Huanyo Music of Peru, Vol. 2: (1960-1970)

This collection of recordings on the label from 1960-1975 is the proverbial odd duck. Typically thorough liner notes fill in the details and anecdotal tales of how this label searched for groups little known outside their home regions. is the only big-name commercial huayno name here -- he pops up on by and makes his presence felt immediately. But the music here sounds very formal and controlled, with far less of the loopy, lunatic edge that marked the more commercial market-oriented tracks found on 's compilation. The tracks also sound very good, since sound quality was a priority, but the formality of the performances is surprising since the label wasn't on any kind of , ethnomusicology expedition. boasts loopiness with near-skank trombone blats and squeaking clarinets that resolve into great cluttered exuberance with handclaps adding to the lunacy near end. But that's an exception here -- the norm is a typical all-string band with some of those inhaled helium high voices, too. is a strong example in that vein, with its harp bassline and violins supporting the voices while a haunting guitar bassline anchors before handclaps signal a final burst of momentum. But oddities abound, too. The fifes and drums on the intriguing evoke similar lineups in Mississippi country, and the braying sax and accordion accompaniment to is definitely unique. Scratchy violins on create a feel so strong that you visualize the dancing, while and are downright, down-home strange, with a single relentless pounding drum, violin, and unmistakably Asian-sounding vocals. The boppy sports radical interval drops and a steadier bassline, while goes with a sax solo and an interesting arrangement. has a contemporary flair, as electric guitar answers the voice, goes off in stompin' style, and is a fairly bizarre closer with interjected voices and unaccompanied instruments, mostly trumpet. The last pieces are definite divergences from the norm and a little difference goes a long way with a style like huayno. There's a definite form that's usually followed and the sound can grate -- those helium vocals can be hell and they're not even that prominent here. The collection is still the best entry point, but is a strong collection and perhaps more valuable for those looking to find village or regional roots. ~ Don Snowden