trio Caribe’s bolero-son “Sola En El Mundo” (alone in the world). However, I did manage to include boleros from Mexico, Colombia and Argentina – from traditional serenade style trio music, to cumbia/rock/jazz bolero fusions. Enjoy!

1. Trio Caribe: Sola En El Mundo

2. Trio Fonseca: Murio Candelaria

3. Los Tres Reyes: Por Que Me Dejas

4. Los Tecolines: Puente Roto

5. Trio Los Panchos: Lupita


Day 26: Aniceto Molina

Sorry about the last 3 days. Being a bit sick and running out of ideas for this month sucks. Anyway, without too much detail, I thought I’d throw up some tracks from accordionist  Aniceto Molina. Considered “El Embajador de la Cumbia“, Molina would end up becoming more popular outside of his country rather than in his own native Colombia – most notably in Mexico, El Salvador, and among Latinos within the United States. For some reason or another it seems that Aniceto Molina never garnered the full attention of the bigger labels in Colombia and more or less set out on his own. Enjoy!

1. Aniceto Molina: La Cumbia Del Pato Donald

2. Aniceto Molina: Tu No Me Das

3. Aniceto Molina y su Conj. Tropical Valsur: Cumbia Sabanera

Day 22: Los Matecoco

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!

1. Los Matecoco: Quieres O No Quieres


Day 21: Jeanette – Porque Te Vas

Probably the hugest hit for half-Belgian/half-Spanish/English-born/American-raised singer Janette Anne Dimech – aka Jeanette. Initially recorded in 1974 while living in Spain, Porque Te Vas (because you are leaving) became a global sensation when the song was used in Carlos Saura’s 1976 acclaimed Spanish film Cría Cuervos.

This song used to annoy the hell out of me – I first heard it as a cover song in 2002-3 by the US/Mexican indie group Los Super Elegantes (remember them, anyone?). Usually dead pan, bratty sounding females singing in Spanish would make me cringe. But I’m actually liking this song right now – what’s the world coming to? Anyway, Porque Te Vas would go on to be covered by many others bands and even attained cult status in Russia in 1979 – so at least I’m not the only person thats liking this song. Please Enjoy!

1. Jeanette: Porque Te Vas

Day 20: Three From Tito

I threw together some of the earlier RCA recordings of a younger Tito Puente in the 1950’s. This is the era of the big bandleaders and when the mambo craze was in full swing. If you hadn’t known already, singer/composer/pianist/timbales virtuoso Tito Puente is actually Puerto Rican and not Cuban – and this was the period that ushered Puerto Rican musicians into the New York/Latin music scene (Tito Rodriguez, Noro Morales, et al). Prior to that, most bandleaders were Cuban, but everyone seemed to collaborate well together. Cuban singer  Vicentico Valdés actually sings with Puente on Lagrimas Negras (one of my favorite songs) and I am quite sure Tito Puente’s band reflected the pan-Latin melting pot that was New York at the time, singers like this make a lot of people go into singing, there are even sites where you can take singing lessons such as http://www.elizabethhunterashley.com. I have more Tito Puente 45’s somewhere, but if my life and office weren’t such a mess……perhaps I’ll amend the post later if I find more. Enjoy!

1. Tito Puente: Lagrimas Negras

2. Tito Puente: Swinging The Mambo

3. Tito Puente: Lare Lare

Day 19: Acerina Y Su Danzonera

Sounding like a cross between tango and military/funeral marching band is the music and dance of Danzón. Developed in the mid to late 1800’s from European settlers in Cuba, Danzón would separate itself from the more afro-Cuban traditions of rumba and son – while establishing itself as an export most notably in Mexico. From its early beginnings, Danzón would be seen as something scandalous (like most Latin American music), only later to evolve into a more sedate and dignified form of music and dance. As it’s popularity began to wane in the 1920’s (due to the rising popularity of the chachacha and rumba) Danzón and their musicians would find open arms in such places like Veracruz, Oaxaca and Mexico City.

