Various - Demoler! Demoler! Demoler!: The Story of Rebeca Llave and Disperu, Home to Los Saicos

It’s time to cross the equator once again and continue to explore a panorama of Peruvian sounds. This is a land where music seems to permeate and swirl in the semi-tropical air. When it comes to hearing Peruvian music, this century has been a high-tide for both domestic and international listeners. The magnetic pull of Peruvian music continues with each Munster and Vampisoul reissue.  Munster’s latest is a compilation focusing on the Disperú label, which was the “first independent record label in Peru and South America that was founded and run by a woman.”

Owned & Operated

Rebeca Llave single-handedly established and ran Disperú, while simultaneously working for the Peruvian record company Dispesa. The Peruvian music industry was going through major changes in the wake of the Beatles. At that time, young rock ‘n’ roll combos were looking for recording opportunities only to be turned away by the old guard who owned and operated Peru’s established labels. On her own time and initiative, Llave covered the requisite recording, accounting, and design along with the other countless duties required to run a successful record company. She even designed the Disperú logo and the label’s red & white colorways are the colors of Peru. In short, she made it happen for many from 1963 to 1968.

Count Five – "Psychotic Reaction" on Disperú 

Llave created a conducive and encouraging atmosphere that matched the energy and enthusiasm of the young bands that were emerging in the mid-‘60s. Disperú became the go-to label for the bands from the neighborhoods and districts of Lima with dreams of recording. Not only did the label feature local Lima acts, but she also had the foresight to sign bands from inland Peru and outside the Peruvian borders. Overall, she acted as a conduit for disseminating the vibrant new sounds that were part of the groundswell that surged through South America during the ‘60s.

Sound Spectrum Disperú is most known for being the home label of Los Saicos, however the label spanned a large range of musical styles. The variety of sounds featured on Disperú could also be attributed to Llave’s diverse sensibilities, which shine through, while also reflecting the stylistic diversity and musical overlapping that has always been characteristic of Peruvian music. 

Rebeca Llave

Vernacular Vanguard The label did indeed showcase the jazz, lounge, pop, beat, cumbia, boogaloo and soul sounds that were flourishing and converging along the coast and in the capital city of Lima. Disperú also made forays into Andean music and astutely recorded Peruvian traditional and folkloric music from El Indio Mayta and Los Grauinos. These ventures expanded the label’s audience beyond Lima as well as providing the label a unique inland Peruvian flavor. Llave, who was only a teen, struck a fine balance between professionalism and enthusiasm as she opened the doors and gave opportunities to many musicians regardless of her own musical taste. The stylistic diversity and Llave’s commendable management approach are what makes the label special today.

The World Famous Los Saicos

The Big Bang The record begins with the label’s big bang “Demolición” by Los Saicos before barely ceding to Jean Paul El Troglodita (The Caveman) and his serviceable cover of “Secret Agent Man.” Next up is “Pobre Adán,” which is a perfect little 2 minute early ‘60s gem with a nice hop by Gloria Travesi y sus Hijos Cantan.  Little is known at this time about this singer and the singing children.

“Vuelve A Mi Barquita” by Los 4 Brillantes reminds me of the American Four featuring Arthur Lee with its floor moving R&B soul. They also affix the “Boys” outro lifted from the Shirelles and the Beatles that is perfectly fitting for a Beatles-inspired quartet with a female lead singer. By the way, Los 4 Brillantes were actually Uruguayan. Like Los Shakers, the combo started in Montevideo, Uruguay, but had an entirely different experience in their efforts to cross over to neighboring Argentina and its capital city Buenos Aires.  Los Shakers received their greatest acclaim and largest audiences in Argentina, while Los 4 Brillantes in contrast were met with resistance in Buenos Aires for not being Argentine.

Los 4 Brillantes – Shaker Latino

Beat Bonanza Los 4 Brillantes continued undeterred and eventually found their first breakthrough success via a television appearance in Peru. They were subsequently signed by Llave and her fledgling Disperú label. Sales of their debut album resulted in a windfall that allowed Llave to buy a green fastback Mustang that appeared on a cover of the debut album by Jean Paul El Troglodita.  

El Troglodita in Llave's Fastback Mustang

Featuring the lead vocals of Ivonne Amorin, Los 4 Brillantes’ sound on songs like “Dame Proto La Oportunidad” is somewhere in the vicinity between the Beatles and the Seekers with a touch of the Honeycombs. They incorporated some total Beatles moves with a twist. Instead of a harmonica as heard in those early Beatles hits (e.g. “Please Please Me”) they prominently featured the melodica in many of their songs.

