Lost links & Re-ups

On any post, if the link is no longer good, leave a comment if you want the music re-uploaded. As long as I still have the file, or the record, cd, or cassette to re-rip, I will gladly accommodate in a timely manner all such requests.

Slinging tuneage like some fried or otherwise soused short-order cook

30 September 2013


Well, Teacher…my computer ate my homework.

I had finished an entire write-up on the musick of Suriname over the weekend. When I went to post it up today, it was nowhere to be found. I used three of the top recovery programs to search deleted & lost files, to no avail. I just don’t have more time.

I had explained about the origins of kaseko music from slavery days in Suriname, about fast dancing, about Bigi Pokoe & Skratjie Pokoe (big drum music & Surinam tropical music). I had bios for most of the main artists on these four volumes.

Here’s what I have readily available.

 Various – Songs from Surinam Vol 1, Dureco 11-061992, 1996. 
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Tracklist –

Banana light - Trafassi
Adjossi - Max Nijman
Sranang njang - Johnny Miranda
Jimmy's lazarus - Sonora Paramarera
Oeng egi passie - The Twinkle Stars
Wis draai baka - George Scheermaker
Loekoe na'i fesi - Caribbean Harmonites Steelband
No friteri lee - Alberto Gemerts
Ole Ole - The Tropics
Bromtji foe mi djari – The Happy Boys
Jerusalem - The Twinkle Stars
Sranang gron tron gotie noja - Vrolijke Surinaamse Jeugd
Paramaribo - The Stan Lokhin Band
Badjie number 3 - Billy Jones & The Twinkle Stars
Djie ding sranangman - Sonora Paramarera
Gado bles' sranan kondre - Anne-Marie Hunsel
Surinaams volkslied - The Twinkle Stars

On the rest you’ll have to get the tracklist from the CD back.

 Various – Songs from Surinam Vol 2, Dureco 11-062002, 1996. 

Various – Songs from Surinam Vol 3, Dureco 11-063102, 1997. 
Various – Songs from Surinam Vol 4, Dureco 11-064322, 1998.  


29 September 2013

French Guiana

Henri Salvador was born in 1917 in Cayenne, French Guiana. He studied music in Paris & played with Django Reinhardt on one occasion. He started playing guitar seriously in Paris in 1935. When he returned to South America, he lived for a while in Brazil. His stay in the interior of Brazil is evident in much of his music. His sound is a perfect combination of Parisian cabaret, Brazilian bossa nova, & French Antillean influences.

This particular album shows his range of influences very well. His soothing vocals infuse an ambience of sensuous silk & soft tropical breezes. He also displays his great sense of humor in his lyrics, for which he is renowned. The instrumental accompaniment throughout the album is very much muted but exceptional in its evocation of the ambience that his voice creates. The duet with Francoise Hardy on "Le Fou de la Reine" is a fine example of the greatness & adaptability of both artists. The album won the Victoire de la Musique award in France for the year 2000. A highly recommended introduction to this prolific artist.

On Room With a View, the musicians are: Henri Salvador – vocals; Dominique Cravic & Thomas Dutronc (track 11) – guitars; Bernard Arcadio – piano; Laurent Vernerey & Vincent Artaud (track 13) – bass; Michelino Silvano – percussion; & Regis Ceccarelli – drums with Hervé Meschinet – flute; Denis Leloup – trombone; Eric Lelann, Nicolas Folmer, & Patrick Artero - trumpet; Daniele Scannapieco & André Village – saxophones; Florin Nicolescu – violin; Toots Thielemans – harmonica; & Lisa Ekdahl & Francoise Hardy on vocal duets.

 Henri Salvador - RoomWith a View, Blue Note CD 36710, 2002. 
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Tracklist –

Jazz Silver Moonlight
Room With a View
J'ai Vu
All I Really Want is Love
La Muraille de Chine
Il Fait Dimanche
Un Tour de Manege
Je Sais Que tu Sais
Faire des Ronds dans L'Eau
Le Fou de la Reine (with Francoise Hardy)


28 September 2013


Finally, some distaff musicians.

