Saturday, July 27, 2013

The Day After The Sabbath 34: Shafts of Strife and War [NZ pt.1]

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password:  tdats
This is a re-issue of Volume 34, a New Zealand special I did some time ago that has been unavailable for a long time. [Since then I have made a second NZ comp: Volume 90] I have added an extra track to this one, another from The La De Da's, and a lot more information on the bands. A special thanks must go to Bruce Sergent who's site has an amazing directory of NZ rock. I have also improved the cover art, it's a portrait by NZ artist Charles Goldie (1870-1947) of Tāmati Wāka Nene, a successful Maori chief who was influential in affairs during the signing of the Treaty of Waitangi in 1840. I still get a lot of requests to re-up this so here it is, and it has spurred me into action to look at New Zealand again...I have another hour's worth of new tracks now so expect the second NZ volume very soon indeed! If you are are interested in things Antipodean, check out the two Australian volumes I have done so far; 21 and 80.

Great Ngaruawahia Music Festival
Being a remote country with small population, the scene's pool of talent tends to blend with larger countries like Australia, America and the UK, where many artists were drawn to further their prospects for success. While there was very little of the heavier stuff I usually look for around in NZ at the time, there was plenty of good-ol' rock and roll, and certainly a number of guitarists influenced by Hendrix. It turns out one of most aggressive tracks here is one of the oldest, in Bluestar's 60s punky psych anthem 'Social End Product'. Similarly to Australia, the Yes/Genesis styles of progressive rock were very rare too. The closest examples I have found so far were Living Force (on here) and two more; Airlord and Think, who will both be on the next NZ volume. Due to it's secluded location it often took a long time for the heavier or less-commercial sounds to filter down, many big 70s artists like Led Zep and Sabbath had been established for years before they first visited the country to play live.

Poster of the
Great Ngaruawahia Music Festival
The first major outdoor event, The Great Ngaruawahia Music Festival, was not until 1973, but it was a good one....with Black Sabbath and Fairport Convention as the big international head-liners. Two of the artists appearing in this comp were also there, The Human Instinct's Billy TK (with The Powerhouse) and The La De Da's, along with others that I will include in the next NZ comp; Butler and Mammal. Ticket (on this comp) were billed but apparently didn't play, according to Wikipedia: "Ticket never appeared. They were scheduled to appear and to tour Australia and Canada with Black Sabbath but singer Trevor Tombleson had a throat infection and guitarist Eddie Hansen's 'beloved yellow rig' was blown up by Sabbath's guitarist [Tony Iommi] who was using it onstage without permission. Hansen refused to go on after that."

A quote from JPJ audio's site, who appear to have worked on the stage sound: "The Great Ngaruawahia Music Festival was held over 3 days. between the 6th and 8th of January 1973. It was the first major music festival held in New Zealand and attracted over 18,000 people. The venue, a farm about 3km north of the town centre, was a a natural amphitheatre and a perfect outdoor rock concert venue". Young festival promoter, Barry Coburn, recounts memories of Black Sabbath's cross-burning antics in an NZ Herald article here, and the full-size poster can be seen here.


01. Jesse Harper - Midnight Sun [edit] (1969)
       from album 'guitar absolution in the shadow of a midnight sun'
02. Ticket - Awake (1972)
       from album 'awake'
03. Dave Miller/Leith Corbett and Friends - 353527 Charles (1970)
       from album 'reflections of a pioneer'
04. The Underdogs - It's a Blessing (1970)
       from album 'wasting our time'
05. The La De Da's - How Is The Air Up There? (1966)
       from album "la de da's"
06. The La De Da's - The Place (1973) *NEW ADDITION*
       from album 'rock and roll sandwitch'
07. Space Farm - Space Farm (1972)
       from album 'Space farm'
08. Timberjack - Come to the Sabbat (1971)
09. Farmyard - All In Your Mind (1971)
       from album 'back to fronting'
10. The Bluestars - Social End Product (1966)
11. The Human Instinct - Black Sally (1971)
       from album 'stoned guitar'
12. Ray Columbus & The Art Collection - Kick Me (I Think I'm Dreaming) (1967)
13. Living Force - Hari Bol (1977)
       from album 'living force'
14. Jesse Harper - Jug-A-Jug Song (1969)
       from album 'guitar absolution in the shadow of a midnight sun'

Keith Newman | Bruce Sergent | NZ Music 60s-70s
Memories of NZ Musicians | Derek's Daily 45 | JPJ Audio
Dreams, Fantasies and Nightmares From Far Away Lands (Vernon Joynson)

Jesse Harper (Doug Jerebine)
Jesse Harper, who bookends this volume with two excellent Hendrixian tracks, was a pseudonym of Doug Jerebine, who started out in a number of underground NZ bands like The Brew. He recorded his (not released at the time) 1969 solo album 'Guitar Absolution in the Shadow of a Midnight Sun' during a stint in the UK, while there he played bass with Jeff Beck and formed the World Band with another Kiwi Mike Donnelly on drums. It's also said he played with Andromeda (see Vol51) too. I found a recent article here, that mentions his 1973 move to India where he bacame a Krishna monk for almost 30 years, and some words from the man himself here. There's also a 2012 interview with the man himself here. 

Ticket were one of NZ's early prog/psych bands that had success in Australia too, where they supported Black Sabbath's first tour. They were started in Auckland by drummer Ricky Ball (Ex-Challenge, Ex-Beatboys, Ex-Courtiers) and guitarist Eddie Hansen (Ex-Challenge, Ex-Revival). They relocated to Christchurch and fully developed their progressive psych sounds to the point at which they were ready for a stint in Australia, where they held a month-long residency in Sydney's Whiskey-Go-Go. They stayed in Oz longer than planned and recorded their second album "Let Sleeping Dogs Lie" there. They split in 72 after returning to NZ, reportedly due to Eddie needing a break from the rock n'roll excesses that were typical of the times. Ball, Hansen and Paul Woolright all played on Lindsay Marks' eponymous 1973 album. Ball was briefly in Band of Light (Vol54) before converting to Hare Krishna and joining Living Force (here later) with Harvey Mann. Ticket have played some reunion shows in NZ, very recently with other classic bands Dragon and Hello Sailor.

Dave Miller is a kiwi who moved over to Australia after leaving Christchurch's 'Dave Miller and the Byrds'; " of the best R&B cover acts to appear in the early sixties, faithfully reproducing all manner of Chuck Berry and Chicago blues originals on stage." and initially formed The Dave Miller Set. After they split three of them formed Blackfeather (Vol8). Leith Corbett (Ex-"Heart n' Soul"), another Kiwi, soon abandoned Blackfeather to work with Miller again on the 'Dave Miller/Leith Corbett and Friends' 1970 album ‘Reflections Of A Pioneer’ which '353527 Charles' is taken from. It's a varied album ranging from fuzzy psych, to contemplative instrumentals to hard rocking blues.

The Underdogs
The Brew links us to another band here, The Underdogs, whose guitarist Harvey Mann played with Doug Jerebine while in The Brew together. They evolved in Auckland from the Underground Blues Band in 1966. and quickly acheived a reputation as a wild live act. They played on the national TV pop show "C'mon!" and lasted until 1970 (with a brief late-70s reformation) after many lineup changes and an unsuccesful relocation to Wellington. Many members moved on to other notable bands, some of which also appear on this comp; singer Murray Grindlay went on to an incarnation of Cruise Lane (appearing on the next NZ volume), bassist Neil Edwards was in Human Instinct (this volume and Vol3) and Headband (next NZ volume), Harvey Mann later lead Space Farm (this volume) and Living Force (this volume) and finally drummer Glen Absolum played with Ticket (coming next).

