Pete Rodriguez: Micaela
From I Like It Like That (Alegre, 1967)

Pedrito Ramirez y su Combo: Micaela
From 7″ (Popo, 196?)

Los Cinco De Oro: Micaela
From 7″ (Philips, 196?)

Tone Done’s Hollywood Quintent: Micaela
From 7″ (Vance, 196?)

In general, I’ve found that Latin soul/boogaloo songs are not always given to covers very well. I’m still not sure why this is – whether it’s a failing on the groups covering or something inherent to the genre but, for example, covers of Joe Cuba’s “Bang Bang” never sound as good as the original (in contrast, “El Pito” seems to go over better). However, it dawned on me recently that there’s another boogaloo classic that might disprove my casual theory: Pete Rodriguez’s “Micaela.” Not only is the song well-covered – possibly the most of his several hits – but many of the other versions are done competently, often on par with the original. I think that says something important about said original: that it’s one of those magical songs that lends itself to multiple permutations, all of which excel simply be referencing back to the original (for another example, see variations on Tito Puente’s “Oye Como Va” – a song that can be covered any which way and still sound great).

I genuinely love this song and how it sounds and have made it a pet project to track down other versions of “Micaela” in hopes of finding yet another charmer. I have to admit though, until very recently, I barely understood it since my Spanish lexicon is limited to, um, counting 1-10 and ordering from taco trucks. That great if I ever need to order “dos tacos, carne asada,” not so good for deciphering even basic songwriting en español.

Luckily, I had some friends help me out and what they came up with is a translation that suggests that Rodriguez was singing about how Micaela blew him away on the dancefloor, which seems apropos for a boogaloo song. If someone has a more elaborate translation, feel free to share in the comments.

In any case, I start with Rodriguez’s original, featured on his best-selling I Like It Like That LP for Alegre. The “ooh aah” intro is just a touch too forced but it’s all about that piano montuno. Hands-down, one of the best riffs of its kind in Latin. (I’m curious if it has an antecedent…songwriters borrowed from each other all the time in this era). And then there’s the hook, “ay ay ay, Micaela se boto” – so catchy.

The Pedrito Ramirez y su Combo version is out of the Bay Area of all places, making it one of the rare West Coast Latin boogaloo cuts I know of (see below). I really like this version – it’s livelier and brighter, especially with the addition of the piccolo and greater use of coro-pregón (call-and-response). You can also hear the obvious Joe Cuba influence with the “ah ha, beep beep” chorus that opens. A great party cut and one that I play out at Boogaloo[L.A.] with much pleasure. If you like it, the one dealer I know who has copies is selling one now.

The Los Cinco De Oro version comes from Peru and is notable for at least two reasons: one, it feels much faster than the original. Had I not known better, I would have thought it was a 33 record that I accidentally put in 45 but nope, it’s supposed to be that fast. Second, it’s a very stripped down version: all piano and hand-claps and that’s practically it (save for a lil flute)! I made the mistake of playing this out at the club only to remember: oh yeah, there’s no low end to this at all. Can’t say this is my favorite but even sped-up, stripped down, with no bass…the song is still catchy.

Lastly, we come to what may be my favorite version and – damn – wouldn’t you know, it’s also the rarest of the batch? Let’s give credit where it’s due: I first read/heard this at Office Naps, which included it as part of their West Coast boogaloo series. It’s an L.A. record in fact, but one that is uber-obscure and thus, this sound file is likely the closest I’m going to come to it.

What I like about it is how it’s also stripped down but not as sparsely as the Los Cinco version – instead, Done’s Quintet keeps it to piano and some percussion and really, the song doesn’t need any more than that essence. The Ramirez is more lively but Done’s just nails what I think is the essence of the song.

***UPDATE***
Thanks to your info, we’ve got the songs ID’ed. So update your MP3s with the following:

“Cachaca Mecanica” is Erasmo Carlos
“Mystery 1” is Kazumbanda by Marku Ribas
“Mystery 2” is Eu Bebo Sim by The Golden Boys
“Mystery 3” is It’s Time For Carnaval by Airto Moreira
“Mystery 4” is Batucada by Marcelo D2

Check the comments for info on albums and comps where these songs appear. BIG thanks to: Andy, BRS-ONE, Helmut, & Paw!

UNKNOWN ARTIST : Cachaca Mecanica
taken from the album “Sambas Reunidos Vol.2” on Premier (1973)

UNKNOWN ARTISTS : Mystery 1, Mystery 2, Mystery 3, Mystery 4
taken from a CDR

I’m looking for some help today from all you Brazilian heads out there. I found a great CD full of nice tracks, but it was burned and thus I have no info about who made the music or what song titles are. I feel pretty confident that Mystery #1 is Marku Ribas, but this song isn’t on any of the lp’s I have from him. Mysteries 2 – 4 I have no idea.

I also recently picked up this great collection of sambas put out in ’73. It sounds like covers of a lot of popular tunes, but there’s no info on the LP jacket to let me know who’s doing these cover versions. The singers are definitely different from track to track, so I’m not sure if it’s a compilation or just a group that has multiple vocalists.