Elza da Conceição Soares was born in a Rio de Janeiro favela (slum) in the 1930s. Since the 1950s she has been a renowned samba singer. The samba has been danced in Brazil since its inception in the late 19th century. A variation of samba became popular in the mid 1940s, called Samba de Gafieira. It derived its name from the gafieira, popular urban nightclubs of Rio de Janeiro at that time. By the 50s, samba de gafieira had Rio & the rest of Brazil under its hypnotic spell.

Elza's transformation began when she was about 16. She won a radio talent contest. The shows celebrated host, the samba composer Ary Barroso, looked at her borrowed dress & muddy shoes, then asked: “My dear, which planet did you come from?” The feisty teenager replied, “From the same planet as you, sir. Planet hunger.” Then she proceeded to win the winning song, a popular favela hit called “Lama” (Mud).
In those days, radio talent shows were a direct route to singing with the famous dance bands. Elza performed in swanky clubs & hotels, but sometimes hidden, sometimes seated, sometimes not even allowed to sing at all because she was black instead of Portuguese. Her success lay (& still lies) with her infectious presence & versatile voice, a husky croon which transmutes into seductive girlishness. Her powers of mimicry enabled her to follow the musical stylings of the day, but samba is her true music.

In 1962, on the night Brazil won the football World Cup, the singer met the young black footballer, Manuel Garrincha, a huge star at the time. It was instant passion. The relationship unleashed a tabloid feast of photographs of the starry couple, but Garrincha was married with 10 children. Elza was a black nightclub singer, a single parent. She was labeled the villain. Their affair survived several volatile years: their son was later killed in a car crash; Elza was regularly crucified by the press; & Manuel succumbed to alcohol. She was left broken-hearted. Soares is reluctant to discuss Garrincha, though she says poignantly, “He gave me my first Billie Holiday album.”

The break-up traumatized her, but she fought on. In the early 1970s, at the height of the military dictatorship, she sang “Opiniao” (Opinion), railing against the military repression. She was arrested at home without explanation: “Soldiers came to my house with machine guns, & put my children on to the streets,” she says. She was forced to flee to Rome for a time.

By the 1990s, Soares was reduced to the charrascarias  (barbecued meat restaurants) circuit. Then in 1999, BCA invited her to London to perform in "Since Samba has been Samba", a reunion of leading musicians from the revolutionary 1970s. The retro disco-samba-queen's cabaret style seemed incongruous, but the Brazilians hailed her as a queen. In 2000 Elza Soares was nominated to represent Brazil in Radio 3's "World Milliennium Singers" program.

 Elza Soares - Se Acaso Você Chegasse, Odeon BR-XLD 10.453-.454, 1960.
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Side 10.453 –
Se Acaso Você Chegasse
Casa de Turfista / Cavalo de Pau
Mulata Assanhada
Era Bom
Samba em Copa
Dedo Duro

Side 10.454 –
Teleco-Teco #2
Sal e Pimenta
Cartão de Vista
Nêgo Tu...Nêgo Vós...Nêgo Você...
Não Quero Mais


Silvia Maria Peixoto Vieira (born September 16, 1951 in Mariana, Minas Gerais, Brazil - died June 25, 2008 from complications from breast cancer) was better known as Silvinha or Sylvinha Araújo. She was a great Brazilian singer & songwriter. She has been called the Janis Joplin of Brazil.

Silvinha began singing folk songs arranged by her mother who was a music teacher in São João del Rei. She was performing on radio & at cultural programs by 1963. Along with the folk songs she sang, her repertoire now included music of the Beatles & famed Italian songbird Rita Pavone, as well as other artists that she liked. In 1965 she was invited by Aldair Pinto to move to Belo Horizonte to act on a television program just for women. Two years later to she moved to Rio de Janeiro to be a member of the singing cast of the populat TV program Do Chacrinha. She was then hired by TV Excelsior São Paulo & sang for some time on Dos Incríveis, then moved to the TV show of singer Eduardo Araujo called O Bom. Silvinha & Eduardo were subsequently married & were together until her death in 2008.