The La De Da's (1974)
The La De Da's formed in Auckland in 1963 (first as The Mergers). They enjoyed reasonable success in both New Zealand and Australia, spanning the decades and changes in rock sounds, until their split in 1975. I have included two tracks here, the first is from their earlier pop psych days in NZ, and as a demonstration of how they changed, the next track is from their final album which was recorded in Australia after they had adopted the prevalent boogie blues style of bands like Chain and Buster Brown. Original guitarist extraordinaire Kevin Borich continued after the La De Da's with Kevin Borich Express and The Party Boys, won many Australian awards and played with many notable names like Renee Geyer (see Vol71).

Space Farm
Space Farm were formed by Harvey Mann (Underdogs, Ticket) and Glen Absalom (ex-Underdogs) with bass player Billy Williams. They started out as 'The Australasian Rock Squad' and recorded one eponymous album in 1972 which 'Space Farm' is taken from. A great outfit playing hard rock / power trio sounds. The full line-Up was Glen Absolum (Drums), Harvey Mann (Guitar), Billy Williams (Bass Guitar) and Bob Gillett (Saxophone). In February 1971, when the Underdogs, whom at that time consisted of Harvey Mann, Glen Absolum and Neil Edwards, released their "Wasting My Time" album, and it failed to sell in great numbers, Neil Edwards decided to leave the group and join Human Instinct. Harvey and Glen added a new bass guitarist, Billy Williams, and to beef up the sound, Bob Gillett was added on saxophone. Also required was a new name, so they became the Australasian Rock Squad. Bob Gillett had been playing with Breeze prior to joining. Billy Williams came from Classic Affair. In September 1971, Gillett decided to become a part-time member of the group, so they rechristened themselves Space Farm.

Space Farm LP (1972)
Space Farm only recorded one album for Zodiac. It was self-titled and released in 1972. This album was re-issued on the Little Wing label in 1989 under the name "Going Back To Eternity". The album was largely ignored by the public, but Space Farm continued to pull crowds and they remained at the forefront of the underground movement until their demise in 1973. Towards the end of the band, there had been drastic changes within. Harvey began to forego drugs and alcohol and these changes were reflected in his song writing and performances. After the group ended, Harvey took a sabbatical and when he returned to the scene it was as a member of the Krishna faith. He later joined Living Force with Glen. Billy Williams joined Ticket and Blerta before heading to Australia and great success in a number of Australian groups. In 2000 Ascension Records released their original album on CD.

Timberjack's track is unbridled, ridiculous fun, with great flute and string section production. They evolved from Wellington's Dizzy Limits and were a short-lived band that achieved chart success and infamy with their 1971 cover of Black Widow's 'Come To The Sabbat'. It reached number 7 on the national charts and was a Loxene Golden Disc finalist, which caused outrage from staunch church-goers. With good sales, no doubt spurred-on by the controversy, Timberjack seemed set for a full-scale attack on the country, but "Sabbat" was both highlight and swansong for the group. They split up before the year was out. Extensive Dizzy Limits and Timberjack information, with interviews, can be found here.

Farmyard - Back To Fronting LP (1971)
Farmyard were a Wellington group who were around only for a short time from 1970 to 1971. The lineup was: Rick White (Rhythm Guitar/Vocals), Tom Swainson (Drums), Milton Parker (Lead Guitar), Andy Stevens (Saxophone) and Paul Curtis (Bass Guitar). Rick White, previously of the Relics and Tom Thumb, started with the group but was later replaced by Bernard Lee. Their first single for Polydor in 1970 was "Learnin' 'bout Living"/"Da Woirks". It was successful enough to gain entry in to the 1971 Loxene Gold Disk Awards. A self-titled album was also released and came in a plastic bag with a poster. A second single "Nothing's Happening Here"/"Me, The Dog, Ma And Dear Ol' Dad" also came out in 1970 and was included on their second album called "Back To Fronting" released in 1971. Their third and last single was "Which Way Confusion Part 1"/"Which Way Confusion Part 2", taken from their first album and appeared during 1971. Both of their albums were repackaged in 1991 into a double album called "Looking For A Place" on the Little Wing label. After Farmyard disbanded, Tom Swainson joined Wellington underground band Arkastra in February 1972, and Redeye in 1976.

The Bluestars
The Bluestars began life as the Nomads around 1961. Murray Savidan and Roger McClay were school friends at Auckland Grammar, where they played at school concerts. John Harris was recruited on drums and his friend Rick van Bokhoven joined as a singer. When Roger McClay left the group in early 1964, a reshuffle moved Savidan to bass, Harris to lead guitar and van Bokhoven to rhythm guitar. A new recruit was Jim Crowley, who took over the role of drummer. At this point they changed their name to the Bluestars, the line now being: Rick van Bokhoven (Rhythm Guitar/Vocals), John Harris (Lead Guitar/Vocals), Murray Savidan (Bass/vocals) and Jim Crowley (Drums). Modeling themselves on the Shadows style of music, they started playing at church and youth group dance engagements, but after hearing the Beatles first album, they made a major change to their style of music. This proved successful and they started selling out venues around Auckland's eastern suburbs. While the majority of the music was covers, they did do some original stuff and in 1964 they were invited to record a couple of these as demos for Eldred Stebbing's Zodiac Records. Nothing seemed to come from this, so they continued playing the suburban dance circuit, steering clear of the inner city clubs. Still wanting to release a record, they engaged Terry Hayman as their recording manager. Terry claimed to have contacts at Decca Records in London. He was right, and he got them signed to Decca, making the Bluestars the first New Zealand group to score a debut record contract in Britain. They still didn't actually have anything recorded, so Hayman arranged for NZBC engineer Wahanui Wynyard to record some songs at the Radio Theatre in Auckland. Four songs were recorded during the session. They were "Please Be A Little Kind", "I Can Take It", "Just Fell In Love With You" and "Baby Come Home". Although a rushed session, a tape was still sent off to England. Decca obviously liked what they heard, as they released a single of "Please Be A Little Kind" backed with "I Can Take It" in December 1965. The single was released in Britain and the Continent, as well as the US, Japan and Australia. Whilst getting some favourable reviews, it was not a hit. Early 1966 saw its release in New Zealand. Receiving valuable airplay, it made it to number 12 on a local chart, but because they were only known around Auckland, it never featured on the national chart. But because of their new found fame, they started playing larger venues, to larger audiences. The group went back to the studio to prepare a follow-up single. Three songs were recorded, "It's The End", "S'pose We're Away" and "Don't Wanna Be Lonely Anymore". Unfortunately Decca didn't like any of them and rejected them all. That concluded their relationship with Decca. As an answer to this rejection, John Harris wrote "Social End Product". It was released on Allied International in September 1966 with "I'm Over Here" on the flipside. With the release of this single, controversy was never far from the group. Towards the end of 1966, Rick van Bokhoven decided to leave the group. He later joined a version of the Music Convention in 1969. Jim Crowley also felt like a change and gave up the drums to play the organ. In 1967, a new recruit was found to play drums. He was Eric Jackson, from the recently disbanded Jamestown Union. In order to be able to have a regular place to play, as well as their suburban dance gigs, they decided to open their own club. A venue was found in Remuera and was named the "Gallows". It was a short lived venture and because of noise complaints by wealthy neighbours was forced to close down hardly before it began. One last single was recorded for Allied International in February 1967. It was "I'm A Little Man" / "Sherlock Sweet". Almost immediately after that the group broke up. Jim Crowley moved to Sydney, playing drums for Matchbox in 1969, and the others drifted into other non music related careers. A CD of their songs has recently been released called "The Bluestars (not from Birmingham!)".

Billy TK, Larry Waide and Maurice Greer.
The Human Instinct 1970
The Human Instinct's track here was a cover of a 1970 single from a short-lived Australian band called 'Mecca', which has thankfully been posted on youtube here. Apparently Mecca had connections to bands Chariot, Kahvas Jute, Planet Alliance and The Rayders and I need to investigate them further... The Human Instinct was a continuation of the group, the Four Fours. The transition to Human Instinct began in 1966 when Trevor Spitz, founding member of the Four Fours, decided to leave when the other group members wanted to embark on a trip to England to seek their fortune and fame.

