Archive for the Peru Psych Category

THE ROOTS OF CHICHA 2 released by Barbès Records; words by Renz De Madrugada

Posted in Peru Cumbia, Peru Psych, Peru Treasures on September 8, 2010 by Listen Recovery

Como se dice… Aaaaaahhhhh!… Some type of Alfredito Linares feel “opening pores music guitar shock drunkenness AMish morning with your calentao or fried yam and chicharron sound”…  That’s basically how I feel when I hear Cumbias Peruanas “Chicha”.  Ever since my trips in the “micros buses” or a “tico” (mini taxi) to Centro de Lima or Surco to visit Perù Negro… Cumbias have been in my eardrums since I was a “chibolo”.  The pasajes (streets) in Lima will always fascinate me, from its sounds of street vendors in the mercados (street markets) to the busy streets in Mesa Redonda or Gamarra (fashion city of Lima).  Chicha, Cumbias Andinas or what ever you want to call it, will sound louder than any genre in Perù and the reason number one is! It’s massive Andino and Provincial Population.

Chicha, Cumbias Andinas and Amazonicas don’t really come entirely from Lima.  Cumbia Andino is mainly from the Andes Region from north of Cajamarca to South of Puno & the “Great” Lake Titicaca and Cumbia Amazonica comes from the Jungle Region, from the North Dept. of Loreto city Iquitos to the South Jungle in Puerto Maldonado. Population has been migrating  from the 1970s to present times to Lima, making Cumbia music one of the most performed and sold genre in the Capital of Perù.

ROOTS OF CHICHA 2 takes us to an encore journey from Lima to the Andean Region ending up in Iquitos.  Ranil also known as Profesor Raul Llerena natal from Belèn, Iquitos is feature in this LP. His unique composition “Mala Mujer” will make you move your limbs and still your soul towards any dance floor.  Grupo Celeste, Chacalòn and Los Chapis are also here.  If you are an enthusiastic student about the History of Cumbias from Latin America, this is definitely a must have for the collection.  Barbès does again with a nice research and shares from their archives and collection. VIVA EL PERU CARAJO!

I am very pleased to see the music from my country come to America via Chicha, Cumbias, Salsa and hopefully Afro Peruvian.  Is been an honor to work with such prestigious entities like Barbès Records, Masstropicas, Pablo Iglesias, Dj Andujar and the homies at Mas Exitos in L.A. who been bringing the nostalgic feel of Discotecas & Sonideros to our territory.

Perù Cumbias is here to stay!

and ROOTS OF CHICHA is just another affirmation for my exclamation…

Renz De Madrugada

A Comerrrrr!

below are 6 tracks for your listening pleasure, courtesy of Barbès Records & PressjunkiePR

Grupo Celeste & Chacalòn


Los Chapis w Chicha drink (corn fermented)



 

LOS SAICOS “El entierro de los gatos” (Video)

Posted in Peru Psych, Pre-Punk Peru on June 23, 2010 by Listen Recovery

BLACK SUGAR I, (SonoRadio) PERU Funk. 1971 “Too Late” and “Viajecito” (Part 1)

Posted in download single song, Peru Psych, Peru Treasures on May 27, 2010 by Listen Recovery

LOS SAICOS “Mundo Perdido” (video)

Posted in Peru Psych, Pre-Punk Peru on May 18, 2010 by Listen Recovery

CÈSAR BOLÀÑOS “Interpolaciones”, 1966 PERU

Posted in Peru Psych on May 18, 2010 by Listen Recovery

EDGAR VALCÀRCEL “Invenciòn” 1966, PERU

Posted in Peru Psych on May 18, 2010 by Listen Recovery

“Invención” (1966) para sonidos electrónicos compuesta por el peruano Edgar Valcárcel (Puno, 1932-Lima,2010) en el laboratorio de música electrónica de la Universidad de Columbia.

Edgar Valcarcel (b. Puno, Peru, 1932) lived in Buenos Aires, Argentina, during the early ’60s, working at CLAEM-Instituto Torcuato Di Tella (1963-1964). He composed his first pieces using electronic sounds upon receiving a Guggenheim fellowship that allowed him to work at the Columbia-Princeton Electronic Music Center in New York.

It was there he composed Invención for tape in 1967, working with electronic sound wave generators and filtered white noise and using editing and looping techniques.

He also composed Canto Coral a Túpac Amaru for chorus, percussion and tape while working at the Columbia-Princeton studio in 1968.

Zampoña Sónica for flute and electronic sounds, composed between 1968 and 1976, also makes use of the electronic sounds Valcarcel produced during his stay at the Columbia-Princeton Electronic Music Center.

Another piece by Valcarcel, Flor de Sancayo for piano and tape, was composed in 1976 at the McGill Electronic Music Studio in Montreal, Canada, while he was a visiting professor at McGill University.

Now in his seventies, Valcarcel feels that his dream to continue working in the electronic music field has become impossible to accomplish in his homeland because of the dramatic social, economical and cultural situation there. However, he has never lost hope.