In 1967 she recorded for the first time, a single containing the songs “Vou Botar pra Quebrar” & “Feitiço de Broto” (both by Carlos Imperial) on the Odeon imprint. The following year she toured with the musical Da Rhodia, singing in Fenit, in São Paulo, & at the Copacabana Palace Hotel in Rio de Janeiro. When the tour ended, she was hired by TV Tupi to rejoin the program Dos Incríveis, but six months later she left television to more fully pursue her recording career.

She recorded three LPs for Odeon in the years 1968, 1969, & 1971.

Silvinha was an integral part of the Música Popular Brasileira & Jovem Guarda movements in Brazil in the late 60s & early 70s. MPB is a trend in post-bossa nova urban popular music. It is a combination of original songwriting & updated versions of traditional Brazilian urban music styles like samba & samba-canção with contemporary influences, like folk, rock, pop, & jazz. MPB debuted in the mid-1960s. MPB artists & their audiences were largely connected to the intellectual & student population, causing later MPB to be known as ‘university music’. Like the bossa nova, MPB was an attempt to produce a national Brazilian music that drew from traditional styles. MPB made a considerable impact in the 1960s, thanks largely to several televised music festivals & prorams, particularly Jovem Guarda.

Jovem Guarda (young guard) was a Brazilian musical television show first aired by Rede Record in 1965, though the term soon expanded so as to designate the entire movement & style surrounding it. The members of the program were singers who had been influenced by the American rock n' roll of the late 1950s & British Invasion bands of the 1960s, though the music often became softer, more naïve versions with light, romantic lyrics aimed at teenagers. For a long time, the program was the leader of the audience ‘youth Sunday afternoons’.

Both MPB & Jovem Guarda borrowed elements from other styles of music, of the bossa nova & samba for MPB, of rock’n’roll for Jovem Guarda, & both relied on thinly-veiled criticism of social injustice & governmental repression, often based on progressive opposition to the political scene characterized by military dictatorship, concentration of land ownership, & imperialism.

 Silvinha Araujo – Silvinha 1971, Odeon MOFB 3693, 1971.

Lado A –
Você já Morreu e se Esqueceu de Deitar..
O que Fazer pra te Esquecer ..
Estou Pedindo Baby..,
Deixa o Cinza deste Inverno Passar..
Pra Toda Geração ..

Lado B –
Risque ..
Seu Amor Ainda é Tudo pra Mim…
Leve a Vida..
Nossos Filhos Serão pais ..
É Minha Opinião


Let me say right from the outset, Satanique Samba Trio is not a trio. The are a quintet or occasionally a sextet, but they are definitely Satanique. The Trio are: RC Ballerini – guitar; Munhabass; Hideki – cavaquinho; Flávio Rubens – clarinet; & Lupa – drums. The quintet is tentatively a sextet with the presence of guest musician George Lacerda – percussion. They are all classical musicians from the University of Brasilia (UNB).

Iconoclasts in their native Brazil, Satanique Samba Trio play everything from no-wave punk to Tropicalia’s 60s psyche-freak-out (hence why their first album is called Misantropicalia). They take traditional Brazilian music forms & turn them on their head in an avant-garde assault that has ambient filmic qualities one minute but sounds like the theme to an insane Warner Brothers cartoon the next. Definitely one for those who like to wander off the beaten track.