Trevor was replaced by 19 year old Maurice Greer. Hailing from Palmerston North, Greer had formed his first band when he was 14, and two years later joined Manawatu's number one group, the Flares Show Band. In 1963 Greer and his brother Frank opened their own Palmerston North nightspot, the Flamingo, and the following year Maurice formed the Big Three with ex-Flares Peter Knowles on guitar and Trevor Harrison on bass. It was with Big Three that Greer first used a restructured drum kit, allowing him to play while standing, to allow him to better handle lead vocals. In 1965 Greer formed the Saints, (not to be confused with the Christchurch Saints from 1962), with Doug Rowe on bass, Dave Hurley on guitar and Winston Cartelli on vocals. They played in the Manawatu area, but in order to get greater recognition they were soon gigging in Wellington, before moving up to Auckland, which is where Greer came to the attention of the Four Fours.

He passed an audition to join the group and his first recording venture with them was the very successful "Go Go". Within six months he was on his way to England with the rest of the group. Dave Hartstone had been planning this trip for some time and arranged for them to take up a residency on board the Fairsky in return for reduced fares to England. It was during that voyage that it was decided that a name change was required to something more fitting for a group about to conquer the hip UK market. Human Instinct was the name decided upon. Three months would pass before they got their first paying gig, but in the meantime they caught up with all the new sounds and what was hip in the fashion world. At the beginning of 1967 they auditioned for a booking agency. Playing an impressive version of the Beach Boys classic, Good Vibrations, they were successful over a number of other hopeful groups and soon found themselves gigging regularly, even landing a support role for the Small Faces on a tour of Northern England.

A recording contract was signed with Philips, who released three singles for them on the Mercury label. All songs were written by Dave Hartstone. The first release was "Can't Stop Around"/"I Want To Be Loved By You My Friend" in 1967. The "Can't Stop Around" song has often been referred to as "Can't Shop Around" and "Can't Stop Loving You". The single was not successful, but the follow-up "Rich Man"/"Illusions" received the following favourable review in "New Musical Express": "A pounding up-tempo piece with ear-catching lyrics and some weird guitar sounds. Self-penned and out of the ordinary". Unfortunately the review didn't help with sales and the third single release, a remake of the Four Fours "Go-Go" backed with "I Can't Live Without You" fared even worse. As a result, Philips terminated the contract, but they were immediately picked up by Decca for release on their Deram label.

The first Deram single in 1967 was "A Day In My Mind's Mind"/"Death Of The Seaside" and this was followed by a Byrds cover, "Renaissance Fair"/"Pink Dawn" in 1968. Human Instinct once again failed to achieve recording success in Britain and Decca soon lost interest in them. Most of the two years the band had been in England was spent on the road. It was not a lifestyle that Bill Ward was happy with so he decided to return to New Zealand. Dave Hartstone had no plans for leaving England, while Frank Hay also decided to return to New Zealand for a break. Maurice Greer was undecided, as he had been offered the drummer's seat with the new Jeff Beck band, the line-up which also included Rod Stewart. In September 1968 he decided to return to New Zealand to reform a new line-up with the hope of eventually returning to England.

Back in New Zealand Maurice replaced Bill Ward with a friend of his from Palmerston North, 21 year old Billy Tekahika, who had been with the Sinners. Billy was later better known as Billy TK. Frank Hay stayed for a short time, but when Maurice decided to take the band on a national tour, he decided to leave and was replaced by Michael Brown. During the tour Michael left to join Dunedin band, the Klap, and was replaced by Peter Barton. After the tour, a short residency was taken up at the Bo Peep in Auckland, before Greer, Barton and Tekahika flew to London in February 1969 for a second assault on Britain. When they arrived there, they immediately bought a massive PA and lighting system and attracted an audience who wanted to experience the mountain of sound. The group's repertoire at this stage was all original. Although Greer handled most of the vocals, the focal point of the trio was Billy TK, who was becoming a guitar legend in his own right.

The second visit only lasted three months, but during that time they did meet up with Doug Jerebine, previously with the Embers and the Brew. Doug was in England also trying to crack the London scene. He was there recording under the name Jessie Harper. Doug had impressed Maurice and in time Human Instinct were to record seven of his songs. On their return to New Zealand, they began recording an album at Astor studios in Auckland. About half way through it Peter Barton left the group and Larry Waide was brought in to complete the album. Released late 1969, the album was called "Burning Up Years". From it came the single "I Think I'll Go Back Home"/"You Really Got Me".

Work then began immediately on the second album. It was recorded in June 1970 and released as "Stoned Guitar". From it came the singles "Midnight Sun"/"Idea" and "Black Sally"/"Tomorrow". These were the only two of their singles to be released with picture sleeves. Below is both sides of "Black Sally"/"Tomorrow". Larry Waide left the group after recording the second album, as musical directions began to change. His position was filled in February 1971 by former Underdogs bass player Neil Edwards. No sooner had he joined and the group was back in the studios to record their third album. This was called "Pins In It" and was released in June 1971. One single, "Rainbow World"/"Highway", was issued from this album.

At the same time as its release, the group headed to Sydney for a three month tour. It was not a happy time for the band and at the end of the visit, Billy TK announced that he was remaining in Australia. This basically signalled the end of Human Instinct as a heavy rock band. Instead of replacing Billy with another guitarist, Maurice decided to go for a totally different sound and added Graeme Collins, previously with Dedikation, on keyboards. This configuration didn't last very long and in 1972 Maurice started again with a completely new line-up which consisted of himself, Martin Hope, from the Fourmyula, and John Donoghue, from Timberjack, both on guitar, and Glenn Mikkelson (also known as Zaine Griff) on bass. This combination concentrated on country rock.

From late 1971, Maurice divided his time between his music and nightclub construction with his brothers, Barry and Frank. They were responsible for opening quite a few clubs in Auckland, notably Hatchett's, Granny's, Shantytown, Ruby's Saloon and Croft's, as well as quite a number of  others around the country. Human Instinct released another single "Texas Sparrow"/"Children Of The World" in 1971 and two more albums. One in 1972 called "Snatmin Cuthin" and the other in 1974 called "The Hustler". 1972 saw a single on the Zodiac label called "Down The Hall On Saturday Night"/"Simple Man" and then in 1975 the final single on Family "Tropical Paradise"/"Dixie Holiday". Between 1972 and 1982 there were many combinations of the group. Others to have had a stint with the band were Phil Whitehead, Steve McDonald, Peter Cuddihy, Andrew Kaye, Chris Gunn, John Parker, Malcolm Weatherall, Len Whittle, Kevin Fury, Steve Hubbard, Murray Hancox, Stuart Pearce and Peter Woods. Around 1982, the Human Instinct was formally disbanded by Maurice Greer. After his time with the band, Billy TK went on to form Powerhouse. Recently the first three albums by Human Instinct have been re-issued on CD by Ascension Records, along with a CD of all of their singles.

In late 1975, when the line-up consisted of Greer on drums, Whitehead on guitar, Mikkelson on bass, and McDonald on keyboards, a recording session for an impending album was done. The group at that time had been playing together for around 18 months at the Shantytown nightclub under Auckland's Civic Theatre. Several months passed before a rough mix-down of the tapes were performed. By the time the sessions were finished, the Human Instinct had moved on to a new residency at Crofts and there style of music had changed, along with new members in the band. The project was subsequently shelved. In 2001, the session tapes were located at Stebbing's warehouse and a long slow process of restoring and re-mastering the tapes took place with the final result being the release of that 1975 album on CD called "Peg Leg - The Lost Tapes". Interview with STeve McDonald

Ray Columbus Kick Me
Ray Columbus - Kick Me 45
Here some info about Ray Columbus I found at Derek's Daily 45:"Ray Columbus was the first rocker to have a hit outside of New Zealand with his crack band the Invaders (his "She's A Mod" cracked the top of the Australian charts in 1964). A number of hits followed, and Ray & The Invaders were at the top of their game down under. Ray wished more than anything to get the band to the US, but was never able to get a work permit. However, around 1966 he married a California woman and ended up in San Francisco and local mods the Art Collection, featuring Richard Frost, became his backing group. I was fortunate enough to talk to Richard at the end of 2010, and he explained that the bay area had no idea what to do with this outlandish, extroverted New Zealand mod wildman! Ray self-released this record (with a re-recording of "She's A Mod" as the flip) and there is a very rare clip of the band performing this song in an SF teen club and they were incredibly powerful as a live act."

