Formed in 1970, near Iquitos, by the Sifuentes Arbildo brothers Geny y Jharley. The brothers, responsible for lead and rhythm guitar respectively, composed all of the songs for the group (save for one song on the third LP by their tumba player). A third Sifuentes brother, Jorge, played timbales. The group’s first LP indicates the remaining members of the group were non-blood relations: Ivese Soplin played bass, Mickey Sanchez played tumba, Jose Armas was on bongos, and guiro responsibilities fell to Wilson Pacaya.
The band’s second album “La Fiesta Comenzo” incorrectly states that it is their third album, however, I checked with Geny and he indicated the group only released the two LPs for Infopesa.
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 & Sótano Beat, 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.
Formed in Paramonga, Peru (about a three and a half hour drive northwest of Lima), by students of Colegio Miguel Grau De Paramonga. The initial lineup likely consisted of Maximo Chavez, who couldn’t read music and was a self-taught guitarist, on lead, Jose “Huachito” Castillo on bass, it’s unclear if either Victor Ramirez or Jamie Silva initially played rhythm guitar, Daniel Guillen likely played the drums (i.e., timbalero), Manuel Chirboga played the percussion (i.e., the huiro) and Manuel “Cote” Duplex Dextre played the congas. Early images of the band also show Victor “Yuyo” Ruiz.
All of these young men were active in the Paramonga music scene, and some may have even formed a part of Los Palmers (potentially an early line up of the Orientales) that played more of a “beat” rock sound part of the nueva ola sound that was popular at the time. It is known that “Cote” Duplex actually played in the Paramongian band “Los Yeltons” that would later release a few cuts on the label INFOPESA (which wasn’t formed until 1971). Maxmio has stated that the band was influenced to go in the instrumental, guitar-driven cumbia direction after hearing Enrique Delgado and his Destellos perform.When asked how he came to utilize the wah-wah effect, Maxmio recounted that he was influenced after hearing Agusto Lucho Y Los Satelites, which also used the effect. Maximo went into Lima after hearing it to buy the effect pedal.
Rumored to have officially formed as the Orientales in 1968, it wasn’t until 1970, or shortly there before,that the band’s sound caught the ear of Alberto Maravi, who at the time would have been an executive at the DINSA label. The band went into the studio to record their first single in 1970. Maximo was partial to the cut “La Carcocha” which he selected for the A-side. However, it was the B-side, the well known “Lobos Al Escape” that would rocket the group to notoriety. This song with its iconic wah-wah (gua-gua) sound would go on to sell thousands of copies.
With this new found notoriety also came the need to tour. When Maravi approached Maximo about a 30 day tour of Colombia, the label executive was likely frustrated to learn that the majority of the band’s members were minors (probably about 16/17 years old at the time), and would require parental permission to tour abroad. Likely less than enthusiastic about sending their children to a foreign country to perform “rock” concerts, the parents did not consent. Not to be undone, Maravi proposed a solution, Maximo, likely at least five years senior than the others, would go with Paco Zambrano’s band the Ratones under the banner of the Orientales. The tour was such a success it was extended for an additional 15 days. Upon return to Peru the Orientales would go on to receive a Disco De Oro (Gold Record) from Colombia, in addition to awards in Peru, Mexico and Venezuela.
Things start to get interesting (and sadly for fans of the group, unclear) around 1971. We know that Maravi founded INFOPESA records in February of 1971 after breaking with his former partner Jorge Botteri at DINSA. Likely Maximo’s Orientales were under contract with DINSA so they continued to release singles on the label even after Maravi left to INFOPESA. Interestingly, the DINSA LP likely had to be released in at least 1972, as on the back cover is advertised Willie Colon’s “El Juicio” LP which wasn’t released (at least in the U.S.) until 1972. Maravi did write the liner notes for the back of the group’s DINSA LP.
Also at this time however, it’s rumored by Victor Ramirez that in mid-1971 Maximo allowed him to sign the rights of the group over to Victor Ramirez. This may have been in view of contractual issues, and the group wanted to record new music with members who were older and more established musicians. Take the following photo for example:
In it we see (from left to right) Ray Ramirez, Ernesto Robles (the group’s agent), Demetrio Rojas (credited on the first SONO RADIO LP as Victor), Maximo Chavez, Evert Rosales, Manuel Rea, Alberto Maravi (INFOPESA head), and Victor Ramirez. One possibility is that this group was set to record for INFOPESA, however after acquiring the rights in mid-1971, Victor Ramirez shopped the group around and possibly received a more lucrative deal from SONO RADIO. Along the way he likely burned a bridge with Maximo and Alberto Maravi. We do also know that Victor registered with the Peru’s writers union in late August of 1971, so anything he registered his author’s rights with an APDAYC (One of Peru’s copyright societys, similar to ASCAP in the USA) stamp would have been at or after this date. Going forward to keep things straight I’ll refer to the Orientales as either Victor’s or Maximo’s.