Canção para Atrair Má Sorte Ato I (Song for Attracting Bad Luck Act I)
Deus Odeia Samba Rock (God Hates Samba-Rock)
Song for Attracting Bad Luck (Act II)
Gafieira Bad Vibe
Song for Attracting Bad Luck (Act III)
Tropical Themes for Master Lucifer
Tropical Themes for Master Lucifer
Tropical Themes for Master Lucifer
Tropical Themes for Master Lucifer
Tropical Themes for Master Lucifer
Tropical Themes for Master Lucifer
Song for Attracting Bad Luck (Act IV)
Dança das Quiumbas (Dance of Quiumbas)

The Satanic reference in the name should not be taken lightly, puny X-tians. The Trio’s sound is very disjointed & aggravated, boiled down to punk-length samba extrapolations with lots of spiky electric guitar & amphetamine quick cuts. From the cut & paste textures, Zorn/Zappa aspirations, & horn arrangements that look back to Ornette Colemanesque freedom jazz of the 60s& 70s emerges a spectacular ensemble sound. Effects, especially on the bass sounds, are essential to what’s happening. Their release Sangrou cuts through any preconceptions of easygoing samba like a chainsaw through flesh.

This is Macumba-oriented, psycho-samba, avant-jazzy music from some truly twisted Mofos.

Tracklist –

Os Sininhos Dizem Morte
Kit de Amputação Asasulista)
Estilo Ricky Ramirez
Auto-Retrato em Tripas de Cachorro face 1
Chuva de Sangue em Exu, PE
Salsa em Carne Viva
Comendo Faca
Todos os Santos na Grelha
A Alma Boca Afora 
Morre, Brasília!
Auto-Retrato em Tripas de Cachorro (face 2) 
Salve Satã e Ponto Final
Canção para Atrair Ma Sorte (ato VI)
Peça para Pó, pele e osso em Dez por Oito



27 September 2013


Los Ampex was a band from Bogota, Colombia. They were only together two years, from 1965 – 67. They formed when The Goldfingers broke up. They were one of the most popular bands of that era along with Los Yetis & The Young Beats . Los Ampex were: Oscar Lasprilla – vocals & guitar; Jaime Rodriguez – vocals & rhythm guitar, Yamel Uribe – vocals & bass; & Oscar Ceballos – drums. The group dissolved when Ceballos & Rodriguez grew disillusioned with the Bogata scene.

After the dissolution of Los Ampex, Oscar Lasprilla & Yamel Uribe teamed up with drummer Roberto Fiorilli, an Italian ex-pat living in Bogota, & singer / rhythm guitarist Fernando Córdoba who had both been in The Young Beats. They formed the band The Time Machine. The Time Machine was one of the forerunners in the Colombian progressive rock scene. They held court during their short existence at the famed disco La Bomba, where members of other bands would come to listen. They played covers of songs by Cream, The Yardbirds, Paul Butterfield, & The Electric Flag.

Los Ampex released four albums in their two year run. This is their second, & I believe, finest work.

 Los Ampex - Colección Infierno a Go-go, Studio 15 E-15-6, 1966.
decryption codes in comments 

Lado A –
Bulle Bulle
El Melenudo
I Feel Fine
Atlantic (instrumental)
Niña Bu

Lado B –
Por Qué
Perro Lanudo
Hippy Shake
Fiesta en Laguna
She’s a Woman

The Time Machine only recorded an one EP, Blow Up, in 1967 for Disco 15. The title was taken from the film of the same name by Michelangelo Antonioni. It featured covers of “The Train Keep Rolling” by The Yardbirds, “Just Like a Woman” by Bob Dylan, “Fire” from Jimi Hendrix, & “Our Love is Driftin' by Paul Butterfield Blues Band.

  The Time Machine - Blow Up EP, Disco 15 LPT24-002, 1967.

Lado A –
Just like a Woman

Lado B –
Our Love is Driftin’
The Train Kept a Rolling


In 1966, a certain go-go fever took over Medellín, Colombia. The name of the virus: Los Yetis. The city, one of the most conservative in Colombia, started to feel the shakes in its foundations as thousands of teenagers danced to the new sound, willing to distance themselves from the tango & bolero favored by their parents. To achieve this, what better than the go-go spirit embodied by a fury & abominable snowman?

