This is a modernized, slick arrangement of "Cholo Traicioniero," once a staple in Yma's repertoire during the 1940's.  A harmless confection, the piece is a sprightly, cheerful version of the original Andean song.  Although there is over-dubbing and choral extras, they fit better in this music and both manage to successfully contribute to the gaiety of the piece and provide suitable background noise.  Even so, because of the similarity to a Broadway production, this version remains less successful than the earlier, more simple and direct recording Yma made for Odeon in 1943.

The introduction blends flutes, percussion and brass for festive color.  An authentic Peruvian song, there are traditional, instrumental patterns that were re-scored for Yma's voice.  These include the rapid staccati descent from the high E flat, and a rise in minor thirds to the same note.  This last pattern was also prominent in "Taita Inty" (Virgin of the Sun God).  Yma's execution of this vocal rise tells much about her technique.  The passage happens twice.  The first time finds Yma gradually crescendoing to a forte high A flat.  She immediately diminishes the note to facilitate crossing the delicate high passagio (or transition) area of high B-C.  Because too much pressure was put on the A flat, however, her  placement shifts audibly as she continues her rise to a weak and tremulous E flat.  The next time the passage occurs, at the end of the song, Yma has learned her lesson and is more careful in her ascent - refusing to apply excess pressure to the A flat, thus making the rest of the climb more successful.  Although the final E flat is still wavery, she bravely sustains it, again refusing to apply any unnecessary pressure to the note.  Rapid staccati passages are clean, acccurate and easy.

The second section of the song finds Yma preceeding the theme with rhythmical accenting of the dominant of the key with "Boom-boom-ti-boom-boom," then singing the theme as "lai-la" with grace and good, driving rhythm.