Hello,
Chicha or Peruvian cumbia is a subgenre of Cumbia that became popular in the coastal cities of Peru, mainly in Lima in the 1960s through the fusion of local versions of the original Colombian genre, traditional highland huayno, and rock music, particularly surf rock and psychedelic rock. The term Chicha is more frequently used for the pre-1990s variations of the subgenre. Unlike other styles of cumbia, the Chicha subgenre's harmonics are based on the pentatonic scale typical of Andean music. It is played with keyboards or synthesizers and up to three electric guitars that can play simultaneous melodies, an element derived from the harp and guitar lines of Andean huayno. The rhythmic electric guitar in chicha is played with upstrokes, following patterns derived from Peruvian coastal creole waltz. Chicha songs contain electric guitar solos, following the rock music tradition.. ......N'Joy
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Chicha started out in the 1960s in the oil-boom cities of the Peruvian Amazon. Loosely inspired by Colombian cumbia, it incorporated the distinctive pentatonic scales of Andean melodies, Cuban percussion, and the psychedelic sounds of surf guitars, wah-wah pedals and moog synthesizers. Chicha absorbed elements of the music of the Amazonian regions of Peru and the use of the Farfisa electric organ through Amazonian bands like Juaneco y Su Combo. Chicha, which is named after a corn-based liquor favored by the Incas, quickly spread to Lima. It became the music of choice of the mostly indigenous new migrant population. By the mid-1980s it had become the most widespread urban music in Peru.
The first Chicha hit, and the song from which the movement has taken its name, was "La Chichera" (The Chicha Seller) by Los Demonios del Mantaro (The Devils of Mantaro), who hailed from the central highlands of Junin. Band Los Destellos, formed in Lima en 1966, brought electric guitars to Chicha and consolidated its characteristic features by integrating in it elements of Peruvian Andean folklore, Peruvian creole waltz, Cuban music and rock music.
During the 1980s the Amerindian immigrants to coastal cities that nurtured the subgenre became working and middle class individuals and a market for Chicha commercial radio. The Pharaoh of Cumbia, Chacalon, became one of the most popular Chicha artists through his hit "Soy provinciano" (I am from the province) and vibrant concerts. Another famous band in the 1980s were Los Shapis, a provincial group established by their 1981 hit "El Aguajal" (The Swamp), a version of a traditional huayno.
The strong influence of Mexican tecnocumbia became evident on the evolution of Peruvian cumbia in the 1990s. Efforts by Argentina-based Grupo Néctar and others gave it regional recognition. Its decline during the late 1990s was followed by a revival that began in 2007, mainly thanks to the rising popularity of Tongo.
Lyrics
While most lyrics are about love in all its aspects, nearly all songs reveal an aspect of the harshness of the Amerindian experience - displacement, hardship, loneliness and exploitation. Many songs relate to the great majority of people who have to make a living selling their labour and goods in the unofficial "informal economy", ever threatened by the police. Current exposure of all social classes of Peru to Chicha as well as a renovation in lyrical content, to include expressions of animation have led to its revival.
Unlike traditional Cumbia from Colombia, Peruvian Chicha bands feature electric lead and rhythm guitars, electric bass, electric organ, electronic percussion and synthesizer. There are one or more vocalists who may simultaneously play percussion plus timbales and conga players. There are no accordions nor woodwinds.
Electric guitars make extensive use of the fuzzbox and the wah-wah pedal following the influence of psychedelic rock and surf rock in Chicha. The influence of Salsa has seen the recent inclusion of wind instruments in some Peruvian cumbia bands.
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For years, this genre was the biggest fuel of the Peruvian musical activity, by dint of its double penetration both in the rock bands and in the dancing venues. That explains the large number of interpreters, albums, singles, songs and -lastly- compiled that exist about it, the latter dedicated to cover with more or less chronological rigor that exciting decade that occurred in the country of Cubillas, Chumpitaz and Fujimori . Because if in the middle of the '60s the sensation over there had been the ephemeral and great Saicos, at the end of the same decade many other young people tried the same ayahuasca as Erwin Flores and company and, taking some of the most famous resources of garage rock that they practiced (especially the guitarist approach, with widespread distortion pedals and fuzz to rage) merged them with the well-known and popular chicha, the Peruvian cumbia, to form a new, novel, young, fresh and powerfully danceable style. Psychedelic cumbia we say now, almost 50 years later, to try to explain this phenomenon. But how did it all begin and how did it get to this day?
