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viewing 1 To 8 of 8 items
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DM 014LP
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"Released in 1974 with a 'quadraphonic' sound. Brilliant songs by a cohesive band that knew how to materialize a memorable and original fusion project at an international level. If Latin funk exists, it's thanks to pioneering bands like Black Sugar, a Peruvian group created in the early seventies that recorded two fundamental albums for the Afro-American and Latin genre. A pair of albums that are now re-released by the Valencian label Discos Monterey with the usual sound and visual quality to which we are accustomed. The roots of this band come from the Far-Fen (syllables for Farfisa and Fender), formed in the late sixties by guitarist Víctor 'Coco' Salazar and Miguel 'Chino' Figueroa on keyboards. One night they were spontaneously joined by the sensational voice of Carlos 'Pacho' Mejía. In the seventies, in the Peruvian capital there was a shortage of 'white' sugar and the darker cane sugar was consumed. Hence the group's name. Peru was in the midst of a dictatorship and the military were against music that did not come from Peruvian folklore. Rock and roll with foreign roots languished due to the imposition of the established power, and Black Sugar emerged, whose main skill was to mix, with enormous passion and fascinating ability, Latin sounds and the funk that came from the United States. The result is two memorable albums, with a large part of their own songs and most of them composed by Pacho. The first, with an eponymous title, was released in 1971 by Sono Radio, whose musical director Jaime Delgado Aparicio was in charge of the fiery arrangements with generous brass and energetic percussion. Released with the credits in English, they managed to break into the Top Ten of the Miami charts with the song 'Too Late'. They even received an offer to record their next album in the United States, but decided to stay in their country. That second album was released in 1974 with a 'quadraphonic' sound, taking advantage of the label's magnificent studios. From the mid-seventies onwards the desertions began and it would not be until 2010 that the project would be recovered with some historical and younger musicians. To listen to Black Sugar is to go back to the Peruvian night of the seventies with fiery music, full of sensuality and rhythm. Brilliant songs by a cohesive band that knew how to materialize a memorable fusion project, very original and at an international level. Two unique albums reissued by Monterey that will delight all lovers of Afro-Latin sounds and good music in general." --Alex Magic Pop
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DM 013LP
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Peruvian Latin funk classic from 1971. Official reissue with original gatefold artwork; black vinyl. Black Sugar's first self-titled album is filled with the band own original songs. Hot percussions, excellent brass arrangements, superb keyboards, and great guitar work with a psychedelic shade. If Latin funk exists, it's thanks to pioneering bands like Black Sugar, a Peruvian group created in the early seventies that recorded two fundamental albums for the Afro-American and Latin genre. The roots of this band come from the Far-Fen (syllables for Farfisa and Fender), formed in the late sixties by guitarist Víctor "Coco" Salazar and Miguel "Chino" Figueroa on keyboards. One night they were spontaneously joined by the sensational voice of Carlos "Pacho" Mejía. In the seventies, in the Peruvian capital there was a shortage of "white" sugar and the darker cane sugar was consumed. Hence the group's name. Peru was in the midst of a dictatorship and the military were against music that did not come from Peruvian folklore. Rock n' roll with foreign roots languished due to the imposition of the established power, and Black Sugar emerged, whose main skill was to mix, with enormous passion and fascinating ability, Latin sounds and the funk that came from the United States. The result is two memorable albums, with a large part of their own songs and most of them composed by Pacho. The first, with an eponymous title, was released in 1971 by Sono Radio, whose musical director Jaime Delgado Aparicio was in charge of the fiery arrangements with generous brass and energetic percussion. Released with the credits in English, they managed to break into the Top Ten of the Miami charts with the song "Too Late". They even received an offer to record their next album in the United States, but decided to stay in their country. That second album was released in 1974 with a "quadraphonic" sound, taking advantage of the label's magnificent studios. From the mid-seventies onwards, the desertions began and it would not be until 2010 that the project would be recovered with some historical and younger musicians. To listen to Black Sugar is to go back to the Peruvian night of the seventies with fiery music, full of sensuality and rhythm. Brilliant songs by a cohesive band that knew how to materialize a memorable fusion project, very original and at an international level.
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DM 012LP
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Official reissue. 1968 Peruvian garage psych classic. Following 1967's Segundo Volumen, Docena 3 would see the light of day a year later, highlighting the LSD world on the cover, in which they added more accentuated lysergic moments, the use of the Indian zither, plus Jorge Pomar on rhythm, and other technical novelties such as reverse tape effects, including anti-war and love messages. The album brings together some captivating songs of their own, plus surprising covers with surrounding sound arrangements. Shortly thereafter, the band would break up, but not before leaving us with another album to fulfill their contract, entitled Instrumental's (1968). The members would go on to separate careers with Pico's Los Nuevos Shain's, and Gerardo Manuel's The (St. Thomas) Pepper Smelter. They would reunite again in 2007, but it was not until this year 2021 that, thanks to Discos Monterey, a late sixties Peruvian rock summit is again available with excellent sound and respecting the original artwork.