Mexico has long welcomed musicians and artists from all over Latin America and they really had taken the music of Danzón to heart. Probably one of the most notable Cuban exports would be Arecina Consejo Valiente Robles. It would only make sense to end up in Mexico, since the dance survived longer there than in Cuba. The two songs in the post are in fact  traditional Mexican Danzónes, not Cuban – one song being a homage to Benito Juarez and the other being the popular Nereidas (nymphs) written by Amador Pérez Dimas, who was a popular composer from Oaxaca, Mexico.

Although there is some afro-cuban elements in Danzón, you’d be surprised how ridged the musical form is. There is no singing and the music never features improvisation like rumba and son did. Without delving too deep into the structure, listen to the songs – you’ll hear that there is a change in tempo and tone that defines the style and form structure. Just remember, the melody tends to heat up at the end. Enjoy!

1. Acerina Y Su Danzonera: Nereidas

2. Acerina Y Su Danzonera: Juarez No Debio De Morir 

Day 17: Mariachi On Wax

DEEJAYS: Next time you’re looking for a closer for your deejay nite, throw on a mariachi joint–preferably à la Vicente Fernández or José Alfredo Jiménez–and let ‘er rip. Always kills. Granted, I don’t usually throw mariachi records on the turntable at home, but I like to keep a couple 45s handy when deejaying…just in case everyone needs it. Bodes well with Jalisco-born tequila, too.

Upon hearing about mariachi maestro Vicente “Chente” Fernández’s impending retirement from showbiz (well deserved, I might add, after a near half century-spanning career!), thought I’d share a couple of regional Mexican 45s from my collection. Big up to Franko y su Super Sonido for having me!

1. Vicente Fernández: Volver Volver (Discos Columbia, 1976)

Classic track by a classic dude. No mariachi rocks a mustache or a mic better than Chente. ‘Nuff said.

Found this in a dig while trekking across southern New Mexico two summers ago. It appealed to me primarily because of the fantastic picture sleeve, but bandleader/cantante Ruben Padillo’s signature was an added bonus. While the songs on the disc aren’t particularly mind-blowing (though the featured side is decent enough), it makes up in aesthetic value. Really, how often do you come across a signed, picture-sleeved mariachi 45 on a relatively obscure Mexican label? In my case, not terribly often. Not a bad way to spend 50 cents.

– Alex LaRotta

2. Mariachi Metropolitano de Ruben Padilla: Soy Fronterizo (Discos Aragón – 197?)

Great post and some amazing images on those picture disks. I’ve never met Alex personally, but he has been a fan of Super Sonido for some time now – for which I am greatful for. It appears that when Alex isn’t doing awesome guest blog posts, he can be found in San Antonio Texas playing all sorts of awesome records. Thanks Alex, totally appreciated, and you’re welcome back anytime sir!!! On a side note, Vicente Fernández‘s Volver, Volver (come back, come back) was initially written as a love song. However, the famous ranchera tune took on another meaning in the 70’s and 80’s – becoming a rallying song for Mexican immigrants to return to Mexico. Probably the most famous ranchera song ever written, if not a ballad that made Vicente Fernández legendary – Sonido Franko

Day 15: Roland vs Ariza – Descarga En Saxofon

Argentinian born Angel Bagni Stella, aka Freddy Roland, moved to Peru at a young age. It was there where he would become a legend early on with his Mambo sound. As years went on, the Argentinian saxophonist quickly became a fixture in the Peruvian music scene. Joining on with Mag Records and recording heavy cumbias such as “La Danza De La Chiva” and a great version of “Arroz Con Coco” –  only to later migrate into the “Salsa Sound” that was dominating the 70’s worldwide. When I came across this version of “Descarga en Saxofon” I was amazed at how smooth Mr. Rolland’s arrangement was on this track. I have a lot of his LP’s and a handful of 45’s, but none of them match up to his unique take on this song. It flows more like a beautiful Peruvian guaracha or mambo than a descarga.

