Jacket design by illustrator Kendra Ahimsa @ardneks
This is a rare case of a re-recording for the better. In October 2023, Fork in the Road was released only in Japan by Nippon Columbia on CD and Tuff Beats on vinyl. This album is a restored, refurbished and refreshed version of a recording that was originally released in 1998. Fork in Road also stands as an exception to the usual dire results of re-recording in that the contributors actually enhance and expand the sound as they are highly complementary collaborators. It also helps when you have someone so finely-attuned and conversant like Makoto Kubota (Les Rallizes Dénudés, Sunset Gang) as the producer. I have been hoping Light in the Attic would pick it up and release (or distribute) it in North America as their 2019 reissue of her 1972 debut album Misora was such a critical and commercial success for them. For a while, I thought Fork in the Road would remain only as a Japanese release and an expensive import as things appeared pretty quiet on this side of the Pacific. However, in early 2024, Sachiko's music came back to the international forefront as her song “Aoi Sakana” (Blue Fish) from the aforementioned Misora album was featured in the Wim Wenders film Perfect Days-joining Lou Reed, Maki Asakawa and Otis Redding on its soundtrack. Finally, in fall 2024, the Los Angeles-based Temporal Drift label made a very-limited vinyl pressing of Fork in the Road available through an special arrangement with Tuff Beats of Japan.
At age 76, Sachiko Kanenobu is an inspiration as she remains open to artistic idealism when it can easily all be given up in the name of convenience. She is also a model of continuous creativity along with being an adventurous musician. Her admirable daily regimen places a foundation under her that allows her to further pursue artistic goals. Earlier this year, she explained to The Sonoma-Index Tribune, partly what keeps her going: “Each day is precious to me. Each day is a new day. I pray every day. I stretch, exercise, eat healthy.” She is indeed an inspiration and her music on Fork in the Road reflects her expanded range of motion. Her healthy practices have also allowed her to start touring again (after the Covid hiatus) the expanse from Japan to the Eastern United States.
While Misora is unquestionably exceptional as a singular statement, Fork in the Road is also impressive as it’s open to a wider array of East-West musical influences combined with a sagacious voice that conveys years of life experience, but remains open to boldly proceeding by intuition. There is an overall forward slant to Kanenobu’s voice and ring to her guitar playing that expresses her resolute, but open-hearted and ultimately optimistic approach to music and life.
Highlights and Standouts
The album opens with とべたら本こ “Tobetara Honko.” It's actually the theme song to a 1972 NHK's children's drama with the title supposedly referring to a type of jump rope once popular with kids in Kanagawa. The Kinks cover “I Need You” delivers a kick with its requisite thick and bold treatment and Dylan-esque vocal delivery that is coiled with “We Love You” by the Rolling Stones and reinforced with the backing vocals of Steve Gunn. The shuffling title song “Fork is the Road” is another standout and is most reminiscent of Chrissie Hynde-if she went other way and left Ohio for Osaka instead of London all those years ago. The fidelity is high and the production is lush and absolutely fitting to the music full of psychedelic flourishes. 不思議なメロディー“Mysterious Melody” unfurls out the speakers with its see-through clarity and submerges the listener with its conflicted and churning verses and flowing choruses. The keyboards played by Carwyn Ellis of Rio 18 are simultaneously haunting and luxuriant.
Bold and Instinctual
Don’t overlook 連れていって海に “Take Me to the Sea.” Initially the rustic song reminded of Led Zeppelin III's acoustic textures, but it reveals itself in its own time and it could be considered one of the most Misora sounding songs of this album. The song is also a showcase for Ryu Kurosawa’s sitar playing. “Everyday Friday” is lovely and languid in a good Beachcomber's Buffet way, which is heard Fridays on WFMU from an island of Hawaii. “Woman in the Rain” has a cadence that might appeal to Bob Marley fans with lyrics that might attract Sonny & Cher or even Player or the Equals listeners with its mashed-up chorus calls of “Baby Don’t Go”/”Baby Come Back.”
Paul Williams (May 19, 1948 – March 27, 2013) & Sachiko Kanenobu
Sunsets and Daybreaks In this current world filled with distractions, conflict and strife, it’s good to have the sense of sanctuary made possible by Sachiko Kanenobu and her music. Her balanced approach shows it's possible to live a more artistic and peaceful way. Just being able to now hear her second album is pretty remarkable in its own right as her songs are highly evocative and full of feeling with her lively voice and inflections that remain singular. There have even been mentions of new music in the works according to this WFMU interview! Lastly, “Fork in the Road” is indicative of Sachiko’s brave embracement of elusive creativity along with being open to continual development as an artist, person and musician-regardless of age on earth. Her late and former partner Paul Williams would be proud of the commendable paths she has taken and continues to take.