'Living Force' LP (1977)
The origins of Living Force can be traced back to 1973, when both Ticket and Space Farm were in disarray. Harvey Mann and Eddie Hansen had been friends for a long while, and had both tired of the hippie-drugs lifestyle. Along with Glen Absolum, they moved into an Auckland flat and began playing together, whilst cleansing their bodies of all the harmful products they had been used to consuming. They were also searching for spiritual happiness. After six months, Eddie Hansen went back to Christchurch, where he formed a short lived group called Rock Squad. But by the end of 1974, he was in Sydney playing with Phil Key's Band Of Light, with Billy Williams and Danny Davidson. In mid 1975, Hansen, Williams and Davidson had left Phil and returned to Christchurch, adding Trevor Tombleson to their line-up they formed Sky Pilot, a three month venture. While this was happening with Eddie, Harvey and Glen had continued practising with a variety of Auckland musicians. By mid 1975 they had settled on a line-up, adding Murray Partridge, Ivan Thompson and Gary Clarke, and calling themselves Living Force, they debuted at Maurice Greer's Auckland club, Croft's. Murray Partridge had been with Freshwater, Gary Clarke was from Carson and Ivan Thompson had been an original member of Dragon. They had only been going for a few months when Murray Partridge was replaced by Eddie Hansen. There were not many groups in New Zealand who could boast a guitar line-up equal to Harvey and Eddie, but it soon became evident that they were not into the style of music that fans had previously been accustomed. The lyrical content of Living Force was more concerned almost exclusively with spiritual matters, a joyous celebration of Krishna beliefs. Long, drawn out and mostly extraneous solos were the order of the day. Radio Hauraki had organised a concert in Auckland's Albert Park. One of the bands to play was Living Force, and after they had meandered along for over half an hour on one song, 90% of the 2000 strong crowd decided to leave. All that was left were the jubilant Krishna devotees. The boys in the band didn't seem to notice. Thirty minutes after the scheduled completion time for the concert, they showed no signs of finishing, so the power was cut off. Imagine doing that to Mann and Hansen in their hey-day.

Living Force
(l-r) Harvey Mann, John Pepper, Glen Absolum,
Mike Fisher & Matt Matepi
Living Force had a cult following, mainly made up of middle-aged hippies and Krishna followers. With this support, they managed to stay around until 1979, recording a self-titled album along the way in 1977 and releasing a single from it on the Atlantic label, "Jaya"/"Matter Monster". The group did have a number of personnel changes during their time. Ivan was replaced by John Pepper and when Gary left he was replaced by Matt Matepi. The other important change occurred when Eddie left mid-way through the album sessions, but was back with them by November 1977. In July 1978, they all flew to San Francisco, where they recorded an album's worth of material with Santana engineer Glen Kalatkin. Unfortunately nothing was to ever come from this material and they returned home in December with an additional member in tow. She was American vocalist Mona Hollguin. At this time Glen Absolum left and he was replaced by Mike Fisher. Hollguin soon returned to the States and in February 1979 Harvey Mann left and teamed up with Absolum to form Appaloosa. Before the end of the year, Living Force had disbanded.

Thanks again for listening. Kia ora!

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Saturday, July 13, 2013

The Day After The Sabbath 89: Pipa de la Paz (Mexico)

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Unzip password:  tdats

TDATS 89: Pipa de la Paz [Mexico 60s-70s] by Rich Aftersabbath on Mixcloud
As you have probably gathered by now from this blog, Latin Americans love their horn sections. This volume has some fine examples of where the brass melds with the rock to create that unique and Infectiously funky Latin sound, without losing the psychedelic heaviness. However, there is plenty more than just brass-rock on offer. [Editor's note: there have now been five Latin rock volumes: 118 (Chicano Rock) 84 (Brazil), 89 (Mexico), 104 (Peru) and 43 (general South America)]

Lucifer (1974)
Here's a quote from After Avándaro: the black hole of the Mexican rock : "An important point to understand is that the [Mexican] music's quality cannot be judged if it is not heard. The truth is that there were many excellent musicians, and several formations with extraordinary horn sections (closer to the afrocuban music of Lobo and Melón than to Chicago, Electric Flag or Blood Sweat and Tears) -- listen to Bandido, 39.4, Máquina del Sonido, La Tribu, Peace and Love, División del Norte, Tequila, Lucifer, Macho or The Klan. Other groups had more traditional lineups, but they also sounded stupendous, playing progressive, psychedelic, hard rock, pop, experimental rock, and the whole range of rock music."

Having only used the handful of more renowned acts for TDATS so far, like Los Dug Dug's, La Revolución de Emiliano Zapata and Three Souls in My Mind, I was very happy to discover a wealth of new names during my searches, be they prolific or short-lived bands. I ended up with enough songs to make a couple of volumes, so there's guaranteed to be another worthy Mexican comp in the future. Using the Brazilian volume (#84) as a comparison, which was loaded with the Tropicalia movement's traditional latin sounds, Mexico's proximity to the US may account for the numerous conventionally anglo-american rock influences appearing here. Most of them still have an exotic twist, even if it's just from the accents or the few endearing English language bloopers; El Amor's "This is the reason for...that I will leave her!" and The Survival's 'Useless Warefare' included.

Avándaro Festival
1971's "Festival de Avándaro" is regarded as "Mexico's Woodstock", and was an important event which established the names of many acts, while setting a national president for future festivals. As an indicator of how important it was, music of the era that was once generally referred to as "La Onda Chicana" soon became known as "Avándaro Rock".

Frivolities seen at the festival like drugs/nudity and free love made it appear out of control, especially due to it's unexpectedly huge and enthusiastic attendance, and concerned governmental authorities soon did what they could to curb the popularity of rock music that may encourage counter culture and a return to events such as the student protests of 1968. Five of the bands in this comp played the festival, along with some that I have used in previous comps and some that I will use in the future.

Having found it difficult to get English information on these bands, I have provided text directly lifted and Google-translated from the excellent blog Vuelve Primavera: El rock de los 60 en México which has been painstakingly created by Gus Zamora, he also includes soundbites of many songs and his blog has been invaluable for this comp, thanks Gus! Apologies for any bad translations, I will continue to clean it up.


01. El Amor - On the Midnight Bus (1972)
       from album 'angélica'
02. La Pipa de la Paz - La Pipa de la Paz (1971)
       from ep 'pipa de la paz'
03. Three Souls in My Mind - Dejenos Gozar (1973)
       from album 'adicto al rock n´roll'
04. Los Ovnis - Infinito (1968)
       from album 'hippies'
05. Los Spiders - You Are the People Help Yourself (1973)
       from album 'nuevas rutas en sonido'
06. The Survival - Useless Warefare (1971)
       from album 'la onda de the survival'
07. 39.4 - Detras de la Mascara (1972)
       from album '39.4'
08. Náhuatl - Machismo (1974)
       from album 'náhuatl'
09. La Verdad Desnuda - Halleliujah Everywhere (1971)
       from ep 'la verdad desnuda'
10. Grupo Ciruela - Nada Nos Detendrá (1973)
       from album 'regreso al origen'
11. El Ritual - Easy Woman (1971)
       from album 'el ritual'
12. Antorcha - Grass (1971)
       from ep 'la tierra'
13. Enigma - Under The Sign Of Aquarius (1972)
       from album 'enigma!'
14. Frankie, Alfredo Y Paris - No Name (1971)
       from ep 'no name'
15. Los Blue Jeans - Human Reality (1972)
16. Tinta Blanca - Salmo VII (partes I y II) (1971)
       from ep 'tinta blanca'

Vuelve Primavera: El rock de los 60 en México
After Avándaro: The black hole of the Mexican rock
Gusdan on RYM | Point Blank Games | Registro Personal
Dreams, Fantasies and Nightmares From Far Away Lands (Vernon Joynson)

El Amor - Gus's page here and lots more info in Spanish here.