Ariza Y Su Combo seemed to carve out a niche for themselves in Colombia recording a nice blend of charangas, guarachas, and descargas. They have put out some great albums on both the Tropical and Discos Fuentes labels. With singers such as Gustavo Barros and Jaime Labraces – their lyrical approach and use of guitar have given the band a more hard-edged sound compared to that of Mr. Roland. The rendition of “Descarga en Saxofon” being one of their best. The way is hits you in the first 20 seconds is music for your soul. Bursts of tropical sunshine splash the airwaves while keeping you in a head swinging motion. Infectious would be the word.

No doubt both versions of this track can bring the heat. Both are credited to Domingo Lopez on the recording. Each artist has a unique take on one of my personal favorite Descarga’s. The question would be, which came first? My hunch is the Ariza Y Su Combo version. Maybe El Sonido Franko can shed some light on this one? Perhaps there are more versions out there still waiting to be found. Either way I hope you enjoy.

– Cameron Thompson aka DJ Aware

1. Freddy Roland: Descarga En Saxofon

2. Ariza y Su Combo: Descarga En Saxofon 

Thanks Cameron for the awesome post. I’ve known Cam as a local dj for quite some time now and when Dj Aware isn’t playing records or teaching school – you usually can find him painting all sorts of stuff (canvas, walls, ect). Be sure to check out his art/music blog Awareism!!! – But to answer his question though, I’m not too sure which record came first. I hardly ever worry about the date of the record (perhaps I should), sometimes Latin American records just don’t have the recording dates. But if I had to put money on it I would guess Ariza’s rendition came first. Thanks again Camerones!!! – Sonido Franko

Day 14: Sin Amor

I was gonna do a post about love songs, but I found that the music for the broken-hearted was way better. I figure for every love song I pull from the KRMX lot, there must be about 10 songs about sorrow, torment and agony. With titles like A Quien Vas A Engañar (who are you going to fool?), No Quiero (I don’t want/love), Lagrimas (tears) – it would appear that I am hell-bent on ruining your Valentines Day. I ran across these tracks last night and had no urge trying to research any of the musicians (and no real intention of ruining your day). I have written in the past about both Rodolfo and Leo Dan, so be sure to check it out. Otherwise, there really is no common thread between these 45’s but the mere fact that love and heartbreak is universal. Happy Valentines Day everyone! ♥

1. Rodolfo: A Quien Vas A Engañar

2. Rodolfo: Engaño

3. Teresita: No Quiero

4. Martha y Los Ventura: Te Odio Y Te Quiero

5. Magda Franco: Lagrimas

6: Arturo Alejandro: Sonreir

7. Leo Dan: Yo Se Que No Es Feliz

8. Javier Hildago: No Te Debo Demorar

Day 13: Cumbia Ecuatoriana con Lucho Silva

For the last 2 years I’ve been desperately trying to buy all the cumbia records from Ecuador that I possibly can. You’d think since the country is sandwiched between Colombia and Peru, that I would have a ton of success. But unfortunately I haven’t. It might possibly be that Ecuador didn’t have as robust a musical heritage/recording industry as the other two aforementioned countries, or quite possibly, the music from Ecuador just hasn’t hit the eBay circuit yet. Perhaps I should go to Quito one day.

Nevertheless, the music I do have from Ecuador is as promising as any other form of South American cumbia – with saxophonist Lucho Silva being one of its most popular performers. Silva, born in Guayaquil, began his career as a big-band/jazz musician, but somehow wound up associating himself with cumbia acts in the 70’s and 80’s. I have a suspicion that the Ecuadorian/Andean groups like El Gato and Polito y Su Conjunto used the more mainstream Lucho Silva to legitimize their acts – because before and after this era, Lucho Silva has been nothing but a jazz saxophonist. Despite all that, the music itself is almost a cross between the organ driven cumbia of Mexico and the guitar driven sounds of Peruvian chicha – with a heavy Andean emphasis like no other. The 45 I have of Cumbia del Indio is actually from Mexico (awesome 45 picture sleeve). Most my music from Ecuador is on LP form, so I tossed up 2 of my other favorite songs from a Lucho Silva compilation LP for good measure. Enjoy!