There are really no other equivalents to these three albums brought to the world by Toshi Bando. Perhaps some private press albums recorded in Japan (e.g., Enough, Deep End, Memorial Art, Actors & Pilotis) and maybe recordings by the somewhat popular Japanese band Woodpecker could be the closest comparison points. Surprisingly, all three albums are included in theWonder Ground Record Guide -a Japanese reference work on Japanese private press records. What makes these albums sung in Japanese truly stand apart is that they were recorded by Japanese-Americans in Los Angeles during the late ‘70s, but with an overall out-of-time sound much closer to the ‘60s.
While the music is front and center, their backstory still remains pretty much a complete mystery. The quest to know more of the historical context and what lies behind the curtains are certainly impelling factors. These vast unknowns may heighten the allure and intrigue, but by and large the reality is always different from the imagined with attendant stories that frequently exceed expectations. It would be an honor to present the perspectives of the participants, but I try to proceed with caution as I wish to respect people's privacy in this current distraction culture where privacy and solitude are given little to no consideration. Sometimes the best (and only) approach may be to “Fly into the Mystery” like the great Modern Lovers song and just write your own perspectives in the larger and continual search for understanding.
Toshi Bando was the prime mover and unifying factor behind these three records under three different group names: Kisetsu-Fu, Flap and Silver Lake. Not only did he compose, play (guitar & blues harp), and sing on these albums, he also produced them as well. Each release featured rotating personnel and the musicians listed on Discogs apparently only ever appeared on these three albums. Meanwhile, I can only fathom which basements or garages in Monterey Park his bands practiced in. Maybe there were other rehearsal places in perhaps Alhambra or Eagle Rock that certainly shifted with the circumstances of the times and individual situations. On a similar note, I can only speculate where they played and what types of venues. Where were the performance stages in Monterey Park, San Gabriel, Little Tokyo or Gardena? Was there any type of Japanese-American music circuit in the late ‘70s? Did they perhaps venture into Madame Wong's in old Chinatown and open for Japanese new wave bands like the Plastics (who did play at Madame Wong's as briefly spotted in this PBS Artbound documentary). Many mysteries abound, but we can be certain that these once buried records can now be heard thanks to enthusiasts transferring their rare vinyl and uploading them to YouTube. The time has come to further explore the sounds of what could be best described as Transpacific folk-rock psych.
All three of Bando’s albums offer highly melodic original songs embodied with Japanese musical inflections and sensibilities. The music converges both Western and Eastern influences to express Bando’s singular vision along with a larger Nisei and Shōwa-era outlook. These most welcomed consistencies flow through all three of these albums that each have their own distinctive aspects. The common thread is these records sound way more ‘60s than the decade they were actually made in, while the music is refreshingly countervailing to the hegemonic arena rock that dominated America during the late ‘70s. To be more specific, Bando enhances his folk framework built upon the bedrock foundation of the Beatles with some well chosen ‘50s & ‘60s rock & pop and blues elements.
1977’s Kisetsu-Fu – Seasonal Wind=季節風 was released only four years after Yellow Pearl (which is considered one of the earliest Asian-American records along with Dakila’s 1972’s self-titled album released on Epic Records and sung in Tagalog). The illuminating record, with a stunning label design, is most indebted to the Beatles and their solo projects, while also reflecting attractive influences ranging from American golden oldies to Japanese campus folk and perhaps traces of Okinawan folk.
Seasonal Wind was recorded & mixed at Dirk Dalton Recording Studio A, in Santa Monica. 土佐の海 (“Sea of Tosa”) is possibly referring to the Tosa Province of Shikoku, which is the smallest of the four main islands of Japan. The song is delivered in John Lennon/George Harrison fashion and augmented with a Dylan-esque harmonica. A downcast enka-like song tinged with the blues and flute follows under the apt title 悲しい顔は似合わない (“Sad Face”) and is moody in a good way. そこを行くのは (“Hey is that You?”) rocks out in that Beatles mode when they were trying to go back to basics with “Back in the USSR.” Ken Miyoshi (who would later appear on the Silver Lake record) drives the saxophone before Toshi Bando soon merges on the musical freeway with harmonica playing that catches up to the saxophone-making this sound like a Fleshtones song. 雨が降る (“Rain”) provides more of that solo George Harrison sound filtered through a Japanese sensibility, while the minor keyed and impassioned plea of 福?草が咲いたら(“Pheasant's Eye”) recalls “Now or Never” from Approximately Infinite Universe by Yoko Ono.
