TIENDAS DE DISCOS Y DE GRABACIONES DE LIMA EN LOS OCHENTAS

Navegando encontré este artículo del blog de Eduardo Lenti hace un rato –

El título me llamó la atención y me alegró encontrar mi tienda y mi nombre, ojo que en el 87 la abrí por segunda vez un año en Miraflores, Bolivar cuadra 2, de ahí me fui de Lima por 5 años.

En la primera tienda grababa música y videos que no se publicaban en Perú desde The Cure a Joy Division hasta bootlegs de Led Zep, Stones, Paralisis Permanente, Desechables, Décima Víctima, Gabinete Calegari, The Clash,  7 Seconds, Stranglers, Runaways, Sisters of Mercy, Exploited, Echo and The Bunnymen, Speed Metal etc, etc .

                           –

                               Mi primera publicidad de mi tienda en Ave Rock ( 1985 )

También vendía fotos de conciertos que compraba por correo a España, desde Bob Marley a los Sex Pistols pasando por Bauhaus.

Habían vinilos de segunda mano, parches, polos, stickers, fanzines, posters, etc

En esa primera tienda conocí a los Leusemia, Luxuria, Arena Hash ( se llamaban paranoia ) Autopsia que después se convertirían en G-3, Los Carreño que todavía no tocaban , etc

Una gran época para que …….

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ESCRITO POR  EDUARDO LENTI

MIÉRCOLES, 5 DE DICIEMBRE DE 2007

TIENDAS DE DISCOS Y DE GRABACIONES:

EXPANSIÓN DE LA NUEVA MÚSICA A TRAVÉS DEL CASSETTE
1987 fue el año del asentamiento de la sub-cultura dark/Gótica limeña y con ello, una mayor y decidida proliferación de música de este género diseminada principalmente por las concurridas tiendas de grabaciones informales, quienes nos ofrecían estos discos, en tiempos en los que la industria nacional se había dedicado a editar basura debido a la ineptitud de la gente desinformada que la dirigía. Por cierto, el problema de la piratería fue consecuencia de ello.

Tener un vinilo importado en 1984-85 (por pedido) costaba unos 20 dólares y se debía esperar entre 15 y 20 días… los lugares donde conseguíamos esta música, tanto la New Wave como el Post-Punk en general eran,Megadiscos (el del Centro Comercial Arenales… aún no existía el de Pardo) y Music Nice (la tienda pequeña de corazón grande en Camino Real)… claro que una solución inmediata a los precios altos de los vinilos, la encontrábamos en el cassette y los intercambios con amigos… o la visita a la tienda Grabaciones Accidentales (de Cucho Peñaloza) en la segunda cuadra de Enrique Meiggs, San Isidro, o Soundmixer’s (la primera de todas en Lima con Kike Casterot y el legendario Chule) en los altos de la galería Los Pinos, en el pasaje del mismo nombre, Miraflores. Aún no existían otras tiendas de grabaciones.

En Mayo de 1986 comencé a trabajar en una pequeña tienda del mismo pasaje Los Pinos llamada Power Sound. Recuerdo que cuando recién llegué las paredes estaban llenas de artistas del Billboard. Así que animé al dueño del local para pedir vinilos de Echo & The Bunnymen, Sisters Of Mercy, Love & Rockets, Gene Loves Jezebel, Siouxsie & The Banshees… fue así como las paredes fueron poblándose con este tipo de música y la tienda comenzó a hacerse de una razonable cantidad de público. Poco después nació mi propia tienda Transmision records.
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Where did punk begin? A cinema in Peru Saicos en medios Ingleses ( Controversia )

 

Where did punk begin? A cinema in Peru

Almost a decade before the Ramones or the Sex Pistols struck a chord in anger, Los Saicos were screaming their way to notoriety

Drummer Pancho Guevara remembers the music of los Saicos It’s a question that has long been the subject of intense and often bitter debate: where exactly did PUNK rock begin? Was it conceived in the smoke-filled back rooms of London pubs or did it leap fully formed from the dive bars of New York?

Few would imagine the genre that revolutionised music was actually born at a cinema matinee in the Peruvian capital of Lima.