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DM 011LP
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Official reissue. 1967 Peruvian garage classic. After consecutive reissues of Peruvian garage and psychedelic rock from the sixties and seventies, Discos Monterey couldn't miss the chance to resurface two of the most emblematic records of the period: 1967's Segundo Volumen and 1968's Docena 3 (DM 012LP) by Los Shain's, the "conjunto de conjuntos" (the band among bands), as they were called back then. Those fifteen-year-olds started in mid-1964 and would go on to make an impressive musical career that would make history with just four records for the IEMPSA label. They recorded their first LP El Ritmo De Los Shain's (1966), halfway between instrumental rock and garage. Its main architects -- Enrique "Pico" Ego Aguirre, on guitar, and Gerardo Manuel Rojas, on lead vocals -- introduced psychedelia in their second work called Volumen 2 (1967). They were accompanied by Beto Tataje on second guitar, Juan Carlos Barreda on bass, and Carlos Manuel Barreda on drums. The album contains, for the most part, their own songs, standing out their luminous melodies and a certain beat they themselves considered to be a product of the "enfermedad" (sickness), immersed as they were in "la onda", the groove of the era. An impressive album that also stood out for its sound and for the pioneering presence of the "fuzz tone" among other effects such as the tape echo or a harmonic distorter that were revolutionary in their day and that today still have an impact due to their enormous power.
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DM 010LP
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Discos Monterey present a reissue of Gerardo Manuel & Humo's Apocallypsis, originally released in 1970. Gerardo Manuel left behind his deepest beat days with The Dolton's and The Shain's, plus his garage psych stage with St Thomas Pepper Smelter. At the beginning of the '70s he was joined by a new band formed by other illustrious Peruvian musicians, called El Humo because, according to Ernesto Samamé (We All Together) they met to play unpretentiously, to test the new sound equipment of the Virrey label. The first of the albums was Apocallipsis (1970). A wild and acid work, with its own songs and fabulous covers. An explosion of crazy psychedelia, overflowing solo moments, and the vocals delivered by a very inspired Gerardo Manuel. Songs of lysergic melodies, with Latin touches, give life to this album that looks for peace in the world. Unique and memorable albums, essential for any discography with the best of South American music from the '60s. 180 gram vinyl; gatefold sleeve.
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DM 009LP
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Discos Monterey present a reissue of Gerardo Manuel & Humo's Machu Picchu 2000, originally released in 1971. Gerardo Manuel left behind his deepest beat days with The Dolton's and The Shain's, plus his garage psych stage with St Thomas Pepper Smelter. At the beginning of the '70s he was joined by a new band formed by other illustrious Peruvian musicians, called El Humo because, according to Ernesto Samamé (We All Together) they met to play unpretentiously, to test the new sound equipment of the Virrey label. The first of the albums was Apocallipsis (1970). It was followed in 1971 by the conceptual Machu Picchu 2000 in which he used all his imagination to tell about the resurgence of the Inca empire after the third world war that broke out at half past five on December 31, 1999. Songs of lysergic melodies, with Latin touches, give life to this album that looks for peace in the world. Unique and memorable albums, essential for any discography with the best of South American music from the '60s. 180 gram vinyl; gatefold sleeve.
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DM 007LP
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Discos Monterey present reissue of The (St. Thomas) Pepper Smelter's Soul & Pepper, originally released in 1969. Once The Shain's had disbanded a new project was born, St. Thomas Pepper Smelter. Recorded in 1969, with practically the same band members as The Shain's, the band explored darker and psychedelic sounds with covers from Vanilla Fudge, Cream, Hendrix, and Music Machine, as well as various amazing songs of their own. Soul & Pepper was to be the transition towards their new projects more progressive and '70s style than before and lead to Gerardo Manuel y Humo.
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DM 008LP
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Discos Monterey present the first official reissue of the last project of Gerardo Manuel's trilogy with Humo, Quien es el Mayor?. Recorded in 1973 in the style of his previous two albums, this is the most progressive. As the lyrics leant toward social protest, the military in power didn't want this music to be popular and as a result of this most of the copies were destroyed. This has made the album extremely rare and an authentic lost jewel of South America rock.
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