Archive Page 2

Alceu Valença & Geraldo Azevedo

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


Descarga Cubana

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

6. Julio Gutierrez: Cimarron

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

1. Memo Rios: Technotaco

Cumbia De Ramón Ropaín

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

Texas Flavored Latin Boogie with Brown Sugar

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

Haitian Twoubadou with Trio Select

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

2. Trio Select: Plein Caille

3. Trio Select: Marteau

4. Trio Select: Qui Li Bois







Salsa Venezolana

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

3. Oscar D’Leon: Tu Son

Acid Sonidero Mix con Dj Lengua

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

I Can’t Stop Loving You – Chucho Avellanet

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

Amor a la Mexicana

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. Panamé Programa 142 (large file)

Eartha Kitt and Perez Prado

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

Rumba Rock with Peret

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

2. Peret: Lo Mato




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: Panamé – 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. For instance, someone will visit your house or office, and you need contractors to do some fixes in the roof, prime building and construction offers an affordable commercial roof services st louis mo area. They ensure to get the best solution for your roofing system.

 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 Panamé 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

Dos Sones de Arsenio Rodríguez

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

Mas Exitos – Menudo Mix

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 *


Memo Rios: Memocotorreo

I guess I could provide you with more content, but this song really defies all explanation. No? Enjoy!

1. Memo Rios: Memocotorreo

Awesome CD’s from Nicaragua

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

Tex-Mex Soul With Carlos Guzman

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, comparing the different elo boost quality services on, 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

Ayacucho in Japan

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!


Contrabando con Los Tigres Del Norte

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



Day 22: Rocanroleros Mexicanos

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!

1. Los Rockin Devil’s: Gloria

2. Los Rockin Devil’s: Loco Me Patina El Coco

3. Los Americans: Al Final Del Dia

4. Los Freddy’s: Vuelve Mi Amor

5. Los Belmonts: Brinquen

6. Los Belmonts: Enciende La Luz

7. Los Rockin Devil’s Juego De Amor

8. Los Yaki: Vuelve A Mi



































































Day 21: Julio Gutierrez – Last Tango in Paris

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

Day 19: Descarga Peruana on MaG

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!

1. Los Kintos: Tema

2. Coco Lagos y sus Otares: Guajireate

3. Mita y su Monte Adentro: Mita Descarga

4. Carlos Muñoz y su Sonora: Oye Mi Descarga

Day 17: Boogaloo Panameño w/ Los Alegres de la Costa

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 @ – Enjoy

-Sonido Franko  

1. Los Alegres de la Costa: Boogaloo Darien (Loyola, 197?)

Day 16: Los Comuneros de Paraguay

Formed in 1956 by harpist, Osvaldo Ganoa, Los Comuneros de Paraguay were one of the more successful conjuntos de arpa that came out of Paraguay in the mid-twentieth century.  They toured extensively throughout Latin America and enjoyed a substantial degree of international notoriety, as evidenced by this El Salvadorian pressing of their recordings of Anahí and Regalo de Amor. While they were somewhat adept at performing various Latin American genres, the two pieces featured here highlight their skill and grace in performing the ritmo guaranía of their native Paraguay.

Formed during the military dictatorship of Stroessner and baring the namesake of an early 18th century anti-colonial movement, Los Comuneros de Paraguay contributed to the nationalist fervor of the period with recordings such as these two. Anahí recounts the myth of a Guaraní princess, famous for her exquisite singing voice, who was taken captive by Spanish colonizers. She escapes, murdering a sentinel in the process, only to be recaptured and subsequently executed by being tied to a Ceibo tree and burned alive. As the flames engulf her, she transforms into the bright red flowers of the tree. The piece was written in the 1940’s by Argentine composer, Osvaldo Sosa Cordero, as commissioned by the Minister of Education for the declaration of the Ceibo flower as the national flower of Argentina. Regalo de Amor is a beautiful dedication of love composed by Paraguayan composer, Maurico Cardozo Ocampo, who dedicated himself to the preservation of the Paraguayan culture. The piece is sung in Spanish and Guaraní, both official languages of Paraguay, with the latter being the only such distinction of an indigenous language in Latin America that I know of.

Both tracks feature the angelic voice of Nair, the lead vocalist of the conjunto who only went by her first name, and the understated harp of Ganoa, which interplays beautifully with an unknown pianist. The lilting guaranía rhythm evokes sentiments of love and forlornness, giving both pieces an endearing and haunting quality.  I get chills!  Enjoy!

– Marcos Juarez

You can check out my homeboy Marcos Juarez on KALX radio station each Thursday from 12:30 to 3:00 pm for the finest in Latin American music. Trying to get Marcos to be a regular contributor to Super Sonido so please bother him here and tell him to do so. The guy has a totally different approach to the Latin American music that he collects, from Latin funk to that more traditional/indigenous sound you’re hearing now. Thanks Marcos – first music from Paraguay I’ve had on this site and I couldn’t be happier.