Almost a decade before the Ramones, the New York Dolls or the Sex Pistols struck a chord in anger, the Peruvian band Los Saicos (the Psychos) were screaming, speeding and drinking their way to local notoriety. Now, thanks to an upsurge of interest and a recent documentary, the band – all in their sixties – have reformed and found their biggest following in half a century.

Their signature tune, Demolición (Demolition) has been revived as an anthem for political protesters and, reportedly, – for drug barons. In the Lima district of Lince, a marble plaque has been erected with the provocative claim etched in marble: “The global punk movement was born here. Demolish!!!”

Los Saicos burned brightly and briefly in the mid-60s, performing together for a few years and recording no more than a dozen songs. They were inspired by Elvis and the Beatles to play rock’n’roll but thanks to a frenetic effort to make up for a lack of training and equipment (Roland Carpio made his own guitar), with energy and attitude they ended up with a sound that was 10 years ahead of its time.

Demolición starts slowly with a typical 60s guitar and drum intro, then jolts a decade into the future as lead man, Erwin Flores, screeches “tatatatayayayaya”, followed by an anarchic exhortation to “Smash down the train station!”

Their claim to a place in history was bolstered in December when they were listed as the world’s first punk band in the Spanish Dictionary of Punk and Hardcore published by Zona de Obras.

“They are the first to play what later became punk. There was no name for that at the time, but the riffs are definitely punk,” said José Beramendi, the producer of Saicomania , a documentary about the band. “You expect this sound from North America or Europe, but it’s not something you expect to hear in the 1960s in Latin America.”

It is a controversial claim. There were no safety pins, no mohicans and, according to the band, no drugs beyond cigarettes and alcohol. But they were undoubtedly breaking the mould.

Los Saicos were raised on a musical diet of Harry Belafonte, Peruviancriolla and classical waltzes in the conservative and hierarchical society characterised in the early novels of Mario Vargas Llosa. Elvis and the Beatles changed their lives.

Their early shows were at cinema matinees, where bands were hired as an extra draw for the screenings. Most groups performed covers of syrupy pop songs, but Los Saicos revved up the energy by mixing original love ballads with hoarse, souped-up tracks about prison breaks, funerals and destruction.

“Compared to other bands of the time, we had a bad-boy image. They turned up with their aunts, we had girls on each arm,” recalls Pancho Guevara 

They were detained several times by the police, mostly for speeding but also for taking a sledgehammer, axe and fake TNT to the railway station for a record cover photo shoot.

After a few frenetic years of celebrity, which saw them host a daily TV show, the band moved on. Flores relocated to the US and became a Nasa scientist. César “Papi” Castrillón switched from bass to retail sales, Carpio died and Guevara started a construction company.

But their music slowly built up a cult following and is now moving into the mainstream. The band reformed in 2010 after a 45-year gap, their records were re-released in Spain and they performed overseas for the first time – in Spain, Mexico and Argentina. They are in talks to play in the US next year.

Demolición has become a rebel anthem – and not just for the politically disaffected. “I heard a report from Mexico that the bosses of drug cartels drive into town in trucks with speakers playing it at full volume. That’s cool,” said Guevara, though he insisted the band were more naive than anarchic.

Perhaps because he is now a pillar of the Lima business community, Guevara claims the song was originally a joke about trainspotting. “Leftwing groups use it as a protest song, but we were never interested in politics. There was just nothing much to do in those days so I used to go to the station and watch the trains coming and going. I talked about it endlessly, which really irritated Erwin. That’s why he wrote Smash the Train Station. It was his way of telling me to shut up about the trains.”

It will take more than a plaque and a box-set to convince rock historians that Los Saicos were the first punks. In the early 60s, bands such as the Trashmen and the Sonics were thrashing out similarly furious tracks and Iggy Pop had formed his first group.

But Guevara said the label was unimportant. “I don’t know what ‘punk’ is,” he said. “We wanted to play rock’n’_roll but this is the sound that came out. I don’t know where it came from. It was just something that emerged when we started playing.”

 

Ver video link acá —-> http://www.guardian.co.uk/world/video/2012/sep/14/los-saicos-peru-1960s-punk-video