Notice the melodica held by the musican second from left

The Big Leagues The combo would later go on to Mexico where they were sponsored by the Max Factor cosmetic company and were picked up by the giant Discos CBS (aka Columbia Records). They even appeared on a CBS collection that featured the Byrds, Chad & Jeremy and several Mexican groups that recorded for the label. Later, they were poised to make it in America and even received some interest from the Latin-leaning A&M Records. Lead vocalist Ivonne Amorin would later release an adult contemporary solo album under the name Yvonne Maria. Presentando La Sublime was issued by Columbia in 1969. None of this would have been unlikely to happen if Rebeca Llave had not given them the initial opportunity to record in Peru.

1966 CBS-Mexico collection featuring Los 4 Brillantes,
the Byrds, and Chad Y Jeremy

Peruvian Home to the Count Five Next, Los Saicos’ “Te Amo” surprisingly appears on the comp sans vocals.  The mid-tempo instrumental reveals their versatility, while showcasing Francisco "Pancho" Guevara’s drumming. On a sidenote, some random, but totally aesthetically fitting singles from North America did appear on the label including the Count Five’s “Psychotic Reaction” and Señor Soul’s “Pata Pata.” One of label’s later singles was the topical “Don’t Cry Soldier” by Miami soul singer Edie Walker from 1968. Miami would later go on to have major significance in Llave’s life.  

Toño y Sus Sicodélicos-Mister Boogaloo

Jet-Set Latin Soul The comp hits its stride with the dynamic and bold Latin soul instrumentals from Toño y Sus Sicodélicos. Their explosive cumbias are layered with tropical, coastal and overseas influences. Their opening shot “Mr. Boogaloo” vibrantly blends the melodies of “La Bamba” and “Hang on Sloopy.” Toño Reyes was a Peruvian saxophonist who arranged 1968's Mister Boogaloo. Llave was highly conversant with what was going on in New York and Los Angeles due to her travels for Dispesa. Her jet-setting can be heard in the cross-pollinating of the music. In addition, the psychedelic cover art seems to foreshadow Tito Puente’s "The King” famously rendered by artist Charlie Rosario. While many of the songs were contributed by Mexican percussionist Leo Acosta, “Borinquen Bella” is a cover of the TNT Band, a Nuyorican outfit, who were part of “jala-jala” scene in New York. It's the only song besides “No Te Boté” on the album to feature vocals. “Es La Lluvia Que Cae” is a cover of Bob Lind’s “Remember the Rain” that translates well. They would include a vocal version on their next and last self-titled album that appeared in 1971.  In some odd way the melody reminds me of that Plain White T’s song that was so ubiquitous at one point. The punchy “Chin Chin" seems to possibly incorporate those  Ray Manzarek/Doors’ styled organ riffs that were already tinged with Latin undercurrents. There is also a joyous cover of the poptastic  "Las Hojas Secas," from the Mexican combo Los Zignos, The song was so popular that it was even covered by Peruvian rock groups such as Los Steivos and Los 007.

The Start of Saicomania Rebeca Llave caught the excitement and music that was in the air and helped Peruvian music reach new heights in the mid-60s While previously best known for signing and releasing the records of Los Saicos, now heard around the world in part because of the Saicomania 1964-1966 documentary released in 2011, other aspects of her vision are now emerging to the surface. Just the fact she gave the first opportunity to those beat punks and their musical impact is still being felt around the world are testaments to her foresight.

From Lima to the World

This compilation provides a wider and deeper view of the Peruvian music scene of the mid-sixties. Llave’s Disperú label straddled jazz, pop, boogaloo and soul and beat, while also encapsulating the distinctive, yet elusive Peruvian ethos in groups that were as resolute and determined as herself.  Most of all, Llave exemplified what became known as the independent or DIY spirit when she self-started and ran her own label which evolved into a vibrant hub for a variety of Peruvian and South American music. Overall, Llave was a catalyst at the epicenter of Peruvian music and she helped reshape her country’s sound, while also setting the stage for the next wave of groups like Los York’s and Los Destellos. At the end of the 60s, Llave closed down her label in order to take on the new challenge of moving to the United States to attend the University of Miami in Coral Gables, Florida where she studied English, art and photography. Thanks to the Madrid-based Vampisoul & Munster Records, the Disperú label is being rediscovered and the sounds can be heard not only in Peru and South America, but also far beyond and in many cases for the first time ever.

 Photo from El Comercio Perú