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.
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)
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.
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:
Picante de Hueso is a very nicely orchestrated track with some back and forth dueling guitar segments. The B-Side starts out with a typical descarga riff later met by an interesting baseline. The song then cuts in with its main riff which ends with a response from the rhythm section. This is a very strong, recommended, single, as long as you aren’t sick of descargas yet.
Definitely one of the heaviest and strongest singles cut by Los Atomos. El Canguro (The Kangaroo) is not surprisingly an upbeat cumbia with arppegiated guitar riffs. La Caprichosa (The Whimsical Girl) is an equally catchy, fiery cut, albeit in a minor key, so it sounds a bit darker than the A-side. Highly Recommended.
Formed in Lima in the late 1960’s by Nelsón Canevello Pardo, who served as the group’s director and lead guitarist. Truly a family affair, the group further consisted of Nelsón’s brothers Fernando (AKA Papi) on backup guitar and bass, Reynaldo the timbalista, Germán on the guiro and maracas, and Juan played the bongos at the tender age of 11! One member of the group was not a brother, but according to the liner notes of the first LP, he was considered as such, tumba and quinto player Pancho Lema. Based off of photos on the albums it appears Pancho was replaced by the time the third LP was released but I can’t confirm this.
The group signed with Fabricantes Tecnicos Asociados (FTA) in the latter half of 1969.I know the group had their own label CANPAR (CANevello-PARdo) but I’m only familiar with Los Ecos release on the label. If you have any other tracks released on the label please let me know. At a later point in their career Los Beta 5 started adding vocals to their songs as sung by Chango (Eugenio Chavez).
As far as I can tell, Nelson died of a heart attack (year unknown), Reynaldo died of Parkinsons (year unknown), and German die of cardiac arrest. Juan lives in Callao and is the leader of his group KOMBINACION PERFECTA. Fernando’s whereabouts are unknown.
El Apagon (The Blackout) starts out with a nice descending riff before the band explodes in a catchy wah-wah driven melody. The song has a nice breakdown in the middle before re-invoking its main theme. The song’s title is also of historical interest, I can’t be sure if it’s referring to blackouts caused by weak power infrastructure, earthquakes, or by roving bands of Sendero Luminoso rebels, of which one tactic of theirs was to destroy power infrastructure. The B-side Pa’ Oriente Me Voy is a very nice tune, with some swept fuzz guitar lines recalling a western film, until the fire melody begins to pulsate against the sharp congas. Highly recommended.
Los Atomos (not to be confused with the Chilean band of the same name), one of a few bands to emerge with record deals from the musically vibrant north-of-Lima coastal town of Paramonga, Peru. The A-side is what you might call an innovative cumbia, others perhaps when it was released it called it a novelty and might help explain why this is a fairly rare cut. Cumbia Arabe attempts to meld traditional dark sounding minor key scales from the Middle East (North Africa?) into the Peruvian Cumbia paradigm. To my ears it works very well, and is recommended. I’m not sure if it’s my pressing or if it was intended, but it sounds woozy and wasted. The B-side is a more upbeat number, more run-of-the-mill, but good nonetheless. It has some nice guitar work and makes this a “file” worthy disc to add to your collection.
Judging by the amount of times I’ve seen this disc, this one must have sold well. The A side is a nice upbeat cumbia with some arpeggios and a little stop-and-go rhythmic work to really profile Aniceto’s adept playing. The staccato intro of the B side gives way to some fuzzed out climbing percussion-underscored riff that, to these ears, is very enjoyable. Things get better at the outro when Aniceto gives us one of his better recorded guitar freakouts, and I’m only saddened that this fades out as soon as it does as you can tell he was really letting loose. Yet again, I find myself returning to the B side more often than Otra Noche Mas. This disc is not too hard to find and is definitely recommended for the great B side (A side is not bad, just not outstanding).
It’s around this time on the later DINSA releases that I find Aniceto is really coming into his own and has found his sound.Perhaps my favorite of all the 45s I’ve heard of AYSF, En Onda (Guajira Pop), starts out with a nice relaxed distorted fuzz tone over a lumbering rhythm section. The song alternates its riff across octaves with some nice flourishes here and there but the vibe is over all relaxing. That is until the bridge around the 2:40 mark where in typical fashion Aniceto lets loose and begins to shred until this fades out. Great stuff. The party continues on the B side with a very upbeat and spirited cumbia, one of only a handful of Aniceto discs that the A side has stood the test of time. Amor Sayanero isn’t bad, but En Onda is what you’re after.