Legend has it that the first to incorporate the fuzz, the pedals and above all the idea that the electric guitar carried the baton - hence the subtitle of the compilation that we offer here - in the songs of clear instrumental cut of the new cumbia Peruvian was Enrique Delgado Montes, guitarist and composer of Los Destellos (included here with three of his best songs, in particular the brilliant "Guajira Sicodélica" that somehow gave the genre its name) and known as the godfather of this movement. A 45 rpm, "El Avispón" / "La Malvada", and the first album of the band, Los Destellos, surprised the quiet Peruvian musical scene with its combination of Andean sound, rock tilt and that sincere exploration of the huaynos and the chichas combined with the fury of electricity from the most classic garage. From there, there arose countless artists who, as the tradition indicates, represented their cities and joined this movement: the Oriental fundamentals and the no less interesting Atoms of Paramonga, Sanders de Ñaña, Los Wembler's de Iquitos, Los Demonios del Mántaro and Corocochay (and follow the signatures), all of them are represented in this recent compilation edited by the recommendable Spanish label Vampisound that helps to spread this exciting moment in the history of Latin American music with a perfection not reached since that fundamental The Roots Of Chicha, edited in 2007 by Barbès Records (also Spanish) and that brought to light what was, at least in Latin America, an open secret: that in the '60, in Peru, there had been a movement of very good artists who at the same time make you dance could be founded in the strictest psychedelic and garagera tradition and surprise you as perhaps no other folkloric expression Andean could do it. Listen if not to the wonderful, definitive Wembler's De Iquitos and his "Loving Whistle" -structured song, yes, from a whistle- or to the classic psychedelic cumbia "Mujer Hilandera" (song sung, and wonderfully, by Juaneco Y His Combo), or the "Lamento De Un Galax" of, precisely, The Galax and experience that particular mix of rock, psychedelia, cumbia, salsa and who knows how many other things.
VA - Cumbia Beat Vol. 1 , experimental guitar-driven tropical sounds from peru 1966-76 (flac 479mb)
1-01 Silvestre Montez Y Sus Guantanameros - El Avispón 2:32
1-02 Los Orientales De Paramonga - Lobos Al Escape 2:33
1-03 Los Destellos - Pasión Oriental 4:31
1-04 Grupo Celeste - Viento 3:43
1-05 Los Mirlos - Cabalgando Con Ella 3:11
1-06 Manzanita Y Su Conjunto - Arre Caballito 3:09
1-07 Los Mirlos - El Escape 2:49
1-08 Los Wembler's De Iquitos - Un Silbido Amoroso 2:35
1-09 Los Destellos - La Ardillita 2:44
1-10 Los Beltons - Cumbia Pop 2:51
1-11 Los Beta 5 - Beteando 3:39
1-12 Los Galax - Lamento De Un Galax 3:13
1-13 Aniceto Y Sus Fabulosos - Mi Gran Noche 2:55
2-14 Juaneco Y Su Combo - Mujer Hilandera 3:50
2-15 Los Sander's De Ñaña - El Tramboyito 2:34
2-16 Los Beta 5 - La Danza De La Tortuga 2:54
2-17 Los Destellos - Guajira Sicodélica 3:25
2-18 Los Orientales De Paramonga - Captura De Lobos 2:47
2-19 Los Diablos Rojos - Malambo 4:13
2-20 Los Átomos De Paramonga - El Trencito 3:14
2-21 Los Beta 5 - La Jorobita 3:50
2-22 Los Ecos - Aquí En La Fiesta (I Don't Want To Spoil The Party) 2:52
2-23 Los Demonios De Corocochay - La Chichera 2:56
2-24 Los Demonios Del Mantaro - Liliana 2:22
2-25 Los Mirlos - Lamento En La Selva 3:04
VA - Cumbia Beat Vol. 1 , experimental guitar-driven tropical sounds from peru 1966-76 (ogg 205mb )
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VA - Cumbia Beat, Vol. 2: Tropical Sounds from Peru 1966-1983 (flac 299b)
1-01 Manzanita - Mi Choza, Mi Chacra Y Mi Mujer 2:44
1-02 Los Orientales - El Dragon 2:28
1-03 Juaneco Y Su Combo - Ven A Bailar Con Juaneco 3:49
1-04 Los Ecos - Baila Flaquita Baila 3:06
1-05 Compay Quinto - La Rumba Del Chinito 2:42
1-06 Los Pecos - Cumbia Para Un Viejito 3:05
