A lumbering slowly evolving song, La Miel De Tu Labios (listed as a Guaracha), has a nice rhythm section and nicely captures the percussive and at times staccato playing that Aniceto exceeds at. The catchier of the two songs lies in the B side “hitch hiking” (listed as a Guajira) a rapid number with a catchy theme and exemplifies all the best qualities of Los Fabulosos and Aniceto as he goes off on an extended solo excursion. This seems to be a rarer disc. Highly Recommended
A Disco Ramirez release this disc includes one of Aniceto’s first penned tunes El Ensarte which, to some extent, showcases what would be his standardized formula for song writing: have a main theme or head, then solo a bit, while the rhythm section remains pinned to the beat, repeat as needed. It’s a solid start to a very entertaining career for the artist. The B side here is a cover listed as penned by Luis Pizarro Cerron (a major artist in the Huayno genre) and is a nice authentically and uniquely Peruvian cumbia of which the main theme easily places you in the Andes if you’ll only close your eyes.
El Espeso starts out routine enough, but at about the 1 minute mark Aniceto begins the guitar fireworks which make this a really nice track. Like so many of his other cuts however, the B side is the better song, La Sayanera switches between palm muted guitar riffs climbing triads and all across the fret board to create a very nice tune that is varied and remains interesting. Recommended.
An energetic wah-wah effect flavored song, La Movedora, as the name implies will definitely get a dance floor moving. Around the 2 minute mark things get extra nice when the bass drops a nice line, to which Aniceto begins to solo a bit over before the group triumphantly congeals for the main theme one last time. The gem on this disc however is the B side Cholita Llorona which again makes effective use of the wah pedal. This minor-key song has a bit more interesting guitar work that really shows Aniceto’s ability to play with the quickness it also allows him to solo a bit which is always nice from this talented guitarist. This is a relatively easy to find (and inexpensive disc) which I’d recommend picking up.
Beginning out with an almost “hit-the-road-jack” intro the song builds to it’s actual theme which invokes Andean scales and rings of a Peruvian cumbia in perhaps the truest embodiment. This makes sense, as it is one of the first (only?) releases Aniceto cut for Infopesa after Alberto Maravi moved his artists he had signed to DINSA to his new label (Infopesa focused primarily on indigenous sounds). Negrita Mia is a vocal tune, if you’re a purest for instrumental cumbias like me, this will detract from the desirability of this 45, and again I think this may have something to do with the change over to Infopesa. It’s not a bad song, and has some nice guitar work, but is not personally what I’m after.
A 60’s -invoking chorus of “ahhhs” and “oohhhs” starts out this rather weak cut which then proceeds to an oft repeated lack luster guitar riff over precussion before hitting on a guitar breakdown only to have the cycle repeat back with the “ahhs.” The B sides Morena Y Rebelde (Morena and rebellious!) is definitely a breath of fresh air after the A side’s twee monotony, however Aniceto has cut better 45s.
A cascabel is a jingle bell, so cascabelito is the tiny jingle bell. Can’t say I hear much by the way of jingle bell percussion on Cascabelito, however it has an undeniably tropical sound. Rolling guitar riffs underscored by crisp percussive fills. For my taste, however the prize on this 45 is the B side Pistaco. Not sure if this is a spelling error, but a Pishtaco is a creature of Andean lore that feeds off of people’s fat/blood, much like a vampire. And the B side is as monstrously good as you’d hope. Starting off slow, the quickening strumming, gives way to an onslaught of percussion before Acosta rips into an almost Spanish-sounding guitar riff at a break neck pace. This gives way to a descarga style guitar riff punctuated by a call and response with the percussion section. Highly recommended.
Composed of the Chacòn brothers, Carlos and Arturo. Carlos played not only lead guitar but also led composition duties for the conjunto. Brother Arturo was also listed as author of a few tunes. I’ve sourced from Youtube videos that thier bassist was Guillermo Parra, congas, Alfredo Chavez, and on the guiro, Jose Ramos.