The comp kicks off with a good'n heavy slab from El Amor :-

"Rock band formed in the late '60s, first with the name of the birds and were lidereados by Miguel Cardenas. This band from Monterrey, NL, participated in the "Youth Festival" held in Monterrey on 13/03/1970, receiving rave reviews and rave reviews from critics, so they decided to try their luck in the City where they recorded their first LP disc, and with the name of "Love" under seal "RAFF" which included versions of popular songs at the time.

The group resurfaced in August 1971 as "Love" also successfully presented in the TV program 'Always on Sunday' with Raul Velasco. After that appearance, were invited to participate in the legendary Avándaro Festival (incidentally was a presentation very unfortunate, but not bad) made on 11.09.1971, alternating with the "cream of the rock" Mexican time, with groups like the Dug Dug's, The Ritual, Peace & Love and the Three Souls in my Mind with jovensísimo Alex Lora, among others.
Love recorded several LPs sticking its first three recorded between 1970 and 72, although very record, were active during the entire decade of the 70s, and in the mid-90s with an album full of covers of Beatles music.

Finally, the group "Love" is named for the initials of the surnames of its members: Jorge  A lberto Vallejo,  M iguel Cardenas, O scar Vallejo and  R ogelio Gonzalez. Unfortunately, Oscar Vallejo died in 2003. For more information and pictures of the band, visit made ​​by my good friend Manuel Martínez:"

La Pipa de la Paz

I have been unable to find any constructive information on this psychedelic horn band's great records. If this kind of music is your bag you won't be disappointed with the album that is floating around on Soulseek/blogs etc. I think it is made up of two EPs and a single. If anybody can enlighten me please do, especially band members and the female backing singer, thanks!

Three Souls in My MindGus's page here

Hard blues with punk attitude! Later shortened their name to 'El Tri'. "What can you say about this group? Formed in 1968 in Mexico City and very active in the 70s, attended and closed the Festival Avándaro (as last song, thundered amplifiers and goodbye to the group and to the concert), were very active in the circuits of the "hoyos funky" in Mexico City, and many states of the Republic, and launched the careers of Alejandro Lora, who in 1983 decided to end the band and starting in '84 as" El Tri "(and this is another story included Carlos Hauptvogel keeps the rights to the name of Three Souls).

They start playing rock'n'roll and blues and interpreted his songs, both in English and Spanish. They are inspired, it is said, in one of the most versatile rock bands of the mid-60s in Mexico: UFOs (his guitarrsita Ernesto de Leon performed at this group from 1968 to 1969).

After his experience in Avándaro decide to play rock city (as did the southern bluesmen U.S. migrating to Chicago) and its themes reflect the daily everyday life of the Mexican people criticizing the way, the government and politics (very risky in a time of harsh criticism of youth, after the events of '68 and '71).

They have had countless musicians who have passed through the group, but include Alejandro Lora, Ernesto de Leon, Carlos Hauptvogel, Sergio Mancera and Arturo Labastida, also coming to play with them, Lalo Toral (ex Locos del Ritmo and Los Yaki).

There is an official website of this group, but their blog is the best thing I have seen and widely recommend:"

Los Ovnis (The UFOs) - Gus's page here

"The story of "UFOs" started around 1961, when brothers and Ishmael Hector Velazquez, Jorge del Razo, Jaime Perez Ruiz and Armando Vazquez (vocals and undisputed leader) form the set 'The Teddy Bears'. Their sound was very deeply influenced by American groups most especially the time stamp 'Roulette' which was broadcast in Mexico rather incisive. Proof of this was his first hit (the single Do not go ). As a result, his record company (Discs Chorus) puts them on tour around the country encouraging college parties,  beat clubs  and more. 

Even still recalls the vivid appearance of the group in Mexican television program Saturday morning 'Merry Saturday' in which the singer Armando "... was thrown to the ground like a man possessed that young people called Rock & Roll ". In the same show as The groups often acted Beatnicks, American Analog Set Boys, Los Loud Jets and many others.

Bored and frustrated to interpret 'standards' and pop songs of the time, close the stage with Teddy Bears album dissonant versions of (mostly) the Beatles with a sense of humor, as is noted in most Mexican groups the time, not to pay homage to Liverpool, but rather as himself says Armando Vazquez. In 1965, changes in the formation and change the name of the band for a much more appropriate for what you had in mind ... "UFOs", very cool with the explosion of the genre "sci-low-fi" of that time. 

They add to the ranks of the very "cool requintero" Jorge Gutierrez who came from The Blue Caps, Excellent group disintegrated after the death of their frantic singer René Ferrer. In mid-1966 he joined another group no less brilliant guitarist, Ernesto Jesus de Leon Rodriguez, who after the dissolution of UFOs, be part of such important groups as "The Sound Machine" and "Three souls in my mind ".

The Ernesto was impressed so much by the sound and aesthetics of UFOs, to which he had the opportunity to see live on coffee "Tiki-tiki" described by him as ".. a shop located in a basement and as descendías the stairs you were immersed in an atmosphere breathing rock'n'roll underground on all sides. " Later, even spearhead an important and iconic rock festival at the National Auditorium with Los Yaki, The Sparks, Los Dug Dug's and many others ...

A contract with the brand Eco allowed half dozen albums recorded between 1965 and 1968, and a handful of singles (with faces 'B' unpublished). All their albums (especially the top 5) are recommendations ... and this time the group, including current issues like Venice without you, and other atrocities, but also included great covers of Paul Revere & the Raiders ("Kicks' which is a cover of 'Kicks' from that group), The Animals (Here comes the night = 'Here comes the night') or Lee & Nancy (The shadow of your smile, say Lee took the ideas of production and arrangements for the theme of the movie star The Sandpippers). The 1968 album "Hippies", the last of them, is one of the most sought disks among avid rock collectors hairy Hispanic-American, quite measure up to other great albums of the continent as 'Virgin' Sound Traffic Peru or 'The conference ...' the Shakers of Uruguay, but that is another story."

Los Spiders - Gus's page here

The Spiders featured an american singer, and a keyboard player called Servando Ayala who was also in 'La Fachada de Piedra' (The Stone Facade), La Revolución de Emiliano Zapata (see Vol85) and 39.4 (appearing in this comp).

"The oldest group of Guadalajara, after being learning to run their instruments in 1961 finally touched first in the fifteenth year of the sister of his buddy (friend) Single Jesus, there in the Mexican-American Cultural Institute of Jalisco .

Then Chon's house, searching name for the group settled on the name they bear to date: The Spiders. Thus began the legendary career that is not over. In 1963 Musart recorded for 'Play Girl', 'From you I fell', 'No way' and 'Hi ho silver'. In 64-65 presented at the cafes most important of the time in Mexico City.

In 1969 they recorded what many consider his greatest success: BACK. In 1970 he appeared in television Mexico City. In 1973 they recorded the album 'New Routes' and 74 recorded another lp ..... and for better information, visit the website of "the black hole of mexican rock and roll":  (information provided by Alberto Cruz 'Avandarito'). Also read the page  which is more complete information about The Spiders, made ​​by my good friend Manuel Martínez.

The Rock and Roll Group  "The Spiders"  initially consisted of the following elements: The brothers Manuel and Guillermo Olivera who played the bass and drums, respectively, "Chon" Martinez on keyboards, Carlos del Regil Singer and "Tuky" in the clarinet (Reynaldo Diaz).
They recorded six songs in Spanish on an EP (45 rpm acetate with two songs per side) and a single 45 rpm. Subsequently left the group Chon and Carlos taking his place Servando and Tony to record their first LP which includes the well-known "Back". To date Tuky Manolo and continue in the group and occasionally make presentations at festivals that are held occasionally. (Information provided by Jorge Espinoza).

