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Mister Boogaloo
| Label | Vampi Soul – VAMPI 296 |
| Format | Vinyl, LP, Album |
| Barcode | 8435008864699 |
| Country | Spain |
| Released | 2024 |
| Genre | Latin, Funk / Soul |
| Style | Salsa, Guaguancó, Cumbia, Boogaloo |
| A1 | Mr. Boogaloo | |
| A2 | El Guayacol | |
| A3 | La Anticuchera | |
| A4 | La Peinadora | |
| A5 | La Fiesta Es Mañana | |
| A6 | Borinquen Bella | |
| B1 | Es La Lluvia Que Cae | |
| B2 | El Basurero | |
| B3 | Chin Chin | |
| B4 | Tequila | |
| B5 | Las Hojas Secas | |
| B6 | No Te Bote |
Leader, Arranged By – Toño
Organ – Jorge Ponce
Trombone – Albites
Organ – Jorge Ponce
Trombone – Albites
LP Liner:
TOÑO AND HIS SAXOPHONE
In the few years that the Disperú record label was operative, it managed to open its doors to emerging artists, who were often ignored by the major labels but would go on to leave their mark on Peruvian popular music.
It was the mid-sixties and working on a shoestring budget, the head of the label, Rebeca Llave, was entrusted with the task of ensuring young people's tastes were duly represented at a time when the music scene was undergoing rapid and far-reaching changes.
The new wave, which ended when the Beatles arrived, was represented by Tito Sur and Claudio Fabri, who played shakers, slow rock, and Italian songs. Beatles rock and roll and beat sounds were embodied by the future legends of Peruvian rock Los Saicos, Los Crickets, Los Golden Boys and Jean Paul El Troglodita, while Pentagrama Tropical from Trujillo and Los Peruvian Brass from Lima were signed to produce orchestrated versions for the label.
Novelties from the tropical world via the United States were also part of the catalog enabling a new generation to fall in love with and identify with these bold sounds.
The trumpeter Antero "Toño" Reyes, born in the ancient city of Jayanca, in the : northern department of Lambayeque, was hired to play this genre. A few years earlier he had arrived in Lima to join the Sonora Sensación, directed by the famous composer Mario Cavagnaro, best known for his Creole music compositions. His musical virtuosity also took Toño to another first-rate group, directed by the Argentine Enrique Lynch, who had taken up residence in Lima in 1958 Both combos were specialists in accompanying the best vocalists of the time and playing the most original requests from demanding audiences on the dance floor.
Their records with versions of fashionable songs recorded in the studios of Sono Radio were household favorites across Peru and played endlessly at family parties.
In 1967, Disper commissioned Toño to form a band he called Toño y sus Sicodélicos, which included his brother, vocalist Luis Reyes. Together, they performed a series of songs that reflected this musical movement, in his inimitable style.
Instrumentals such as 'Mr. Boogaloo', 'El guayacol', 'La anticuchera', 'La peinadora', 'La fiesta es mañana' and 'El basurero', not credited on the original album, are versions that follow the lines traced by the Mexican composer and drummer Leo Acosta. In the early sixties, based in Los Angeles, Acosta played with the orchestras of Harry James (replacing Buddy Rich!), Sammy Davis Jr, Tony Bennett, Herb Alpert, and Dámaso Pérez Prado. Mid-decade, Acosta turned to the novel sounds of boogaloo, which immediately caught the attention of young South Americans.
The song 'Borinquen bella' is another cover version from the United States, recorded by The TNT Band, a Latin orchestra based in New York. Another noteworthy influence on the album is the blind Venezuelan organist Tulio Enrique León, who performed cumbias and guarachas enhanced by his Hammond organ, as is the case of 'Chin chin', an original song by Carlos Argentino, a singer from Buenos Aires who played with the Sonora Matancera.
Songs in vogue at the time complete the album. The best known is perhaps 'Es la lluvia que cae', originally by the US folk singer Bob Lind, which the Uruguayans Los Iracundos popularized in Spanish in 1967.
Tequila' and 'No te boté', by The Champs and Sonora Matancera, respectively, were also classics on Lima's radio stations. 'Las hojas secas', by the Mexicans Los Zignos, was so popular that it was even covered by Peruvian rock groups such as Los Steivos and Los 007.