Los Yetis represent a very special case within the 60s rock scene in Colombia: teenage pop idols associated with Nadaism (a Colombian intellectual movement from the late 50s instigated by author Gonzalo Arango Arias). They are the only commercially successful band based outside the capital city, Bogota. They have managed to remain in the musical mind of the nation.

Los Yetis began as a vocal trio in 1965. It was started by singer & guitarist Juan Nicolás Estela & the López brothers Juan Guillermo ‘Juancho’ López - vocals, tambourine, & harmonica & Ivan Dario – vocals & rhythm guitar. After only a few weeks, with a repertoire of only three songs, The Yetis were asked to perform with Mexican singer Enrique Guzman, one of their idols.

In February 66, they were invited by the record label Discos Fuentes, to appear on a compilation 14 Impactos! Juveniles (14 Youth Hits!) FLP 0322. They contributed their three songs: “Conocerte Mejor”; “Sabes Cuanto te Quiero”; & “En una Isla Maravillosa”. The album was so successful that Discos Fuentes proposes recording the bands first LP, simply called Los Yetis, released in June 1966. A strange thing about this album is that Los Yetis, being a vocal trio, the boys didn’t really have a band per se & needed a back-up band. Since they could only do the vocals, Disco Fuentes brought Los Ampex in from Bogota. They are responsible for playing the instruments here.

  Los Yetis – Los Yetis Vol. I, Disco Fuentes 200347, 1966.

Lado A –
Llegaron los Peluqeros (Get the Hairdressers by Gonzalo Arango)
El Surf del Perro
Mi Primer Juguete
Wooly Bully

Lado B –
Amor Sideral
La Bamba
Alcanzame si Puedes

The trio realized that they needed to fill out the band with bass & drums. They hooked up with Norman Smith on bass & Hernan Pabón on drums. The only other change came about in 1968, a year before they broke up, when founding member Ivan López left & was replaced by José Ignacio Durán as rhythm guitarist.

With the new full band line-up, they released a string of albums: 1967s Colombia a Go-go Disco Fuentes ECO 686 & Los Yetis Vol. 2 Disco Fuentes LP 300374; 1968s Olvidate Disco Fuentes LP 200416 & this EP in 1969. With their new rhythm guitarist they released new versions of five of the songs from their first released, playing the songs that were played originally by Los Ampex.

Los Yetis – Los Yetis EP, Serie Especial J 006-20.075, 1969.

Lado A –
Llegaron los Peluqueros
Alcanzame si Puedes

Lado B –
Amor Sideral
Los Yetis

In 2009, Munster Records released a twenty-one song collection of Los Yetis tunes on 2XLP & double CD. Munster Records is an independent Spanish label created in the 1980s. In the last decade its main focus has been reissues of punk, garage, rock, & other similar genres or subgenres. This compilation is the wildest moments from one of the best sixties garage-pop band from Colombia. Twenty-one Nadaist (revolutionary pre-punk movement) tracks about war, revolution, &, of course, girls. Both formats include previously unseen band photos and extensive notes.

 Los Yetis - ¡Nadaismo a Go-go 2xLP, Munster Records MR 289, 2009.

Lado A –
El Tito / Mi Primer Juguete
Yo Grito
Mr Shoemaker

Lado B –
Llegó El Desorden
Ya No Te Aguanto Más
Pedimos La Paz

Lado C –
Me Siento Loco
Mary Mary
Sabes Cuánto Te Quiero
No Me Digas Adiós
Te Espero En La Guerra

Lado D –
Llegaron Los Peluqueros
Flying High
Amor Sideral
La Tierra De Las Mil Danzas
Tres Grados Bajo Cero
Soy Un Hombre


25 September 2013


From one of Earth's highest-located capital cities, Quito, Ecuador, nearly 10,000 feet above sea level, comes axe-master & 6-string wizard Hittar Cuesta, with an extremely virtuosic, technical display of guitar fireworks & a strongly melodic brand of progressive-metal.