1-07 Los Titanes - Linda Yolita 2:52
1-08 Los Orientales De Paramonga -Sabor A Cana 2:23
1-09 Los 5 Palomillas - Illimana 2:28
1-10 Los Ecos - SOS...Peligro 4:11
1-11 Los Mirlos - El Milagro Verde 2:46
1-12 El Monje Loco - La Papita 2:36
1-13 Juaneco Y Su Combo - Recordando A Fachin 2:14
1-14 Los Girasoles - La Bocina 2:39
1-15 Los Casmeños - Chachita 2:45
1-16 Los Yungas - El Pitito 2:36
1-17 Grupo Celeste - Sin Exito 3:40
VA - Cumbia Beat Vol. 2-1 (ogg 147mb)
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VA - Cumbia Beat, Vol. 2: Tropical Sounds from Peru 1966-1983 2-2 (flac 290mb)
2-01 Juaneco Y Su Combo - Selva, Selva 2:26
2-02 Los Orientales De Paramonga - El Trapiche 2:21
2-03 Grupo Celeste - Melodia Celeste 3:03
2-04 Los Santos - Saturno 2000 2:59
2-05 Los Ilusionistas - Colegiala 3:33
2-06 Aniceto Y Sus Fabulosos - La Movedora 2:45
2-07 Los 5 Palomillas - El Chinchorrito 2:25
2-08 Los Mirlos - Llanto En La Selva 3:47
2-09 Los Beta 5 - Modulo Lunar 2:18
2-10 Jose Y Sus Antillanos - Melodia Antillana 2:35
2-11 Los Ecos - Linda Mariposa 3:32
2-12 Los Ilusionistas - Hola 3:20
2-13 Los Beta 5 - El Panadera 2:13
2-14 Los Demonios Del Mantaro - La Chichera 2:53
2-15 Los Demonios Del Mantaro - Peti Pan 2:33
2-16 Los Ecos - Chichita 3:59
VA - Cumbia Beat Vol. 2-2 (ogg 131mb)
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Chicha or Peruvian cumbia is a subgenre of Cumbia that became popular in the coastal cities of Peru, mainly in Lima in the 1960s through the fusion of local versions of the original Colombian genre, traditional highland huayno, and rock music, particularly surf rock and psychedelic rock. The term Chicha is more frequently used for the pre-1990s variations of the subgenre. Unlike other styles of cumbia, the Chicha subgenre's harmonics are based on the pentatonic scale typical of Andean music. It is played with keyboards or synthesizers and up to three electric guitars that can play simultaneous melodies, an element derived from the harp and guitar lines of Andean huayno. The rhythmic electric guitar in chicha is played with upstrokes, following patterns derived from Peruvian coastal creole waltz. Chicha songs contain electric guitar solos, following the rock music tradition.. ......N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Chicha started out in the 1960s in the oil-boom cities of the Peruvian Amazon. Loosely inspired by Colombian cumbia, it incorporated the distinctive pentatonic scales of Andean melodies, Cuban percussion, and the psychedelic sounds of surf guitars, wah-wah pedals and moog synthesizers. Chicha absorbed elements of the music of the Amazonian regions of Peru and the use of the Farfisa electric organ through Amazonian bands like Juaneco y Su Combo. Chicha, which is named after a corn-based liquor favored by the Incas, quickly spread to Lima. It became the music of choice of the mostly indigenous new migrant population. By the mid-1980s it had become the most widespread urban music in Peru.
The first Chicha hit, and the song from which the movement has taken its name, was "La Chichera" (The Chicha Seller) by Los Demonios del Mantaro (The Devils of Mantaro), who hailed from the central highlands of Junin. Band Los Destellos, formed in Lima en 1966, brought electric guitars to Chicha and consolidated its characteristic features by integrating in it elements of Peruvian Andean folklore, Peruvian creole waltz, Cuban music and rock music.
During the 1980s the Amerindian immigrants to coastal cities that nurtured the subgenre became working and middle class individuals and a market for Chicha commercial radio. The Pharaoh of Cumbia, Chacalon, became one of the most popular Chicha artists through his hit "Soy provinciano" (I am from the province) and vibrant concerts. Another famous band in the 1980s were Los Shapis, a provincial group established by their 1981 hit "El Aguajal" (The Swamp), a version of a traditional huayno.
