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01. Pedro Miguel Y Sus Maracaibos - Saludo Maracaibo
02. Alfredo Linares Y Su Sonora (Canta Víctor Fuentes) - Boogaloo En Ambiente
03. El Combo De Pepe (Canta Charlie Palomares) - Yo Traigo Boogaloo
04. Mario Allison Y Su Combo (Canta Benny Del Solar) - Cumbayea
05. La Sonora De Lucho Macedo (Canta Johnny Arce) - Psicosis
06. Compay Quinto - El Diablo
07. Orquesta Casino De Hugo Macedo (Canta Pochita Rivera) - Yo No Pido Nada
08. Ñico Estrada Y Su Sonora - Guarachera
09. Coco Lagos Y Sus Orates - Guajireate
10. Betico Salas Y Su Sonora (Canta Melcochita) - Pa Gozar Candela
11. Joe Di Roma Y Su Orquesta (Canta Manolo Castro) - Boogaloo Boogaloo
12. Pedro Miguel Y Sus Maracaibos - Descarga Maracaibo
13. Popi Y Sus Pirañas - Guayaba
14. Melcochita Y Karamanduka (Cantan Kiko Fuentes Y Melcochita) - Peruvian Guajira
15. Los Kintos - Kintos Instrumental
16. La Sonora De Lucho Macedo - Boogaloo En España
17. Pedro Miguel Y Sus Maracaibos - Yenyere Cuma
18. Chivirico Dávila Y Sonora Mag - Pollo Atrasado
19. Coco Lagos Y Sus Orates - Busco Una Chiquita
20. Mario Allison Y Sus Estrellas - Caliente
21. Carlos Pickling Y Orquesta - La Charanga Del Espacio
22. Willy Marambio - Por Tu Amor
23. Los Hilton's - Canta, Canta
24. Alfredo Linares Y Su Sonora - Descarga
25. Compay Quinto - El Carbonero
26. Los Girasoles - Aguanile
27. Los Diablos Rojos - Malambo
28. Andrés De Colbert Y Orquesta - Mambo Ravel
ARTIST
TITLE
Gozalo! - Bugalú Tropical Vol. 4
FORMAT
CD

LABEL
CATALOG #
VAMPI 127CD VAMPI 127CD
GENRE
RELEASE DATE
4/26/2011

2022 repress. This is volume 4 of Vampisoul's successful series of tropical Peruvian music of the '60s: an exciting, spicy mix of musical gems that fill in the link between the mambo era and the dawn of salsa in South America. When drawing the musical map of Latin America, the mistake is often made to identify the zone of influence of Afro-Latin music only around the Caribbean. It's true that the great creators are Cuban and Puerto Rican, but when their music spread out across Latin America, similar scenes sprung up in other parts of the continent. It was during the '50s that the genre captivated Peru. Tropical orchestras appeared everywhere with a repertoire based on mambos, guarachas and, to a lesser extent, boleros and merengues. However, over the Afro-Cuban foundation they added diverse influences and reached a new sound, different from their inspiration. Within the core of the tropical music scene, the Sonora de Lucho Macedo was the first group of its kind in the middle of an environment exclusively populated by orchestras. Beyond his irrefutable professional merits, Macedo's essential contribution was to recruit musicians that later on would start the most important boogaloo groups. The first one to leave his band and go his own way was Joe Di Roma. Bongoist Ñiko Estrada left a little later to create his Sonora Antillana. From Macedo's band also came double bass player José "Pepe" Hernández, percussionists Mario Allison and Coco Lagos, trumpet player Tito Chicoma and singer Charlie Palomares -- almost all of the main artists of the golden age of boogaloo in the mid-'60s, each of them a director of their own band. 1962 saw the arrival of Nilo Espinosa, a saxophonist with a solid academic formation and a deep knowledge of jazz. The puzzle was completed with the self-taught pianist Otto de Rojas. They all knew each other from the hotels, parties and TV sets, but especially from the studio recording sessions. The height of the tropical orchestras coincided with boogaloo. At that point, the scenario had changed. The massive migration inland towards the capital brought along a radical change in popular music, giving birth to Peruvian cumbia, which also had a tropical foundation. The Afro-Cuban influence, without disappearing at all, left room for a Colombian influence. With the new decade, the market was taken over by cumbia and salsa. An era had reached its end. This collection features liner notes in Spanish and English by expert Carlos Torres Rotondo plus photos and original artwork reproductions.