Hittar Cuesta, born Hitler Cuesta, moved to Cuenca, ‘the Athens of Ecuador’, at the age of 19, to teach guitar-playing. Since that move, the guitar-slinging master started a most successful music career. He first played with rock-pop group Crucks en Karnak. While with them he had to keep his love for true virtuosic metal on the side. With Crucks he achieved commercial success, but artistically he still had to restrain himself due to the limitations of the genre.

He changed his name to Hittar (like guitar), leaving his ill-chosen birth name in the past, & quit Crucks, which by the time was Ecuador's biggest commercial act. He joined the metal band Falk, but that only lasted a short time. He decided to pursue a solo career, where he would be free to explore the different, intriguing corners of his musical mind.

Although Cuesta was already recognized as one of Ecuador's greatest guitar players before going solo, after the release of his first full-length, El Lenguaje de los Espiritus (The Language of the Spirits) in 2000, Hittar Cuesta was critically acclaimed as Ecuador's superior master of the guitar. It is his only solo release so far, as he has since gone back to teaching guitar full time.

 Hittar Cuesta - El Lenguaje de los Espiritus, Progressive Arts Music, 2000. 
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Tracklist –

Aves de Acero
Danza de Almas
Oculta Dama
Lidian para Satriani
Cazador de Vidas
Extraño  Visitante
Viajando a lo Desconocido


Anónimos is a punk band that was formed in late 1999 by three friends, Speed Rocker Anónimo – guitar, Fonsy Anónimo – vocals & bass, & William Anónimo – drums. William soon left & was replaced by Joey Anónimo. The band's style is influenced by 50s rock ala Elvis, Jerry Lee Lewis, & Richie Valens as well as classic punk of the Ramones, Sex Pistols, Misfits, & the Clash.

In late 2000 they recorded their first demo Volver al Rock n Roll with Joey on drums. Johnny Anónimo, who played with Enemigo Público, was added as bassist in 2003, making the band now a four-piece with Fonsy concentrating solely on vocals. They recorded their first album, the 15 song Días de Diversión. Shortly after its release, Joey & Johnny left the band & Eric joins as drummer. Once again Fonsy plays bass & sings. The band is again a trio as in their earlier days. In 2007 they recorded Soy un Cadaver.

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Tracklist –

Soy un Cadaver
Muere Muere mi Amor
Dr. Rock
Chico Bueno
Bailando con la Muerte
En la Playa
Quiero estar Cerca Tuyo
No me Importa
Inyectame Rock & Roll
Oh bien Viernes
Un Poco Mas
Fuego en los Motores


24 September 2013


Formed in 1967 by members of bands from Lima, Peru such as Los Hang Tens & Los Mads & other musicians, Traffic Sound started as a covers band playing songs by The Doors, Cream, & Jimi Hendrix. Their influences came from England & the US. Apart from some bossa nova played at rehearsals, latin music didn’t really feature in their repertoire. However, their origin & background could still be heard in their sound. After Santana’s success they more fully embraced their native sounds which led them to albums such as Virgin, Traffic Sound, & Lux which are masterpieces of latin rock. They combined psychedelia, hard rock, a hint of progressive rock & a latin tinge to create a personal, mighty sound. They called it quits in 1972 but several releases have come out since then, compilations & Greatest Hits.

Traffic Sound consisted of: Manuel Sanguinetti – vocals; Willy ‘Wilito’ Barclay - lead guitar;  Freddy Rizo-Patrón  - rhythm guitar; Jean Pierre Magnet – sax; Willy Thorne – bass; & Luis ‘Lucho’ Nevares - drums. Freddy & Manuel had met in school & played in Los Hang Tens. Freddy & his older brother Jose originally thought of founding Traffic Sound. The name came from a traffic light, a souvenir of a wild night partying in Lima, that hung in the attic of the Rizo-Patróns house where the band held their practices.