The strong influence of Mexican tecnocumbia became evident on the evolution of Peruvian cumbia in the 1990s. Efforts by Argentina-based Grupo Néctar and others gave it regional recognition. Its decline during the late 1990s was followed by a revival that began in 2007, mainly thanks to the rising popularity of Tongo.
Lyrics
While most lyrics are about love in all its aspects, nearly all songs reveal an aspect of the harshness of the Amerindian experience - displacement, hardship, loneliness and exploitation. Many songs relate to the great majority of people who have to make a living selling their labour and goods in the unofficial "informal economy", ever threatened by the police. Current exposure of all social classes of Peru to Chicha as well as a renovation in lyrical content, to include expressions of animation have led to its revival.
Unlike traditional Cumbia from Colombia, Peruvian Chicha bands feature electric lead and rhythm guitars, electric bass, electric organ, electronic percussion and synthesizer. There are one or more vocalists who may simultaneously play percussion plus timbales and conga players. There are no accordions nor woodwinds.
Electric guitars make extensive use of the fuzzbox and the wah-wah pedal following the influence of psychedelic rock and surf rock in Chicha. The influence of Salsa has seen the recent inclusion of wind instruments in some Peruvian cumbia bands.
xxxxx xxxxx xxxxx xxxxx xxxxx
For years, this genre was the biggest fuel of the Peruvian musical activity, by dint of its double penetration both in the rock bands and in the dancing venues. That explains the large number of interpreters, albums, singles, songs and -lastly- compiled that exist about it, the latter dedicated to cover with more or less chronological rigor that exciting decade that occurred in the country of Cubillas, Chumpitaz and Fujimori . Because if in the middle of the '60s the sensation over there had been the ephemeral and great Saicos, at the end of the same decade many other young people tried the same ayahuasca as Erwin Flores and company and, taking some of the most famous resources of garage rock that they practiced (especially the guitarist approach, with widespread distortion pedals and fuzz to rage) merged them with the well-known and popular chicha, the Peruvian cumbia, to form a new, novel, young, fresh and powerfully danceable style. Psychedelic cumbia we say now, almost 50 years later, to try to explain this phenomenon. But how did it all begin and how did it get to this day?
Legend has it that the first to incorporate the fuzz, the pedals and above all the idea that the electric guitar carried the baton - hence the subtitle of the compilation that we offer here - in the songs of clear instrumental cut of the new cumbia Peruvian was Enrique Delgado Montes, guitarist and composer of Los Destellos (included here with three of his best songs, in particular the brilliant "Guajira Sicodélica" that somehow gave the genre its name) and known as the godfather of this movement. A 45 rpm, "El Avispón" / "La Malvada", and the first album of the band, Los Destellos, surprised the quiet Peruvian musical scene with its combination of Andean sound, rock tilt and that sincere exploration of the huaynos and the chichas combined with the fury of electricity from the most classic garage. From there, there arose countless artists who, as the tradition indicates, represented their cities and joined this movement: the Oriental fundamentals and the no less interesting Atoms of Paramonga, Sanders de Ñaña, Los Wembler's de Iquitos, Los Demonios del Mántaro and Corocochay (and follow the signatures), all of them are represented in this recent compilation edited by the recommendable Spanish label Vampisound that helps to spread this exciting moment in the history of Latin American music with a perfection not reached since that fundamental The Roots Of Chicha, edited in 2007 by Barbès Records (also Spanish) and that brought to light what was, at least in Latin America, an open secret: that in the '60, in Peru, there had been a movement of very good artists who at the same time make you dance could be founded in the strictest psychedelic and garagera tradition and surprise you as perhaps no other folkloric expression Andean could do it. Listen if not to the wonderful, definitive Wembler's De Iquitos and his "Loving Whistle" -structured song, yes, from a whistle- or to the classic psychedelic cumbia "Mujer Hilandera" (song sung, and wonderfully, by Juaneco Y His Combo), or the "Lamento De Un Galax" of, precisely, The Galax and experience that particular mix of rock, psychedelia, cumbia, salsa and who knows how many other things.