– Sonido Franko

1. Los Comuneros de Paraguay: Anahi

2. Los Comuneros de Paraguay: Regalo De Amor  

Day 15: Lola Beltrán – Cucurrucucú Paloma

Long before hack singers were carried to award ceremonies in gigantic plastic eggs, there was the Ranchera singing tradition – usually accompanied by some of the greatest divas of the golden age of Mexican music. With the advent of radio and television in Mexico, people in urban settings were now able to recapture the sounds of their rural towns they had once left. Ranchera, coming from the word rancho (country), was usually joined with a mariachi ensemble and a female singer. Complex melodies/rhythms, plus lyrics about loss and betrayal were to characterize the Ranchera sound – a stlye which would only catapult singers like Lola Beltrán into super stardom and forever into the psyche of the Mexican consciousness.

Nicknamed Lola la Grande (Lola the Great) – Beltrán had similar humble roots as did most of her fans. Hailing from the small town of Rosario, in the state of Sinaloa – Lola ended up working in a radio station in Mexico City as a secretary. From there her list of accomplishments went from being a film actress, marrying a matador, being a telanovela star, to hosting a talk show. However it was always her singing that made her probably the most successful Ranchera stars of all time.

I think I’ve mentioned in the past that I am not a huge fan of Rancheras and Mariachi – but Cucurrucucú Paloma (cooing dove) happens to be one of my favorites of this genre. I put below the English translation of the song below to show how melodramatic, yet how very poetic this music can be. Enjoy!

1. Lola Beltrán: Cucurrucucú Paloma

They say that every night
he was wholly overtaken by tears;
They say he never ate, but only drank.

They swear that even the heavens
trembled to hear his wail,
he suffered for her so,
that even in death, he never stopped calling for her:

Ay, ay, ay, ay, ay, he sang,
Ay, ay, ay, ay, ay, he howled,
Ay, ay, ay, ay, ay, he sang,
tormented by a fatal passion.

They say that in early morning
a sad dove sings to the little empty house
with its wide open little doors. They swear that the dove
is none other than his spirit, hoping still for the return
of the ill-fated woman

Coo…coo… Dove,
Coo…coo… don’t weep.

What do the stones know about love?


Little dove, do not weep anymore.

Day 14: Cumbia in the U.K.

Rick from Manchester England sent these two to me. Some awesome Colombian music by way of England. He didn’t actually write anything about them, just sent me the Mp3’s and images. But totally appreciated nonetheless. I’ve never heard these two. Hmmm….what else was I going to say?….oh yeah…Enjoy!

1. Nacho Peredes: El Diablo De La Musarana

2. Carlos Roman: Swing Columbiano

Day 13: Cumbia con Organo

If cumbia began as a form of low-brow Latin American music, then it would be considered even a step lower when accompanied by the organ. If it weren’t for the infectious down tempo – it would be more like listening to music in an ice skating rink.

It nevertheless acts as a good substitute for the accordion. Only an organ could pull off the melancholy sound that is given with these 45’s. On a side note,  this sound is very popular in Mexico – especially with the sonideros in Mexico City. More like a hotel lounge acts than anything else – which was probably the case since it would be difficult lugging a huge organ around. Tulio Enrique Leon appears to be Mexican (or his label suggests) – but a great cover song of Colombian Lucho Campillo’s Cumbia Del Monje.

Next few days = guest posts. Stick around, relax, enjoy!

1. Camacho Y Cano Y Su Conjunto: Cumbia de la Melochita

2. Tulio Enrique Leon: Cumbia del Monje

3. Los Picapiedra: La Hossa

Day 11: Cumbia con Jazz

Can you see that I’ve been doing for the last 3 days? Anyone want to guess what I’ll do tomorrow? Well whatever it is, I promise it will be more extensive than this post. More swing than jazz – but I gotta run! Work and dj gig tonight. Go go go!!! Enjoy!

1. Pacho Galan: Afinando Los Trombones

Day 10: Cumbia con Mariachi

Like my prior post, I’m pulling out all these hybrid crossover 45’s of the cumbia genre. However, I don’t have much to say about this track. In fact, I’m not even sure if there existed a band called “Mariachi Mexico” – seems like kind of a generic name. Also the song title is a bit odd, La Derrota De Damasco (The Road to Damascus?), possibly a mariachi standard?  The music still sounds good and they do a great cover version of the Cumbia Sampuesana. Anyhow, cumbia and mariachi – I can’t really same more than that. Enjoy!

1. Maricahi Mexico: La Derrota De Damasco