TRAFFIC SOUND Peru Psych Rock (bio+Lp Cover+downloads)

Posted in download single song, Listen Recovery, Peru Music Icon, Peru Psych, Traffic Sound on May 2, 2010 by Listen Recovery

Two albums and at least four years have passed since the brothers Jose and Freddy Rizo-Patron, together with Manuel Sanguinetti left the group called “Hang Tens” to form a Rock project much more serious, which would be called “Traffic Sound”. Their first release was a mini LP that contained six covers of different artists titled “A Bailar Go – Go”, her second album entitled “Virgin” made the band finally found their identity within the psychedelic rock scene, leaving for posterity what would come to be a hymn, the song “Meshkalina.”

Los Hang Tens

The picture above was taken in the García-Sayán estate in April 1967. The musicians are, from left to right: Felipe Larrabure Aramburú (lead vocals and founding member), Guillermo Perez-Argúello (lead vocals since 1967), Diego García-Sayán Larrabure (drums and founding member), Ramon de Orbegoso Elejalde (bass 1964-1967, lead guitar since 1967, founding member), Jaime Sabal Saba (bass since 1967) and, Juan de Aliaga Fernandini (rhythm guitar since 1967).

Los Hang Ten’s : 45 RPM , Odeon 45-9671 (Nov.-1966)
“Till the end of the day” / “These boots were made for walking”

After that, it was time to achieve more maturity, and they succeeded with their eponymous album (which is also known as Tibet’s Suzettes III or referring to the opening song on the disc). The sound of Traffic Sound had a distinctive light on the psychedelia Latino British or American, which made it different compared to other bands in this part of the continent and perhaps in the world.

Each musician had different influences, in this album Jean Pierre Magnet (flute, saxophone) and Billy Barclay (guitar) was inspired by Ian Anderson and Martin Barre of Jethro Tull, the rest of the group members had influences from Santana, Cream and Hendrix but the great merit is that they managed to mix all this and create their own unique brand that distinguished making them something special.


The album begins with an excellent “Tibet’s Suzette (Gently Guaranteed to get you high)” and they do not make promises in vain, the song makes you feel at the top. This track is very close to the beginning of Tull, you feel a similarity with “Teacher” (both songs were released in April 1970), the strong guitar by Willy Barclay Barre and a solid bass by Willy Thorne. The song continues with some melancholy but very psychedelic, when Jean Pierre Magnet begins with his flute, the Tull sound is even more evident, the atmosphere is a mixture of progressive blues with a Latin sound mixing gentle and effective, great song, with extraordinary change, being the star Jean Pierre Magnet, who is absolutely brilliant with the flute and saxophone.

“Those Days Have Gone” starts accompanied by piano, perfectly supported by Freddy Rizo Patron with the rhythm of the guitar and the voices again similar to Ian Anderson (well, in this case is only a matter of vocal range), the style of the flute in this track is sweeter and milder than in the previous track and moving towards a final jazz, again led by Magnet incredibly flute and piano by Willy Thorne.

“Yesterday’s Game” is a typical track of Traffic Sound, absolutely in the line of British fashion but with a Latin sound only from the percussion probably played by the singer Manuel Sanguinetti, simple but effective backing vocals and a solid way of playing by Luis Nervaez battery.

“America” is softer compared to the previous ones, begins with an acoustic guitar and distorted vocals again (which is not a surprise). Jean Pierre Magnet does an excellent job with the flute well aided by the beauty of the piano by Willy Thorne. The perfect addition to this song is the rare Hindu atmosphere created by the band. The performance is excellent but the song is rather weak at this point, yet not bad.

“What You Need and What You Want” starts with an atmosphere exactly “Locomotive Breath” by Jethro Tull, now, any of similarities should be casual, because “Traffic Sound” was released a year before “Aqualung” then it is impossible to copied from this section of Tull, but if you have the opportunity to listen, you will notice that the songs are identical.

The name of this song “Chicama” is the symbol for surfers around the world, some people say it is the most perfect wave in anywhere, then no person can expect a similar surf to any song by The Beach Boys .. Nothing so far from reality, the song is pristine Latin Psychedelia, with a fabulous saxophone that creates a sound entirely of Motown jazz guitars and Latin percussion, the song ends as it begins, but after an incredible piano, flute and voices extravagant guitars now play a Hendrix style, wonderful experiment.


“You Got to Pay” is the classic track Acid Psychedelia, with all the elements that make this genre the most amazing, strong guitar to Hendrix, fast drums and even sections where the voices are played backwards and at different speeds, this early experiment is that it represents, wonderful and quite advanced for any Latin band after the 60’s.

Before the voices no one could believe “Got to Be Sure” is one Jethro Tull song, but again we must insist that this influence is not only a similar style of two bands that started in the same year and became simultaneously to Traffic Sound that sadly persists, with a quick acoustic guitar for a short but powerful track.

The album ends with a short piece, but lovely, played on piano called “Empty”, simple but perfect for calming the spirits after the frantic mix in sound, very classic.

other LPs

Download mp3s of TRAFFIC SOUND (Peru Rock Psycodelico)

1. Marabunda (Traffic Sound)

2. La Camita (Traffic Sound)