Last time I asked for help from you guys I got a ton of info, so I’m hoping someone out there will recognize at least a couple of these. Please post a comment with any leads. It will be much appreciated. And even if a song or two should remain a mystery forever, the music is still top notch.

Mikis Theodorakis : Cafe Rock
taken from the soundtrack album “Z” on Columbia (1969)

Sum Sum : Mountain Beauty
taken from the album “Midnight Guitar” on Regal/EMI (196?)

Los Yaki : Las Estatuas De Marfil
taken from the album “Vol. II” on Pickwick/33 (196?)

Los Blue Caps : Tu Mujer, Yo Varon & Solo Vivo Por Tu Amor
taken from the album “Cuando Te Miro” on Parnaso (1970)

Imagine the immense awe that must have splintered into the core of the first fuzz guitarist when, upon strumming his coiled strings, he heard not the sweet melodious ring of a clean plucked note, but instead was met with the scream of electrical feedback that will forever voice the raw agitation of youthful rebellion. Did this forgotten string-strummer catch any glimpse at the vast impact of his forever raging bastard child? Was it done on purpose? Did he finally achieve the sound of his burning inner torment after exhaustive hours of experimentation, or was it an accidental buzz that stabbed him in the back when he innocently left the volume knob turned up too high? Whatever the case may be, today I’d like to celebrate a few obscure shrapnel nuggets that were flung in different directions across our planet in the aftermath of this explosive auditory revelation.

Mikis Theodorakis is perhaps one of the all-time greatest and most widely recognized Greek composers. I addition to scoring virtually all the major Greek theater productions of the 60’s, he achieved international renown for his film score to “Zorba The Greek” and then, “Z” (looks like he also did Serpico, which is such a badass film). Mikis has always had a serious lean to the left, and for this he was imprisoned and then exiled (before making Z). Included on the soundtrack (I still haven’t seen the film, but it looks like a winner) are several bootleg-sounding recordings of just Mikis singing and playing piano “in secret circumstances” (according to the liner notes). A true rebel indeed, and this short little fuzz bomb stands as proof.

Sum Sum is a mystery to me, but I really dig this record she made. Found it in a bargain bin recently and have put it on whenever I felt the need for a bit of Austin Power groovy-kitch.

Los Yaki are also pretty far off my radar, but they appear to be from Mexico. This album features them covering “Yellow Submarine”, “Good Love”, “secret Agent Man”, & “Sunny” (which they turned into “Sonia”) among others. The whole album isn’t the best listen, but I’ll ride for “Estatuas” any day. Hand claps, screechy vocals, B3 organ, and yes… gritty guitar full of fuzz.

Los Blue Caps (not to be confused with Renato E Seus Blue Caps) are another Mexican garage group that I know nil about. But this record is chock-full of pounding drums (yes breaks) and fuzz, fuzz, fuzzzzz. The vocals are a bit hit or miss (lil more on the miss side) but this is the birth of punk we’re talking about, so just roll with it.

*Last note: it happens to be my birthday today, so if anyone feels like sending a record my way (hint hint), hit me up with an e-mail. hehe. Also, the OTHER BLOG LINKS ARE NOW FINALLY FIXED.

Cachao Y Su Ritmo Caliente: Descarga Cubana
From Cuban Jam Sessions in Miniature – Descargas (Panart, 1950s). Also available on The Havana Sessions.

Cachao y su Orquesta: Juan Pescao
From 7″ (Maype, 1958).

Bonus
Tito Rodriguez: Descarga Cachao
From Tito Tito Tito (UA Latino, 1964)

Gerardo Frisina: Descarga
From 12″ (Schema, 2001). Also on Ad Lib.

Israel López, better known as Cuban master bassist, Cachao died early today. I don’t profess to know Cachao’s career intimately but even a beginner Latin fan knows he was a giant in the scene. My acquaintance and colleague Ned Sublette has gone as far to name Cachao, “the most important bassist in twentieth-century popular music.”

His catalog is immense though it’s easy enough to know where to begin: Cuban Jam Sessions In Miniature – Descargas, a groundbreaking moment in Afro-Cuban music and one of those essential albums for anyone interested in the genre. I included “Descarga Cubana” off that album as a way to highlight Cachao’s skills as a bassist – that bassline is so simple, so deep.

The Cachao y su Orquesta songs are from a 7″ I picked up at the Groove Merchant back in the fall and both sides have been in constant rotation since (“Manicero” is on the flip and, with any luck, will be featured on an upcoming Latin dance mix-CD I’ve been working on). You can hear on “Juan Pescao” the meeting point of some classic Cuban musical traditions – more stately and formal – with the upcoming revolution in rhythm that Cachao and his compatriots were assembling in after hours Havana.

The two bonus songs show how influential Cachao was with other musicians. Mostly obviously, it’s Tito Rodriguez’s “Descarga Cachao” which flips on the original “Descarga Cubana”. Likewise, Gerardo Frisina’s great 2001 club 12″, “Descarga” is another remake of sorts (he subtly changes the bassline riff, but you can still hear the obvious reference back to Cachao).