Side two starts with yang energy. 君さえいれば (“As Long as You Are Here”) hits hard with its bluesy edges and evokes the Japanese GS (Group Sounds) bands when they started going heavy. Synthesizer and electric guitar player Yutaka Uda comes to the fore with some copious wah-wah. 春はもうすぐ (“Spring Will Come Soon”) is top-tier first-rate pop that takes off on a dash driven by a chanking rhythm guitar and Beatles-esque harmonica fills. Next, 秋は淋しい(“Lonely is the Autumn”) is a yearning campus folk number at its foundation, embellished with blues runs and topped with a lovely flute solo. There is a real Eiichi Ohtaki/Niagara slant to 砂に書いたイニシャル (“Initials Written in the Sand”)-a lovely ‘50s styled song complete with triplets that would sound perfect coming from Sony pocket transistor radio. The album closes with 誕生日 (“Birthday”) that has Bando channeling his inner-John Lennon and some subdued blues guitar playing before Ken Miyoshi adds the exclamation marks of xylophone and recorder.
Flap (1978) is a much more succinct and spartan affair presented with a much clearer production. In fact, the fidelity soars above the somewhat submerged sounding Seasonal Wind. On an interesting sidetrack, Flap was recorded at Ascot Recording Studios in Hollywood by Jim Rayton, which was where Instant Orange also recorded two of their EPs with the same engineer. (Instant Orange were an exceptional yet unsung folk-rock band from San Bernardino, California, who were influenced by the Byrds and Love!) The studio appears to still be active today in Burbank with Jim Rayton remaining at the helm. The group had truly come into its own to offer a truly distinctive sound on Flap (TBP-02).
The biggest difference is the inclusion of female vocals with the arrival of Kikuko Murakami who brought in an entirely new dimension to their sound. Murakami’s lead vocals are like the sun shining through the marine layer on their poppier songs and also lend a dreamy quality and otherworldly feel on the slower building numbers. From the limited information I could gather, her previous singing experience was with the Alhambra High School choir. She transitions well to the pop-rock idiom and proves competent singing in a variety of styles. The album starts strong and only gets better with its mostly sunny, bright and catchy melodic songs. Murakami’s vocals grace the lovely “Summer Day” that blends well with the ‘50s percolating guitar. From this number, it does sound like Bando was definitely familiar with the legendary Eiichi Ohtaki and Niagara (f)all stars. Yoko Ono and her greatest album Approximately Infinite Universe are evoked once again in the song “Letter” with its stark arrangement and strident tone. “We Can’t Go Back” brings the fuzz in a way that deserves to be heard by musician, author and Japanophile Julian Cope. The instrumental innovations of Eleki, Takeshi Terauchi and the Ventures also figure into their guitar tones and sounds. “Blue Sky” is a lovely strummy instrumental that seems to draw from the hushed third Velvet Underground album emerging from the Shadows.
Arriving like the first brisk winds of autumn, “Red Umbrella” is probably their poppiest number and falls somewhere along the folk-pop parade as the We Five, the Seekers, the Red Birds. “Love Song” showcases Murakami’s vocals before giving way to a “Pale Blue Eyes”-like epic guitar solo that lingers on like the sun setting over the Pacific. Coincidentally the album ends with a spiraling song titled “Sunset.” It’s an epic closer that reflects the indelible impact of “House of the Rising Sun” with intertwined guitars that crunch, bend and sting. Flap is my favorite of Bando’s three albums for the arrival of Murakami, the austere production and spare, but sweeping folk-pop-rock songs. Overall, it’s an attractive display of Bando’s ultra-melodic sensibilities with the ‘50s pop & rock and early ‘60s folk and instrumental elements coming to the fore.