The success reaped by Toño y sus Sicodélicos took them straight to another record company, and the group's records were also re-released in neighboring countries, always with striking psychedelic cover illustrations. Toño Reyes continued playing in the seventies, becoming a specialist in creating cover versions of songs in fashion, from Panamanian parrandas to Colombian cumbias, including Creole music and salsa, on popular recordings that brought him fame along with other renowned Peruvian saxophonists of popular music, such as Luis Sandoval, Polo Alfaro, and Julio Mori, with whom he shared performances and records over the decade.
TOÑO AND HIS SAXOPHONE
In the few years that the Disperú record label was operative, it managed to open its doors to emerging artists, who were often ignored by the major labels but would go on to leave their mark on Peruvian popular music.
It was the mid-sixties and working on a shoestring budget, the head of the label, Rebeca Llave, was entrusted with the task of ensuring young people's tastes were duly represented at a time when the music scene was undergoing rapid and far-reaching changes.
The new wave, which ended when the Beatles arrived, was represented by Tito Sur and Claudio Fabri, who played shakers, slow rock, and Italian songs. Beatles rock and roll and beat sounds were embodied by the future legends of Peruvian rock Los Saicos, Los Crickets, Los Golden Boys and Jean Paul El Troglodita, while Pentagrama Tropical from Trujillo and Los Peruvian Brass from Lima were signed to produce orchestrated versions for the label.
Novelties from the tropical world via the United States were also part of the catalog enabling a new generation to fall in love with and identify with these bold sounds.
The trumpeter Antero "Toño" Reyes, born in the ancient city of Jayanca, in the : northern department of Lambayeque, was hired to play this genre. A few years earlier he had arrived in Lima to join the Sonora Sensación, directed by the famous composer Mario Cavagnaro, best known for his Creole music compositions. His musical virtuosity also took Toño to another first-rate group, directed by the Argentine Enrique Lynch, who had taken up residence in Lima in 1958 Both combos were specialists in accompanying the best vocalists of the time and playing the most original requests from demanding audiences on the dance floor.
Their records with versions of fashionable songs recorded in the studios of Sono Radio were household favorites across Peru and played endlessly at family parties.
In 1967, Disper commissioned Toño to form a band he called Toño y sus Sicodélicos, which included his brother, vocalist Luis Reyes. Together, they performed a series of songs that reflected this musical movement, in his inimitable style.
Instrumentals such as 'Mr. Boogaloo', 'El guayacol', 'La anticuchera', 'La peinadora', 'La fiesta es mañana' and 'El basurero', not credited on the original album, are versions that follow the lines traced by the Mexican composer and drummer Leo Acosta. In the early sixties, based in Los Angeles, Acosta played with the orchestras of Harry James (replacing Buddy Rich!), Sammy Davis Jr, Tony Bennett, Herb Alpert, and Dámaso Pérez Prado. Mid-decade, Acosta turned to the novel sounds of boogaloo, which immediately caught the attention of young South Americans.
The song 'Borinquen bella' is another cover version from the United States, recorded by The TNT Band, a Latin orchestra based in New York. Another noteworthy influence on the album is the blind Venezuelan organist Tulio Enrique León, who performed cumbias and guarachas enhanced by his Hammond organ, as is the case of 'Chin chin', an original song by Carlos Argentino, a singer from Buenos Aires who played with the Sonora Matancera.
Songs in vogue at the time complete the album. The best known is perhaps 'Es la lluvia que cae', originally by the US folk singer Bob Lind, which the Uruguayans Los Iracundos popularized in Spanish in 1967.
Tequila' and 'No te boté', by The Champs and Sonora Matancera, respectively, were also classics on Lima's radio stations. 'Las hojas secas', by the Mexicans Los Zignos, was so popular that it was even covered by Peruvian rock groups such as Los Steivos and Los 007.
The success reaped by Toño y sus Sicodélicos took them straight to another record company, and the group's records were also re-released in neighboring countries, always with striking psychedelic cover illustrations. Toño Reyes continued playing in the seventies, becoming a specialist in creating cover versions of songs in fashion, from Panamanian parrandas to Colombian cumbias, including Creole music and salsa, on popular recordings that brought him fame along with other renowned Peruvian saxophonists of popular music, such as Luis Sandoval, Polo Alfaro, and Julio Mori, with whom he shared performances and records over the decade.
Barcode (Text) – 8435008864699