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Recording Details
catalog no: 8326812
Serialized collectors compact disc from France, though actually manufactured in Holland.
A review is available. The Tiki logo is not on the actual artwork.
Capitol Rarities - Stereo - 1995 France Compact Disc
- On the Capitol-EMI Rarities label
- Each compact in this series has a serial number
- This release is a reissue
- Recording History has more reissue details
- Yma Sumac's last Capitol Records recording
- Moisés Vivanco and his Orchestra Tipica
- First album by her to be recorded in stereo
- The monophonic and stereo versions were recorded separately
In FUEGO DEL ANDE, Yma Sumac pays tribute to her heritage, singing traditional and popular songs of both her Incan people and the of all South America. Yma Sumac's intense feeling for these songs and her unique four-octave range lend brilliant coloration to these authentic folk songs. And each song seems to welcome her interpretation.
Much of the credit for the dramatic settings these songs enjoy goes to Moisés Vivanco, who created fresh adaptions of and orchestrated the compositions for four electric guitars, electric bass guitar, rhythm guitar, mandolin, and a full latin rhythm section featuring many kinds of native Peruvian drums. Peruvian-born, his knowledge of native rhythms and instruments is extensive and first-hand.
The album includes such rhythms as the huayno, heard in Dale que Dale, Mi Palomita, and Gallito Ciego. The rhythm dates from approximately 1000BC and was a popular dance of the Incan people. Today it is the national dance in many South American countries. To most North Americans it will sound similar to the "boogie-woogie" rhythm.
Another pervading rhythm is that of the Peruvian polka which is heard in Gallito Caliente and Huachina . This version of the polka is believed to be native to South America, since it can be traced back in that continent's music for about 400 years.
Among other rhythms heard in the album is the Creole waltz, the underlying rhythm in Flor de Canela, Llora Corazon, and Clamor. It is to South America what the fox trot is to the United States - the basic dance. La Pampa ya la Puna is a tondero, an aristocratic, masculine dance (done, at times, with pistol in hand) that was handed down from the Spanish conquistadors to the natives over 200 years ago. It is basically a waltz, but one with accents on beats to which the North American ears are unaccustomed.
Many of the songs relate interesting folk stories. Gallito Caliente tells a barnyard version of the eternal triangle, in which a "superman" among fowls creates havoc with the hens. Callito Ciego tells of a lazy rooster who uses his blind eye as an excuse for making his hens work day and night to support him. Huachina is a name for a lake about 150 miles south of Lima, Peru. Legend has it that bathers in the lake are turned into blondes after one swim. Mi Palomita tells of four "toughs" who run away with a fellow's girl, or "pigeon." With the help of four hummingbirds he rescues her; but, as in many folk songs of the Andes, the lass is not too willing to return to only one man. This, by the way, is the only song in the album sung in Quechua, the Incan language.
Flor de Canela symbolizes latin beauty. The song describes woman as the color of seasoned wheat, with emerald eyes. Virgenes del Sol is the only selection in the album without lyrics. Based by Vivanco on earlier Indian rhythms, it is sung in stunning "vocalese" fashion by Yma Sumac.
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catalog no: T 1-1169
This Peruvian release of Yma Sumac's sixth album possibly dates back to 1959, though we are not sure. We are sure that this was her most popular recording there since it features folk music familiar to many people throughout South America. Interestingly, the liner notes are in English while Sou . . . 1959 Perú
catalog no: ST-1169
Sixth album, this stereophonic version had many tracks recorded separately from the monophonic versions. This was Yma Sumac's first stereo recording. 1959 United States
catalog no: T-1169
Sixth album, different recording session than stereo version on many tracks. 1959 United States
catalog no: ST-1169
Release from Venezuela of Yma Sumac's six album, recorded in 1959. Though not dated, we believe this pressings dates back to the original release from 1959. It is interesting to note that, though stereo masters were available, this release is in Duophonic, which was Capitol Records' simulated st . . . 1959 Venezuela
catalog no: T-1169
Only known release from Italy of Yma Sumac's six album, recorded in 1959. Though not dated, we believe this pressings dates back to the original release from 1959. 1959 Italy
catalog no: T-1169
This Brazilian pressing of Yma Sumac's last Hollywood recording was pressed by Odeon S.A. for Capitol Records and has a built-in vinyl sleeve protector on the jacket. 1959 Brazil
catalog no: CP80016
Only known release from Japan of Yma Sumac's sixth album, recorded in 1959. Though not dated, we believe this pressings dates back to the late '60s. 1969 Japan
catalog no: T-1169
Reissue of sixth album 1985 France
catalog no: 7243-8-32 681-2-2
Reissue of sixth album, monophonic masters used by mistake 1996 United States
catalog no: 7243-8-32 681-2-2
Reissue of sixth album, stereo reissue but not indicated as such anywhere 1996 United States
catalog no: 7243-8-32 681-2-2
Reissue of sixth album, stereo reissue, marked as such on disc only 1996 United States
catalog no: ECA-148
Reissue of sixth album, this is the only cassette reissue of this album known. Although there were stereo masters, this release is a stereo conversion from monophonic masters, which were recorded separately from the stereo versions. Not labeled to be Duophonic as such but clearly not ste . . . 1985 Perú
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