Regardless of who was playing the guitar, Los Tic Tac provide some of the most high-energy cumbia sounds of any conjunto I’ve heard from the era. While lacking any sonic gimmickry popular with peers such as Los Orientales (either Maximo’s or Victor’s) or the fuzz sound of Aniceto Salazar, aside from some reverb here or there the group makes up for in spades with its creative arrangements and accomplished guitar work. Sophisticated riffing, with an oft solo that reveals the natural fluidity of a master guitarist.
Here is a mix to give you a taste:
The songs are:
La Mentirosa (Liar Woman)
El Carreton (the Large Wagon)
El Dormilon (the Sleepy Head)
Cuidado Con El Toro (Careful With the Bull)
La Casposa (Freckled Woman)
La Cosecha (The Crop)
I’m currently trying to track either of the brothers down, but what I can glean from youtube comments is that Brother Carlos is in Brazil today.
UPDATE 5/23/2017: What great fortune, the blog received a comment from none other than Carlos Chacon Paredes! He is currently in Sydney, Australia. Hopefully more updates to come!
About two and a half hours north of Lima lies the Huara Province of Peru, birthplace to Aniceto Salazar. Born April 16 in Sayán (shown on the map above as the red marker). According to La Cumbia de Mis Viejos (LCDMV), Aniceto got his start in the music business like so many others when Enrique Delgado and the Destellos came to town. It’s really remarkable the blast radius Los Destellos set off in Peru to generate such a great wave of new music. In Salazar’s case Los Destellos were invited to play at the opening of a store owned in Sayán by a Japanese woman that knew Aniceto. The woman recommended to Enrique that Aniceto accompany them on stage, and he accepted. While Salazar likely enjoyed such limelight, he ultimately remained focused on his education.
Aniceto sought admission to the National University of San Marcos to study accounting, but he was denied entry. That may be all the better for cumbia fans, as this led Aniceto to pursue his musical talents full time. He started out by playing in various local groups focusing on tropical sounds, before a promoter gave him his first opportunity to lay a single down for Polydor likely around 1970. Aniceto’s guitar tone and style always seem to be more rock leaning, with frantic solos often ending a track as it fades out. A pioneer in the distorted guitar sound in cumbia, making his cuts all the more desirable in my opinion. It’s a shame he never released a full LP.
Notably this first single was released under the moniker “Anthony Y Sus Tropicales” with Aniceto having composed the A-side cut “Descarga Tropical.” The B side contains a nice fuzz-guitar cover of Hugo Blanco’s latin standard “Moliendo Cafe.” It was after this release that Aniceto sought to form his own band, liking the name “Los Fabulosos” he was counseled that since a group named “Los Fabulosos De Ritmo” already existed, that he should modify it somehow, and “Aniceto Y Sus Fabulosos” were born. Note above, that as credited on the Polydor release, production was by “El Aguila.”
According to LCDMV &, this individual — El Aguila — was a promoter by the last name Aguilar. Mr. Aguilar oversaw the early stage of Aniceto’s professional career and led to further 45 RPM cuts for Disco Ramirez and Virrey labels (two 45s and one, respectively). That was until Alberto Maravi came to visit Aniceto. Still at DINSA met with Salazar to try to lure him to record for DINSA, Salazar recalled that while he didn’t drive as flashy of a care as Senor Aguilar, DINSA pressed vinyl in a kalediscope of colors, and this was enough for him to change his recording affiliations. Maravi’s courting was a success and Aniceto would cut at least 10 singles for the DINSA label. The two are shown together below.
As documented elsewhere on this blog, Alberto Maravi would ultimately leave DINSA to form the INFOPESA label, he brought many of the artists he developed, and Salazar was no exception. Aniceto also released a number of singles under various monikers including “Loretano Y Su Combo” and “Los Tahuamperos” his characteristic rock-leaning guitar gives away the true artist every time.Shown below is Salazar with one of the ubiquitous cover models for the DINSA series Hit Parade Tropical.
Aniceto is still touring with his group today and is active on Facebook. He’s even still penning new tunes, as evidenced by a Chichaweb article. I haven’t heard the tunes yet and would love to know if they still sound like his golden-era tunes.