Ollanta Records

Huamanga is a province in northern part of the Ayacucho Region in Peru. From this province came Julio Erasmo Medina Mendoza affectionately known as “El Huamanguinito.” Julio released an early LP on DINSA under the moniker “El Huamanguinito” called “…De Ayer y Hoy” (DINSA LPG 028). This disc is primarily Huaynos, or traditional Andean songs — likely not of much interest to readers of this blog. However, as far as the history of early Peruvian recorded music this is an important connection to make. This disc must have sold well enough, or at least Julio was a savvy enough businessman to get DINSA to form an imprint “OLLANTA” (short I guess for Ollantaytambo an Incan imperial site in the Cusco region of Peru). It was either that or this label existed and DINSA acquired it and put Julio at the helm. Some of these early releases on the OLLANTA imprint reference the DINSA connection and also show case a JEMM mark, the initials of Julio, even though he was not the artist of these discs. A case in point:

This disc by Los Avispones (the Hornets) is not necessarily in the Andean-style, but a  Guaracha (vocal)/Cumbia (instrumental)(A/B respectively) from which the group likely came from the Ayachucho Region of Peru.

Later discs (based off the JEMM numbering as well as the disc numbering) lose the DINSA reference, yet the registered industry number stays the same (i.e., 74666).



I found a number of other label variants via Discogs.com, so it seems like this label design group couldn’t settle one way or another (another variant is a gray version):

It’s curious to note that some of these the RI # changes to a CP # (this is getting way too geeky I know). So I’m curious to find out what that was about. Lastly I’ll note that the blue disc pictured above has the RI # as 1267, and the gray version has RI# 12891, most others reflect either RI/CP # 74666.

Augusto Lucho Laverde Y Sus Satelites


Hailing from Huacho, Peru (about 140 km, or two hours north of Lima) Carlos Augusto Lucho Laverda was an earlier pioneer in the wah-wah (gua-gua) sound of Peruvian cumbia. Maximiliano Chavez, of Los Orientales de Paramonga fame, cited him as an influential guitarist that first gave him the idea to emulate that trademark tone. Aside from this I know nothing else of the artist.

Recording under the moniker “Augusto Lucho Y Sus Satelites” Augusto and his band cut a number of tracks for Virrey records. As far as I know three of these releases are:

Virrey 3264 Sopa De Pichon (Guaracha)/Los Duendes (Guaracha)

Virrey 3318 La Bomba Es (Guaracha)/Baile De Las Gallinas (Guaracha)

Virrey 3372 Arco Iris (Cumbia)/La Casita (Bolero Son)

All are credited to Augusto, save for the first 45 RPM which credits Sopa de Pichon to “F. Grillo” and Los Duendes to Augusto and “J. Diaz.” Augusto Lucho Y Sus Satelites sound is full and vibrant, and most tracks save for the Bolero are upbeat and filled out by brass.

A presumably later release was discovered on a label called “Dicos Del Puerto,” which credits a track to “Augusto Lucho La Verde” and is of a completely different style and likely of less interest to readers of the blog. Nonetheless a clip is included.

Check the clip for a taste  of all of the above. Songs are in chronological order.

Los Tic Tac – Un Besito…Y Nada Mas/El Cubanito


I’m not sure whether picture sleeves for Peruvian 45 RPM releases are rare because few were made, or because few survived the past four-and-counting decades, either way here is a rarity. The A Side is somewhat similar to the Juaneco track Vacilando con Ayahuasco or the Los Orientales track Sonia La Sexy, with some sultry spoken female vocals (I’m fairly certain the vocalist on those two tracks is the same woman). I wonder if this was released around the same time. The B Side does not provide an author name, and as listed as an instrumental although it has some minimalist vocals.

A sample of this early release from Los Tic Tac’s oeuvre is below, enjoy: