Viva el Sábado: Hits de Disco Pop Peruano (1978-1989)

When musical influences from two distinct cultural regions merge, the results are almost always fascinating, and that’s certainly the case here, with this endlessly entertaining compilation of sounds that shook up the Peruvian dance floors of the late 70s to late 80s. This release takes its name from a popular late-night TV show which ran throughout the period. Complete with disco-ball logo, Viva el Sábado (Long Live Saturday) provided much-needed entertainment during a time often referred to as ‘the lost decade’ – years which saw poverty levels in the country rise to a heart-breaking 55%. Little wonder, then, that the youth of Lima and elsewhere took so readily to this new and exciting music, whose infectious beats and glamorous image promised a world away from the everyday realities of economic deprivation and despair.

The music itself is wondrously addictive. Opener ‘Patinando’, by The Rollets, glides out on a warm breeze of synths before blossoming into a shimmering haze of bubbling melody, the whole floating over a shuffling, foot-tapping backbeat. The hook-laden vocals are smooth as butter, but it’s the overall quality which impresses, both in terms of production and performance, and that’s true for every track here. Although an admirably cohesive collection, there’s plenty of variety to enjoy, and almost all of the tracks come with intriguing back-stories. Take one of the earliest cuts on offer, ‘Caminito’ (Little Walk) by Santodomingo Kid. Produced by Luis David Aguilar, a classically trained composer known for his experimental film soundtracks, the song is anything but straightforward, with burbling synths connecting variegated instrumental breaks full of bouncing brass and jazzy piano lines. It’s one of numerous tracks which amply reward repeated listens.

Socio-political landscapes shape art, and it’s no coincidence that the start of Peru’s disco infatuation coincided with Francisco Belaúnde Terry’s assumption of the country’s presidency in June 1980, which marked the end of a two-year transition from authoritarian military rule to a democratically elected government. As well as new-found personal freedoms, the lifting of market restrictions allowed access to imported synthesisers which formed the backbone of the music represented here. Among the first wave to adopt the new sounds was Grupo América, who originated in the city of Trujillo in the northwest. A going concern since 1976, as with many of their peers, it was the adoption of disco, in this case via band leader Daniel Sánchez’ acquisition of a Minimoog, which paved the way to commercial success. Their track, ‘Amo a Susana’, is an absolute blast, rattling and swaying with stabbing horns and sparkling synth. It’s just one jewel among many delights whose return to the limelight ought to be celebrated. Bonus points to Buh Records for providing extensive and illuminating liner notes.