1. Lucho Silva y El Gato Con Ritmos: Cumbia Del Indio

2. Lucho Silva y El Gato Con Ritmos: La Zorra

3. Lucho Silva y El Gato Con Ritmos: Lamento De Indio

Day 12: Exterminador De Fantasmas

There has been such amazing music the last 11 days, I thought I’d change things up by dropping this huge turd on you guys. But I’m pretty sure somewhere (for some reason) there is a person who will love this song and it will change their life forever. For myself though, I never had an appreciation for 80’s top 40 pop music – then and now. I was going to do a Whitney Houston (RIP) six degrees of separation with this song, but the only thing Banda Supermacho’s rendition of Ghostbusters helped doing was to exterminate all my ambition. Enjoy?

1. Banda Supermacho: Exterminador de Fantasmas

Day 11: Alfredo Linares y su Salsa Star

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.

– O-Dub

1. Alfredo Linares y su Salsa Star: Baila Montuno

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!

Day 10: Four From Fuentes

Not sure why I pulled these tracks from the Discos Fuentes label. Four really solid songs, but from a couple of different approaches to the early cumbia genre. The first three are from much more obscure groups/combos and are a good reflection of the traditional cumbia ensemble of the era. Whereas, the more popular/well-known Sonora Cordobesa had success in updating the cumbia genre with its much larger sound. Since most of these 45’s are Mexican reissues, I’m not sure what the exact dates are of the music. Nevertheless, I tried to order them from the more minimal country/folk ensemble to the larger big band approach in the song Lumumba – which can be an indication of some time frame.

On a side/historical note, the overall music presented here isn’t as divergent as you’d think. By the 50’s Discos Fuentes did everything from in-house recording, pressing, and distribution. The result being a distinct style and sound that can often sound the same after a while. It has been said that Discos Fuentes was the Motown of Colombia. It wasn’t until the 60’s when labels like Sonolux and Tropical (which Fuentes later bought) began to offer up different identities to the cumbia genre. Please enjoy!!!

1. Los Galivanes de la Costa: Lorenza

2. Peñaranda y su Conjunto: La Cumbia 

3. Combo Los Estudiantes: Cumbia Salvaje

4. Sonora Cordobesa: Lumumba

Day 9: Rebajada Peruana con Dj Lengua

As you know I like my 45 scratchy and slow, so with that I give you these slowed down Peruvian delights.

The first one is La Cumbia del Japones by Los Destellos, notice the riff on Caliventura by Afrosound, not sure which one came first. (on a side note, I know it seems kinda messed up that they would be making fun of the Japanese language etc. but I’m sure they were just having fun joking around with the many plays on language between Spanish & Japanese.)

The next is a killer version of Led Zepplin’s Moby Dick by Los Commandos, I especially like how the slowed down speed adds good weight to those dirgey guitars, and finally, Pollos Ala Brasa by Banda Huarochiri, a beautiful little tune that proves simplicity is the key to greatness. Cheers!

– DJ Lengua

1. Los Destellos: Cumbia Del Japones

2. Los Commandos: Moby Dick

3. Banda Huarochiri: Pollo Ala Brasa

Day 8: Los Corraloeros De Majagual (part 2)

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!!!

1. Los Corraloeros De Majagual: Boogaloo Campesino

Day 7: Bombo Y Maracas

Colombian vs. Mexican cumbias. I’m too busy tonight to write anything else. Plus I don’t wanna start any wars. Enjoy!

1. Climaco Sarmiento y su Orquesta: Bombo Y Maracas

2. Che-Came El Mago De Los Teclados: Bombo Y Maracas 

Day 6: Carlos Pickling y Su Órgano Electrónico

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)


Day 5: Primitivo Santos

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:


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


Day 4: Lisandro Meza

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!

1. Lisandro Meza: La Pergola

2. Lisandro Meza: El Siete

3. Lisandro Meza: Dejame Llorarla

Day 3: Ron & the Embracers + 1

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

Day 2: Yndio

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.

1. Yndio: Sin Tu Amor

2. Yndio: Noches y Dias Perdidas

3. Yndio: Siempre De Novios 

Day 1: Freddie Fender

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

4. Freddie Fender: Dime

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


29 Days Of 45

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