Members of the  Spiders  who achieved the first records were:  Manuel Olvera,  Low,  Reynaldo Diaz, guitar, harmonica;  Antonio Vierling , guitar, singer,  Servando Ayala , piano, organ and  Enrique Chaurand , battery. (Information provided by Joseph Edgar Moreno).

Finally, says Arturo Lara: "Another sad news, died in Guadalajara Reynaldo Díaz Vélez, 'The Tucky', native of Tepic, Nayarit but settled since childhood in Guadalajara. Rocanrolero pure strain, and the beginning the place to establish the group "The Spyders" in 1961, in time, become "The Spiders".

Musician creative and committed to the original rock. Remained in effect almost to death. Soon will present a biographical sketch. Descance in Peace. - Arturo Lara ( Similarly, Arthur's death told me two other members of The Spiders: Andres Villa and Fernando Romero."

The Survival - Gus's page here

"Not much about this band. I leave this hope you like it: "This band Avándaro season was a Mexican band called specialized in blues rock and acid formed in the sixties, because so many lineup changes that took the group they named" The Survival "or" Survival " and already has a fixed alignment, the group consisted of:

Luscher Andrés Fontana - drums and vocals
Joaquin Ramos - lead guitar
Luis Ramirez - bass
Oscar Vazquez - rhythm guitar

With this line, near the Swiss Luscher Andres Fontana, the group released their first and only album entitled "La Onda de The Survival" in 1971, which had a very acid rock movement influenced West Coast of the United States (the Rock Bay area of San Francisco and San  Survival5Jose) and British blues, I would say it is a combination of Country Joe and the Fish, Quicksilver Messenger Service, the Fraternity of Man, Savage Resurrection, Mountain Bus, CCR, Grateful Dead and Ten Years After, despite being a masterpiece, at the time (and to date) for some "experts "is a bad album, but the group do a great job at the level of the bands mentioned, after this, the group split and the only plate that was launched into oblivion (like many others), but it really is a GREAT MASTERPIECE."

39.4Gus's page here

"Another large group of Guadalajara, classic rock of the late 60s and early 70s with good sound "brasshead". Most tapatíos groups such as The Revolution of Emiliano Zapata, The Spiders, The Stone Facade, Solemnity, The Fifth Vision, etc., had classical formations rock group, 39.4 was the exception and other bands matched sides of the Mexican Republic, to have its horn section.

Only an LP and a simple diametrically differing musical concept .... therefore that the original LP is one of the most sought after in the market.

 39.4 Group 239.4 had thundered and when it was formed as the band Bandit, with whom they were Luisillo Arciniega Luis Vicente Rivera (trombone), Jose Luis Guerrero (Sax and transverse flute), Ignacio Rodriguez (trumpet) Eugenio Keno Guerrero (bass) and Efren Bear González Olvera (guitar). Soon after, reassembled and produced the LP presented here. 39.4 changes followed to its end in 1976.

Brizio Guillermo Domínguez Willow (Lead guitar) et al. Guest musicians: Lissa, Nene, Tessy, Marilu, Memo, Azhul, Ernesto, Lolo, Chemo, Jorge, Siso, Jorge, Servando, Beverly (vocals); Guadalajara Symphony: Jose Padilla, Victor Padilla, Antonio Alvarez, Carlos Pichardo, Agustin Uribe, Antonio Chavira, Isabel Navarro, Ramon Becerra and Jose Bautista (violins, violas, cellos, double bass and harp)."

Náhuatl - Gus's page here

I have used Nahuatl once before back on Volume 5 with their 'Mexabbath'-sounding track Evolucion. In August 1972, three musicians (Ricardo Ochoa (gtr), Ramon Torres (bass) and Carlos 'Bozzo' Vazquez (drums) from the band 'Peace and Love' formed Náhuatl. Their music had nationalist traces that were discernible from both their name and lyrics. After performing at Avandaro as 'Peace and Love', they performed as Náhuatl at the Cuernavaca and Querétaro festivals in 1973. They also backed singer Enrique Guzman on an album 'Los Grandes Anos Dell Rock and Roll' in 1974.

After disbanding in 1977 Ramon went to Monterrey where he formed 'Magic Company' and Ricardo joined 'Kenny and The Electrics'.

"It was in the month of August 1972 to three excellent Mexican musicians from the band Peace and Love enliven Nahuatl (Ramon Torres and Ricardo Ochoa among them). From the beginning caraterizan by strong nationalist entity that is reflected in his name and in the lyrics of his grounders.

Equipped with a style that ranges from psychedelia of the 60's heavy rock of the early 70's are considered along with other Mexican rock groups as true masters of hard rock.

 Nahuatl Participated in the Festival of Valle de Bravo in 1971 as members of Peace and Love and you like Nahuatl festivals in Cuernavaca and Querétaro in 1973. They recorded two excellent albums with covers of rock and roll of the sixties, accompanying Enrique Guzman (such discs are quoted by the way, given its rarity) and Henry also participated in some television appearances.

Similarly, in 1975 played on a disc recorded by Manolo Fabregas .... do not think I sang rock, was a monologue by actor and theater producer, with a libretto by Mimì Bechelami and was the musical in which the group is involved Nahuatl ( another rarity album titled 'Talking to my children "edited by Swan discs / RAFF in 1975.

 GuzmanynahuatlcolorIn 1974 participating in the national OTI Festival in 1977 the group disintegrates, leaving Ramon Torres to Monterrey where it forms the Magic Company while Ricardo Ochoa along with Kenny  Kenny enliven Avilés and the Electrics in 1980. Some songs like  Coca Cola  and  have to climb  were never published because they have been banned censorship.

Guitar and voice: Ricardo Ochoa
Bass and vocals: Ramon Torres
Drums and vocals: Carlos "Bozzo" Vazquez
Vol II keyboard: Omar Jasso and
Choirs in Vol II: Kenny"

La Verdad Desnuda (The Naked Truth) - Gus's page here for a lot more info on this band.

Time for a charming mellow ballad from a very small band that apparently shared singer Luis Pérez with the band following this, Grupo Ciruela. "Data from this group, I handed them my good friend Manuel Martinez (RIP), and published on his website on Avándaro. Is the share: here. Greetings, GZ.

100% psychedelic group that only released an EP. Also on the compilation album Vibrations September 11, 1971 (Volume 1) are two of his songs on the EP. They came to play in several places, especially in schools of higher education, as recorded in Dimension Magazine March 1972, which mentions a festival in Zacatenco, National Institute campus Poltécnico.

"We came when he was playing the Naked Truth, which was very relaxing people, while stuck in your wave.  The big chatter was great, because there were about four thousand people three and play calm. The Naked Truth announced that finished and received a great applause. They said they were going because they had to llegrle the theater for playing in the play Black Jack, which certainly brings good chatter "(sic).

Musicians: From left to right in image, Michael Esparza, "El Gallo" [under] Cecilio "Chilo" [organ] Luis Perez, [composer, guitar and vocals] Tomas Red or Red [drums]. Note: Luis Perez was also voice and flute at the Plum group and missing the correct data Cecilio and Thomas.

Tracks recorded on "The Naked Truth" (Phillips, 1971, EP)

01. Hallelujah everywhere  (Luis Manuel Pérez Arellano)
02. Illusive world  (Luis Manuel Pérez Arellano)
03. A babe into the garbage dump  (Luis Manuel Pérez Arellano)"

Grupo Ciruela (Plum Group) - Gus's page here

I had a tough time choosing between my two favourite tracks on Ciruela's first album, here's the other song I really dig, it's not as long or filled with the variety of the one I went with "Nada Nos Detendrá" (Nothing will stop us) but it rocks like hell; Padre (Father).

"Nada Nos Detendrá" is a fantastic track, unpredictable, heavy and aggressive like a rampaging punk. There's even a couple of small heavy metal harmony-guitar solos.