VA - Cumbia Beat Vol. 1 , experimental guitar-driven tropical sounds from peru 1966-76 (flac 479mb)
1-01 Silvestre Montez Y Sus Guantanameros - El Avispón 2:32
1-02 Los Orientales De Paramonga - Lobos Al Escape 2:33
1-03 Los Destellos - Pasión Oriental 4:31
1-04 Grupo Celeste - Viento 3:43
1-05 Los Mirlos - Cabalgando Con Ella 3:11
1-06 Manzanita Y Su Conjunto - Arre Caballito 3:09
1-07 Los Mirlos - El Escape 2:49
1-08 Los Wembler's De Iquitos - Un Silbido Amoroso 2:35
1-09 Los Destellos - La Ardillita 2:44
1-10 Los Beltons - Cumbia Pop 2:51
1-11 Los Beta 5 - Beteando 3:39
1-12 Los Galax - Lamento De Un Galax 3:13
1-13 Aniceto Y Sus Fabulosos - Mi Gran Noche 2:55
2-14 Juaneco Y Su Combo - Mujer Hilandera 3:50
2-15 Los Sander's De Ñaña - El Tramboyito 2:34
2-16 Los Beta 5 - La Danza De La Tortuga 2:54
2-17 Los Destellos - Guajira Sicodélica 3:25
2-18 Los Orientales De Paramonga - Captura De Lobos 2:47
2-19 Los Diablos Rojos - Malambo 4:13
2-20 Los Átomos De Paramonga - El Trencito 3:14
2-21 Los Beta 5 - La Jorobita 3:50
2-22 Los Ecos - Aquí En La Fiesta (I Don't Want To Spoil The Party) 2:52
2-23 Los Demonios De Corocochay - La Chichera 2:56
2-24 Los Demonios Del Mantaro - Liliana 2:22
2-25 Los Mirlos - Lamento En La Selva 3:04
VA - Cumbia Beat Vol. 1 , experimental guitar-driven tropical sounds from peru 1966-76 (ogg 205mb )
xxxxx xxxxx xxxxx xxxxx xxxxx
VA - Cumbia Beat, Vol. 2: Tropical Sounds from Peru 1966-1983 (flac 299b)
1-01 Manzanita - Mi Choza, Mi Chacra Y Mi Mujer 2:44
1-02 Los Orientales - El Dragon 2:28
1-03 Juaneco Y Su Combo - Ven A Bailar Con Juaneco 3:49
1-04 Los Ecos - Baila Flaquita Baila 3:06
1-05 Compay Quinto - La Rumba Del Chinito 2:42
1-06 Los Pecos - Cumbia Para Un Viejito 3:05
1-07 Los Titanes - Linda Yolita 2:52
1-08 Los Orientales De Paramonga -Sabor A Cana 2:23
1-09 Los 5 Palomillas - Illimana 2:28
1-10 Los Ecos - SOS...Peligro 4:11
1-11 Los Mirlos - El Milagro Verde 2:46
1-12 El Monje Loco - La Papita 2:36
1-13 Juaneco Y Su Combo - Recordando A Fachin 2:14
1-14 Los Girasoles - La Bocina 2:39
1-15 Los Casmeños - Chachita 2:45
1-16 Los Yungas - El Pitito 2:36
1-17 Grupo Celeste - Sin Exito 3:40
VA - Cumbia Beat Vol. 2-1 (ogg 147mb)
xxxxx
VA - Cumbia Beat, Vol. 2: Tropical Sounds from Peru 1966-1983 2-2 (flac 290mb)
2-01 Juaneco Y Su Combo - Selva, Selva 2:26
2-02 Los Orientales De Paramonga - El Trapiche 2:21
2-03 Grupo Celeste - Melodia Celeste 3:03
2-04 Los Santos - Saturno 2000 2:59
2-05 Los Ilusionistas - Colegiala 3:33
2-06 Aniceto Y Sus Fabulosos - La Movedora 2:45
2-07 Los 5 Palomillas - El Chinchorrito 2:25
2-08 Los Mirlos - Llanto En La Selva 3:47
2-09 Los Beta 5 - Modulo Lunar 2:18
2-10 Jose Y Sus Antillanos - Melodia Antillana 2:35
2-11 Los Ecos - Linda Mariposa 3:32
2-12 Los Ilusionistas - Hola 3:20
2-13 Los Beta 5 - El Panadera 2:13
2-14 Los Demonios Del Mantaro - La Chichera 2:53
2-15 Los Demonios Del Mantaro - Peti Pan 2:33
2-16 Los Ecos - Chichita 3:59
VA - Cumbia Beat Vol. 2-2 (ogg 131mb)
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