Around this same time Maximo recorded under the name “Macuito” for INFOPESA. This was perhaps precipitated by a falling out between Victor Ramirez and Maximo, as well as Maximo’s contractual obligations to DINSA which would have precluded using the name Los Orientales to record for INFOPESA at the time.
The above photo was likely a press kit for Victor’s newly formed Orientales. Curiously in the above photo there are seven players, given the sunglasses on the left four it complicates trying to identify who is who, but I’m fairly certain there is no Maximo in this photo (who is usually identifiable by his wavy hair). Victor’s Orientales would release their first LP on SONO RADIO in 1972. That LP had 11 original songs, with a loose cover of El Gran Combo’s A-CHI-LI-PU. Prior to that LP however, Victor’s Orientales released five singles (at least five which didn’t include any songs that would appear on the first LP).
Most curiously the first A-side of Victor’s Orientales was “Captura de Lobos” credited to Victor Ramirez (SONO RADIO 13120). “Captura de Lobos” was also released on DINSA (0642), credited to M. Chavez. It’s unclear who actually penned the tune, from a copyright/legal perspective they’re very similar sounding, and for what it’s worth, when Victor released his track, technically it’s credited to a band called (ready for this) “Conjunto Tropical Los Orientales De Paramonga” whereas Maxmio’s on DINSA is associated with a band called “Los Orientales.” This may make a difference for the intellectual property lawyers out there, as to whether these two can exist amongst one another legally.
Sometime after Victor’s Orientales started putting out music for SONO RADIO, and possibly after both groups had released their first long plays in 1972, Maximo’s Orientales responded with a single “El Dragon.” El Dragon is a great song, but for purposes of this article the really interesting aspect of that single is the B-Side, “Yo Soy Orientale.” This song’s refrain, translated is “listen to my guajira, authentic orientales.” It seems this song was a response to the tension between the groups, declaring themselves to be the authentic/original Orientales de Paramonga. The song goes on to introduce the members of the conjunto playing on the LP. I can only make out the introductions of Maximo, Jaime, Jose, (stated to be playing la viola — Peruvian slang for guitars) and Cote (la tumba i.e., congas). It sounds like “Tonito” (Ancineto?) is introduced to be playing the drums (baleta). I can’t make out the huiro player’s name.
Likely around this time the original DINSA contract for Los Orientales de Paramonga may have expired. At least eleven singles were released by Maximo’s group on DINSA. Then sometime in 1974, coincidentally it appears both groups (Victor’s and Maximo’s) released second LPs. This time Maximo recorded under the INFOPESA label, while Victor’s group continued on SONO RADIO. The liner notes on Fiesta En Oriente, Maximo’s INFOPESA release, again asserts that they are the “authentic” orientales. The group that played on this album is pictured below.
Aside from the single that was released along with this album, which strangely indicates it was licensed from Puerto Rican label Borinquen (still legal issues with the band’s naming rights?), this LP marked the end of Maximo’s run with INFOPESA. As far as I am aware he recorded one more single for the label CASINO, the B-side of which was lamentably titled “Tristeza” (i.e., sadness). Maximo went on to drive a mototaxi in Paramonga, which was ultimately the cause of his death in May of 2012. He suffered a tramautic brain injury when his mototaxi collided with another mototaxi driven by a 15 year old who had no registration. He was 65.
Victor’s group continued recording, they released two more singles on SONO RADIO as well as a mini LP for that label. Victor went on even further to record under the “Orientales” moniker for both the DIFA label as well as the well known cumbia/chicha label HOROSCOPO well into the 1980s. Victor appears to now live in Italy.
As to the other members of the group, apparently Cote has a radio show. I believe Jaime Silva is a teacher in Paramonga. Daniel was interviewed in a short doc on youtube, but it’s unclear what he’s up to these days.
¡Si usted tiene cualquier información sobre Los Orientales de Victor o sobre el conjunto Orientales de Maximo, por favor entre el contacto conmigo!