Silver Lake-Affection (TBP-03)
The first aspect that jumps out is one of the most striking and intriguing color covers ever. Could it be emblematic of the band feeling displaced and marginalized in the transient culture of Los Angeles? Appropriately, the album was recorded at 302 Recording Studio, in the Silver Lake area of Los Angeles from February to December 1979 and released in 1980. Interspersed are atmospheric sounds (e.g., crashing thunder to start the album, seagulls & surf, winter winds) lending a mysterious undercurrent that there may be a seasonal concept and/or a thematic statement on the cycles of life coursing throught the record. The songs alternate between male and female vocals that would later be employed on Double Fantasy. The musician line-up is reconfigured (except for the vocalists and the drumming & keyboard work of Ken Miyoshi, who also contributed to the Kisetsu Fu album). The songs are presented with an overall thickened and murkier sound (in comparison to the sparkling clear production of Flap) with the vocals for the most part engulfed and subsumed by the music. Overall, the album casts a more solemn and melancholy tone than the two previous albums. “Mou Hikitomerarenai” is a vehicle for Kikuko Murakami with fuzz runs that rival the biker instrumentals of Davie Allan & the Arrows or the aforementioned Takeshi Terauchi. Songs like “Shashin” (Picture) are delivered with overall blusier hues and smokier tones that seemingly indicate that the group had moved on from coffee cafes and Obon festivals to cabarets and nightclubs. Murakami’s smoldering vocals lean more towards blues rocking Maki Asakawa than poppy Seiko Matsuda, while demonstrating her adeptness with singing in a variety of styles. On one of their rare duets “Dakedo Emily,” Bando and Murakami achieve a stirring vocal blend that commands attention. “Aoi Kaze” is an acoustic driven number with baroque acoustical runs that seem inspired by “Classical Gas.” The pronounced fuzz returns on the dashing “Owari Soshite” along with the appearance of trumpet. Jazzy chord changes, blues bends and heartfelt singing from Bando of “Kigatsukeba Itsumo Ashita” brings the album to a strong finish. Message in a C.C. Lemon Bottle
With their deep ‘60s influences and somewhat mysterious origins, these records live up to their private press designation, current reputation and stratospheric prices. Fittingly, Toshi Bando remains an enigmatic figure who remains busy with his gardening. It is fortunate that the records can be easily accessed on YouTube, as now more people can hear them than ever before. Still, many questions abound that could help fill in gaps. I would love to hear first-person primary accounts and recollections from any of the participants to clear up some major blind spots on the history of the groups and gain an overall better understanding of the context of the times. Keeping the mystery intact does heighten the allure, intrigue and perhaps the prices of these three obscure records, which were limited to begin with in their initial press runs.
Nonetheless, the music speaks for itself and close listening will reveal Bando’s attempts to reconcile and express both the melancholic and the glorious aspects of life as well as the chasms between. On a larger level, Bando was able to sonically connect the Far East with the Far West on these three groundbreaking records. The recordings do represent a significant achievement as Bando and the musicians helped usher in a new era of music for Los Angeles and Japanese-Americans. Whether Bando receives belated historical recognition is still to be determined, however he definitely made waves as these could even be considered the most remarkable Japanese-American records ever recorded between the mountains, freeways and the vast Pacific.
Beachwood Sparks have always been on their own trajectory, while also considering the past and future surrounding the elusive eternal now. They were quite the lightning strike in the late ‘90s. The Clarks Wallabees-wearing band were sure exciting to read about in zines like Vendetta during the late ‘90s as they were doing something radically different, but attuned to the times. Some of its members were also said to be DJs (and maybe college students) who played “Lemonade Rock” during the mid-mornings on Loyola Marymount’s KXLU. As with so many other past forward musical movements, Greg Shaw was ahead of the curve and was able to sign them to his Bomp label in 1998.
BAM Magazine-1999
Getting off the Ground
Their self-titled debut album delivered the (Southern Californian) goods, even if it and its Sub Pop imprimatur befuddled many reviewers outside of the Mountain West & the Pacific Coast. The band slighty drifted from their regional rustic canyon good vibrations with the more dense and experimental Once We Were Trees. They completely lost me by the late time of Make the Cowboy Robots Cry. Perhaps they wandered off the trail or reached an impasse on where to take the sound? Although they seemed like the perfect band to be signed next by Warner Records, heading into the direction of the Flaming Lips didn’t do it for me.
At this point, the members splintered off into different projects with varying degrees of success. Farmer Dave and Jimi Hey went on to form the band All Night Radio and released the spectacularly ambitious album Spirit Stereo Frequency. I was fortunate to be able to see them live at Solar Culture on a starlit November night in Tucson. Additionaly, the Tyde always seemed like the natural companion band of Beachwood Sparks until the besotted Darren 4. However, the Tyde has risen again to releaseSeason 5 this year, which could be their best album. Nonetheless, it’s the one that stands out the most for me with its successful attempt at evoking Florida's all-encompassing tropical (healing) vibes and Panama Jack-stylings.