"The city of Reynosa, Tamaulipas was the birthplace of some important groups like "Los Angeles Blues," which later would adopt the name "The Yaki", the band "The North Division" led by Roux Wayo popular singer, who also was owner of "Alaska" - exclusive nightclub prestigious rock of that entity-and by the way "The Division" was presented at the Festival of Avándaro replacing "The Tribe" of Monterrey, Nuevo Leon, who could not go for commitments made previously.

The third largest group is "Ciruela" who belonged to the record company "Cisne Raff" label, which covered many of the groups that formed the musical Advanced 70.

 Ciruelacuarteto"PLUM" was composed after the prominent guitarists Cal and Billy Cesar Valle, and current bassist and TV producer, Sergio Saul Soto (later played in the band "La Raza") Guillermo Garibay drummer and vocalist Daniel Valens known as "brother", who currently resides in San Miguel de Allende, Guanajuato. He also played the flute with them, Luis Perez, who played with The Naked Truth.

Their audience was limited to popular tardeadas took place in the ballroom as the "Chicago", the "Chuck" and "Always the Same" 8th Avenue. Only they cut an LP and two singles discs, which by their rarity, are sought after by collectors not only in Mexico, but also abroad (Germany and Japan, mainly).

Voice: Daniel Valens "BROTHER"
Guitar: Cesar Cal
Guitar: Billy Valle
Bass: Sergio Saul Soto
Drums: Guillermo Garibay


El Ritual - Gus's page here

"This group, although in the early 70s, started in the late sixties as 'The Graveyard' (search for them this blog). I leave this sketch waiting like it. Also have a blog on My Space site if they want to visit, the site is: . Greetings: GZ

Considering quality in both creative and interpretive musical as well as the projection scenic and special charisma typical of a rock group, would have to qualify "RITUAL" of Tijuana, as "THE BEST ROCK BAND OF ALL MEXICAN THE TIMES ".

They came to Mexico in 1971, months before the celebration of the historical Festival Avándaro which involved without much success, as they had to face serious problems of audio and especially lighting.

Its members were: Frankie Barreño (guitar, flute and vocals), Gonzalo "CHALO" Hernadez on bass: Alberto Barceló "LALO" (drums) and Martin Mayo (keyboards), - the latter two had previously been in Mexico with Tijuana grouping "The Graveyard".

When disappearing prematurely left his work unfinished maxima, the rock opera "THE LAND OF YOU TALK" and his discography is an album of original music highly prized in the market, and an isolated issue (which is not the best of them) , which only appeared in single 45 RPM disc entitled 'TABU'.

Thanks to its quality, shortly after arriving in Mexico and headed all the posters that were presented in sets of that time. His facial makeup drew attention because it used a lot before they appeared on the scene groups like KISS and ALICE COOPER. (Source:  and equally, thank Ramses , Heavy Blood, for the last photo of the group)

I leave this anecdote shared by Victor Moreno: "The encounter between Julio Alemán and El Ritual are a couple of anecdotes fashion theme to the TV show was Avándaro Festival and for that reason had a skit where Julio Alemán arrives home and finds his wife very involved in the wave "Jipi" rock and lightened all that the master of the house will cause a big upset but the straw that breaks the camel is that in your bedroom is a rocker was none other than the same Frankie Bareño, guitarist and singer of The Ritual, whom Don Julio misses his home for having cheated on his wife, but not before shaking him so funny.

The Ritual was distinguished among other things by the makeup they used in their presentations (two years before there Kiss) and out of the dressing room to go to the TV set in the corridor intersect with Ms. Olga Guillot who had just sung and seeing them put a surprised face as if he had seen the Devil himself and only reached to comment "Oh boy!" It was the Mexico of my memories of 1971 ".

Barreño Frankie  (voice, guitar and flute) 
Hernandez Gonzalo "Chalo" (Low) 
Abelardo "Lalo" Barceló  (drums and vocals) 
Martin May (Keyboards) 

About the group, I leave this interesting anecdote by Francisco Moreno group, then a member of Medusa : "With the long play virtually completed only those of the Ritual falataba they put the final touches, like a guitar or organ boblaje on some songs or correct a choir. was in that vein they came to add an introduction to Satan where Frankie recites an ode to Lucifer.

For atmosphere to the sounds of thunder decided to include wind, violin and piano dissonances, laughter gruesome and creepy organ. For recording engineers this was a problem as there were limited channels assigned (was 1971 and there were only 8 channels) and everything would be done in one shot for what they did know it or writing organ Martin or recorded piano, there was no time for overdubs.

It was so decided I did the organ while Martin was the piano. In the laughter Javier and I are also members of the Ritual of the same way in the voices that are heard during the drum solo. another who recorded with them was the percussionist of the Factory of who can not remember his name only his nickname, we all knew as Toby. He plays the congas in Groupie and Satirical Pilgrimage ".

The ritual martin, frankie, Gonzalo, lalo"Returning from Avándaro those of the Ritual were applied to conclude the recording of their LP. Already had playing on the radio in the Sun and the face of God and the song that became his calling card, Easy Woman. To Javier and I be present at their trials gave us the privilege to know this track from Frankie took to show to their peers and mount. Originally the song was called bitch because convenenciera talks about what society is. Pictured from left. to right . Martin May, keyboards, Frankie Bareño, guitar flute and vocals, Gonzalo Hernandez, bass and vocals and Lalo Barceló, drums and vocals.

Obviously at the label permitierion not use that name and so renamed it. Interestingly when it went on sale which ultimately would be his only full-length, able to accept the label present in gatefold format, privilege reserved only for foreign records. Based on the cover of King Crimson's first album made them work very questionable graphic art as they shot this cover and put the picture of them copied from one of Grand Funk, Closer to Home disk. Being a home with so much interior space to build in impportante information as their names and pictures and even the lyrics of the songs, the creative team by Armando Molina representative rather mediocre put some drawings that have nothing to do with the context disk and also referred to themselves as the authors of the drawings anywhere but the credits of the members of the Ritual. Failure historically unfortunate that continues to this day with the CD version of the record where Denver also will change the name to some songs. "

Antorcha (The Torches) - thanks to Gus's page and Point Blank Games

"Originally called Broken Souls, shortly after Las Antorchas, and finally Antorcha, they decided to struggle independently after the disappointment of not having fame and fortune with their record label company. Formed at the beginning of 1969 by Victor Manuel Motta Aviles (drums and vocals), Guillermo Motta Avites (keyboards and guitar] and Omar Cortes Gavino (bass & vocals) accompanied in certain recording sessions by guest musicians: Mario Salazar Hernandez (keyboards and vocals) Antonio Salcedo (drums), and Eduardo “El Tortas” Bastida (speaker).

Unlike their first phase, they decided to use a harder and protestant style. With an Acid Rock, sometimes with Latin accents, with lyrics in English and in Spanish like the rest of the Mexican groups used to do it at that their musical growth was evident. They produced five Extended Plays (EP) one LP titled "Anarquismo" in 1976 and one cassette fitted "Antofcha 1965-1976" remembering their complete career period, They took charge of the distribution and promotion of their records everywhere in parties, ballrooms, radio broadcast and TV network presentations etc."

"Group that began in 1965 and was active until 1976. Recorded a single disc (S-45 2123) with the songs "Last night was" and "A little bit more". After several personnel changes, name change after "Torch" and have an excellent working period, although their songs are canned after the events of Tlatelolco in 1968. Then leave the following review:  "Group started in late 1964 and early 1965 by two high school friends: Omar Cortes and Bernardo Minerva, joining after Jorge Gonzalez and Victor Motta.

After many attempts, they get to play at local parties, the neighborhood or the colony, fifteen years .... and blanks serves mainly playing cover songs of bands like Sam Cooke, The Animals and many more, both the United States and Ola nascent English. They begin as The Broken Souls, until they are hired that is where you decide to rename Torches in 1966.