Delta 5 : Mind Your Own Business
taken from the compilation Disco Not Disco on Strut (2008)

Set The Tone : Dance Sucker (Francois K Mix)
taken from the compilation Funky Nassau on Strut (2008)

Sonora Casino : Astronautas A Mercurio
taken from the compilation Obsession on Bully (2008)

The Funkees : Akula Owu Onyeara
taken from the compilation Nigeria Special on Soundway (2007)

Juan Bautista : Estoy Aqui Pero No Soy Yo
taken from the compilation Bachata Roja on iASO (2007)

Is it just me, or are there a higher percentage of compilations to new releases nowadays? It feels like the market for re-issued recordings is catching up with the market for brand new material- could just be my twisted, old-timer perspective though. Whatever the case may be statistics-wise, I’m certainly happy that there are so many other people devoting themselves to putting together great collections like these.

STRUT RECORDS IS BACK! And I’m gonna shout about it. These guys put out some really enlightening comps when I was first getting into DJ-ing, and then in ’03 they closed up shop. This latest enstallment of the Disco Not Disco series brings us more hard to find indie 12″ cuts from an era when lenghty dubbed-out, electro dance music could be considered punk. On Funky Nassau, Strut pulled together a wide range of work from Chris Blackwell’s Compass Point Studios in The Bahamas to shed some light on a scene that I have always had a soft spot for. From big names like The Talking Heads and Grace Jones to lesser-knowns like Guy Cuevas, this record captures some of the best fusions of dub and new wave that came out in the early 80’s. It’s the sound of of NYC’s greatest party acts chilling out on the beach in a cloud of weed smoke with some of reggae’s MVP’s (Blackwell & Sly Dunbar).

The Obsession comp was tastefully pulled together by Mike at Academy Records, which has long been one of my favorite places to get schooled on cool records- and often take them home at reasonable rates. Wild psych monsters from the far reaching corners of obscurity is the bill here, and there’s really nothing short of behemoth in the line-up. Track by track liner notes with cool pics help too. This track from Sonora Casino is one that I’d heard about as a mythological anomaly for quite some time now, and finally can listen to on repeat!

Soundway really don’t need much introduction or explanation on this site. Everytime they put something out you can guarantee that you’ll be getting more than your money’s worth. These dudes are some of the heaviest collectors out there. While the set this time is less focussed on funk and dancefloor material, the overall vibe and richness of sounds is top quality.

And finally, something that is long overdue: a collection of old school acoustic bachata! Some readers might remember my discovery of Luis Segura a few years back on a trip to the Dominican Republic. And while I do not intend in anyway to detract from that man’s genius, I also have always had the nagging suspicion that his sound was part of a bigger scene that I needed to dive into. The soulful, pleading falsetto. The bouncing bongo taps and staccato guitar plucks. THIS IS THAT SCENE! The music that was banned under Trujillo, that survived in the campos and made it to the city and finally onto records in the 60’s. And to my knowledge, this is the first time that any of these songs have been available outside the DR. Thank you iASO.

Edwin Starr: Get Up Whirlpool
Taken from the 12″ on 20th Century (1980)

Ripple: I Don’t Know What It Is (But It Sure Is Funky)
Taken from the self-titled LP on GRC (1973)

Sun: Fall Out On The Dancefloor
Taken from the album Eclipse on Air City Records (1984)

Jim: I’m A Baller and How Do You Like It
Taken from the album Long Time Comin’ (2007)

Today we indulge in some guilty pleasures of synthesizer-imbued fonkery. A few notes on the selections:

The Edwinn Starr joint I recently came upon and fell in love with instantly. Though the song never really blossoms beyond the riff and the tranced-out vocal, I can make certain allowances. You can’t get too mad at the guy who wrote “War”.

Doesn’t really fall into the “synthetic” realm per se, but the Ripple jam is an absolute classic. You should own this record. Oh-la oh-la-ay, suckas.

“Fallout” is taken off the last record that Sun recorded before sadly biting the dust. After repeated attempts with various labels and even despite having enlisted the support of the Ohio Players, who are credited on the back of this LP, the Daytonians called it quits in the year of my birth… but not before leaving us with this gem. Also, this LP ranks very high on my current list of favorite album art. Check out that magic!

Lastly, and certainly not leastly, Jim. A random find and a truly guilty pleasure (listen to the lyrics on “How Do U Want It” and you’ll see what I mean). But I get gushy like an girlscout at the first intimation of voice-box-ery and these songs go no-holds-barred in that department. (Don’t know the difference between a Voice Box, a Vocoder and Pitch Correction? Ask the Captain. He explained it all to me.) . Plus, I love the idea of the guy (JIM! What a name!) sitting in his basement, not in 1982 but last year, finally getting around to paying homage to Roger Troutman. Been a long time comin’, indeed.

And don’t forget: TONIGHT IS BOOGALOO!