Mountain, Ocean Sun
They cover some varied terrain on Across the River of Stars with each song emerging somewhat stylistically distinct upon multiple plays. Their albums have generally been front-loaded and this one is no exception. They actually excel at the mid-tempo, but fall somewhat flat when they slow things down as their laconic can becomes a bit lethargic.
Defining Moment
Occupying the fitting 4th song position in the lineup, “Gentle Samurai” is a should-be smash hit and perhaps the band’s most captivating song of their career. It’s an unifying statement stacked with harmonies, ‘60s bubblegum pop embellishments and ringing guitars. While still blazing their own trail, the song clearly cross paths with Teenage Fanclub (e.g. “Baby Lee,” "I Don't Want Control of You"), the Quarter After and the Resonars. “Gentle Samurai” is testament to their promise and delivery as a band and this is what I imagined them to sound like before hearing any of their official releases.
As with all their albums, there are some missteps like the incongruous shrill guitar tones of “Gem” and boring “Desert Center'' stretches found under “High Noon." Still, when they do connect they make the summer hits and rolling rock country like “Dophin Dance” for a now mostly vanished world. On a sidenote: When I lived in the Los Angeles area, I would see the Beachwood Drive exit sign along the 101 and imagine the band living in a house up the hill like the Grateful Dead with the Byrds (or Primal Scream) playing non-stop, while I was stuck in work-a-day traffic. Their parting shot, “Wild Swans” brings out a New Order/Peter Hook bass line. By the way, a New Order influence also surfaces on the Tyde’s “Use Them." Across the River of Stars may be a bit of a rough ride and it may be their Dr. Byrds & Mr. Hyde, but it’s who they are. However uneven, it’s encouraging to hear their further sonic explorations along the shifting edges that lead to the vast expanses of the West.
Recently, I was on the nearby Gila Indian Reservation and glanced out to the vast expanse of the desert and re-realized all its majestic glory and its stretch out to the sea. In a similar way, Desert Tales is able to encapsulate and evoke the expansive mystique of the desert and connect it to the coast with its churning surf and Middle Eastern instrumental sounds. The Scimitars achieve takeoff by negotiating these cross-currents and finding the tricky balance between surf music’s guitar-driven melodic song-orientation and the fluid and open-ended nature of Middle Eastern music.
Electric Bağlama/Saz
The key differentiator in their sound is the electric Bağlama Saz played by Ran Mosessco, who also composed and arranged all the songs. The songs display Mosessco’s versatility with a variety of instruments along with alluring pull of his songcraft. Jonpaul Balak’s bass forms the backbone of their sound and provides a thick low-end rumble, while the Darbuka hand drums and the Sarangi accent the mesmerizing and intricate fretboard framework.
The record was mastered by grunge-meister Jack Endino, but this particular stack of fierce and searing sounds lean more towards Link Wray than any Seattle sludge. The opener “Port Saiedy” arrives like a whirling helicopter with its pulsating percussion and blade-like guitars slicing the air. Seemingly inspired by Morricone, “Damascus Steel” melds the Middle Eastern to the Spaghetti Western with bass lines that go “8 Miles High.” As the song title indicates, “Marquis de Saz” prominently features the electric saz. A more resonant tone is instantly achieved with the switch to the Turkish national instrument. “Taverna” is a surging and striking Greek-inspired number that combines dashing hand drums and a serpentine melody. While their wide array of instruments are played mostly in a straight-ahead traditional manner, “Into the Catacombs” departs into a more experimental direction with its dissonance. Where will this adventurous group head next?
2023 single
Desert Tales covers the spectrum from immediately captivating numbers to more slow-burning atmospheric affairs. Further, the Scimitars achieve an all-encompassing sound that washes over listeners, while also transporting them from disenchantment to enchantment. With these overlapping sounds, the Scimitars have extended the range of surf music out to the lands of the shifting sands.
The Scimitars-David Berner (Guitar, Sarangi), Ran Mosessco (Electric Saz, Guitar) Jonpaul Balak (Bass) Pablo Baza (Drums) Rogelio Corcolis (Darbuka Hand Drums)
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 SoulThe 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 SaicomaniaRebeca Llavecaught 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.