After a year of continued rehearsals & playing private parties they tried their luck at Peruvian psychedelic emporium The Tiffany with great success. They soon recorded their first album, the EP A Bailar GoGo in 1968 for the MAG label. It contained cover versions of songs by The Doors, Cream, Jimi Hendrix, Iron Butterfly, & The Animals.

In their subsequent albums they included their own music with a fusion of Andean & Afro-Latin sounds. Their second album Virgin in 1969 contained all original material. This album catapulted them to fame. It contains the phenomenal Peruvian pyschedelia song "Meshkalina".

Traffic Sound - A Bailar GoGo EP, MAG LPN-2354, 1968. 
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Lado A –

I’m So Glad
You Got Me Floating

Lado B –

Sky Pilot

 Traffic Sound – Virgin, MAG LPN 2382, 1969.

Tomorrow Side -

Tell the World I’m Alive
Yellow Sea Days
a – March 7th
b – March 8th
c – March 9th

Today Side –

Jews Caboose
A Place in Time Call “You & Me”
Last Song parts I & II

Traffic Sound - Yellow SeaYears (Peruvian Psych-Rock-Soul 1968-71) 2xLP, 
Vampi Soul VAMPI 061, 2004.

Side A –
El Gusano (Alice in Wormland)
La Camita
You Got to Be Sure

Side B –
White Deal / Poco / Big Deal
Chicama Way
Those Days have Gone

Side C –
A Beautiful Day

Side D –
Yesterday’s Game
Sky Pilot
What You Need & What You Want
Tibet’s Suzettes (You Can’t Appreciate a Gift from God)
Inca Snow
other releases:

Traffic Sound, a.k.a. III, a.k.a. Tibet's Suzettes (1971)
Lux (1971)
Greatest Hits (1998)


Telegraph Avenue formed in 1970 after lead guitarist Bo Ichikawa returned to Peru after having stayed half a year in San Francisco where he had been exposed to the vivid local hippie rock culture. On his return he assembled all kinds of American influences, in a very convincing powerful way, with songs in English, but with ideas for arrangements which were more typical for the best Peruvian bands from those days.

The full arrangements are incredibly contrasting. There are two percussionists in the band. The first percussionist is Walo Carrilo - drums, percussion, maracas, & tambourine. Before being in Telegraph Avenue  Carrilo had been a bandleader from Los Holy’s. The additional percussionist is Chachi Lujan – bongos as well as playing acoustic guitar & piano. The final member is Alex Nathanson – bass, who also played acoustic guitar, clavichord, & piano. The styles of the songs are very varied, having a blues/rock, California feel with added influences of soul/rock & 60s styles. The psychedelic element here is rather unique.

 Telegraph Avenue – Telegraph Avenue s/t, MAG LPN 2404, 1971. 
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Lado A –

Something Going
Sweet Whatever

Lado B –

Let Me Start
Sometimes in Winter
Telegraph Avenue


Dolores Delirio is a Peruvian rock band formed in 1994 by vocalist Ricardo Brenneisen, guitarist Jeffrey Parra, bassist/keyboardist Jose Inoñan, & drummer/lyricist Josué Vásquez. In the years since their formation their sound has evolved from 1980s darkwave to gothic rock to hard rock. Now days they play kinda straight forward rock.

This is their first album Cero. It was released by Navaja Producciones in 1995 as a cassette only. The ten songs were recorded at El Techo Studios in Lima. In order to save time & money, Vásquez did not record his drums live. They were sequenced with a drum machine. This album contains the first versions of Vásquez's "A Cualquier Lugar" & Brenneisen's "Carmen", two songs now considered classics for the band. Cero has been listed by many critics as the best Peruvian rock album of the 1990s with its superb mixture of post-punk & rock en español. A compact disc version was released in 1996 with three bonus tracks.

  Dolores Delirio – Cero cassette, Navaja Producciones NAV CS 00001, 1995.
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Side A –

¿No Ves el Sol
Paisaje Azul
A Cualquier Lugar
Carmen (el Dolor)

Side B –

Viento Satelite