After being hired by Choir, joins Fernando Morales and began to make presentations on the Live 1966 radio, touring, trials in the recording studio, plans to exclusives, and arrive at radio festivals promote them to bring youth and inns as a "reward" if marked the listeners, and being so young, it accepted as advantage to test material from other singers and start writing their own material, the same that was canned until they decide to publish some of that material, in EP's independent, in the early 70, until in a special edition of Choir, was published an excellent CD with most of these issues.

The year was 1968, the rock group Torches , encontrábase in a trance that ultimately end with an entire renovation and even a name change that would end up being Torch.  Indeed, the group  Torches  had changed. Minerva and Jorge González Bernardo chose to leave the group, Fernando Mercado was recovering from an illness that away from the group for several months. William Motta, meanwhile, had joined the group filling in for Jorge Gonzalez, and Victor Motta had passed from keyboards to percussion seeking to fill the gap left Bernardo Minerva, the former drummer for the band The Torches, being Omar Cortes the only one who remained immovable in his bass position.

So, the unique sound of the band suffered a notable shift, as the interest of its active members by paying attention to their own compositions forgetting a little of the sickening trend imposed by the  artistic directors of beating by shooting melodies of groups other countries to, putting a letter in Spanish, burn seeking  promotion  through them.  What was intended from the time, was to emphasize his own compositions, purpose that was neither understood nor shared by the  staff  of  art directors .

The song originally recorded pretended, was called Tell me, and consisted of a complicated  set  of voices and choirs that while the theory worked perfectly, this was not true in practice, since in matters of choirs and voices we were we say very skillful.  thus to reality and after several failed attempts to make a success of our  membership , we had to make severe changes, nearly a  major surgery , the song in question, and came to be  The place , finishing Omar Cortes interpreting the  first voice .

Also got to participate to play at the Palace of Fine Arts, invited to the event held there after the death of Manuel Acuña, touching a theme, simply titled "In Memoriam" which was a big hit at the event and not only played more three times in his career and is a gem of collection, while not having a studio recording of this issue (it was recorded on a portable tape recorder, forgiving the rebundancia).

After several changes, is in the 70's where you and your best stage as musicians, even when they became trio, highlighting issues such as Grass, In the Garden of Eden, Unfinished Sodomáquina, El Bracero, Earth, Amiga, among other topics , and continue to give presentations in places where you get to hear best album, which was in places like Cuernavaca, Tenancingo, Huajuapan de Leon, among others. In case you want to know more about them, I recommend the website:"

Enigma - Gus's page here

I previously used a track from the first Enigma record 'Enigma!' (1971) back on the doom Vol62, and here is the track 'Under The Sign of Aquarius' from that LP.

So far I have only been able to get access to the first album and there are some real heavy stompers on there like: 'Call of the Woman'. Apparently they made one or two more albums after that. Please let me know if you have them, thanks!

"It was the late 60 that the group "Las Ventanas" takes determination, after recording three albums of covers, recording their own music under the direction of Joseph G. Cruz is moving towards heavy rock in which they develop their style until their record company decided to launch the group to market but now with the name "ENIGMA".

In 1971 at the height of the movement called "Chicano Rock" announce their new album which stands the dime "Under the sign of Aquarius" is recorded in English and Spanish and obtained wide acceptance.

Its original members were:
Guitar:  Carlos Gonzalez
Bass:  Pablo González
Voice:  Sergio Gonzalez
Battery:  Hector Zenil

Among their albums, the highlights are Enigma I, Loophole, Purple, Enigma Live and Hard and heavy."

Frankie, Alfredo Y Paris - Gus's page here.

"In the neighborhood of El Retiro, there was a group called the Atoms, where he played bass Alfredo Pérez Ruiz , which was associated with Francisco Frankie Ocampo Murillo , just back from California, who brought a Fender complete with reverb and amplifier brand Silverstone .  Along with Jose Reyes on harmony and José Manuel Paris Reza Rios on drums formed the Alma Soul (Soul 4).

When departing Jose Reyes formed a guy named Frankie, Alfredo and Paris, as follows: Francisco Frankie Ocampo Murillo: Voice and guitar, Alfredo Pérez Ruiz: Bass, José Manuel Paris Reza Rivers: Drums.

Frankie, alfredo, Lucifer paris in GuadalajaraThey played in casinos such as The Forum, Agua Azul, Discoteque of the Fiestas de Octubre, Munich and others.  recorded an EP excellent Musart disk with the data listed below:
Frankie, Alfredo y París
Musart, 1971, EP 

01. No name
02. Bossa Nova en AM
03. Let´s be good
04. I don't care

Frankie alfredo and paris bynIt should be noted that all issues were written by Frankie, Alfredo and Paris.  After this EP, reaching a record Musart also simple, with items  not name and I do not care  who unfortunately, it was not by lack of promotion.

Continue performing in various parts of the state of Jalisco and parts of Mexico but not much luck contracts for more records. At exit Alfredo Pérez Ruiz, the remaining two elements came together with brothers Mario and El Chepe Pulido Chester group, to form the group 'Mariashi', which lasted eight months playing Rhythm & Blues.

Upon dissolution of the group, joined Jaime Bizarro to Frankie and Paris , to form another trio, Frankie, Bizarro and Paris, reaching the initial success of the other group. They recorded an album in the brand Gas, a single with the song In the sunshine and Chile , with lyrics in Spanish, but with a restricted distribution. Subsequently dedicated to another genre of rock away, and were in the history of Mexican rock. Text taken from Guadalajara and rock (50-70), Miguel Torres Zermeno, 2002. Currently, still active Frankie, Bizarro and Paris. If you like to know more about them visit their website:"

Los Blue Jeans - Gus's page here.

"Now I played the theme of The Blue Jeans Puebla, Pue., I commented that it was two issues but to do the research, these issues would be those recorded these Blue Jeans, Guadalajara, Jal., Which were more rockers (but not rock and rollers) for having been his best stage between 1967 and 72.

Blue jeans pose 2 These Blue Jeans, begin in the center of Guadalajara, when a group of friends are filled with rock'n'roll fervor that began to flood the Mexican radio.

These friends get together and start playing at parties and private meetings ... they were Salvador Solórzano, "The Pancholín" (Francisco Garcia), "El Tato" (Luis Octavio Chavez), Raul Ortiz and Enrique Chaurand ... although came to join them, Alejandro Colunga, Juan José Zabalgoitia, Jaime Solorzano (brother of Salvador) and "El Pichi" (Fernando Avila), using Gibson guitars they had.

After several trials and especially after a presentation at the Lions Club debuts with the group as lead vocalist John Joseph, as before touched many instrumentals.

 Blue jeans gas ZIP Choose to be well one more time, until it becomes to reform the group, and in 1966, when the group is most famous with his training: Juan José Zabalgoitia (Harmony and voice), Jaime Solorzano (bass), Enrique Chaurand (Battery ) and Sergio Munguia (Eb).

The name, it puts a group of "fans" when they were invited to perform at an event, they were all denim and to inform them that it would be nice to be "uniform", and the same with denim go, they decide to send print invitations as 'Blue Jeans'.

After this event and many more, are beginning to gain some local fame and are invited to participate in the "Move it all" Local Channel 4 (the same program that came The Fugitive or The Jets Nogales) and to be hired again moving new items. Henry leaves to join The Spiders and Sergio. In Pedro Calvillo on drums who is with them until 1967, recording a single with the songs "Say" and "San Francisco".

 Blue jeans folkloricThis is where many of hiring them out in the Lions Club, French Club, Lebanese Club, in hotels, in the Parque Agua Azul, as well as presentations on various radio stations and, therefore, have different members entering and out. Between 1971 and 72, recorded a single with the themes and Human Reality Strange thoughts, which are listed by their rarity. 

After recording are presented in various cities of United (Manzanillo, Mazatlan and Culiacan up) ... following so until 1973, when they decide to separate.  Source: Book Guadalajara and rock (50-70), Miguel Torres Zermeno, 2002"

Tinta Blanca (White Ink) - Gus's page here and more at Avandaro: Mexican Rock.

"I'll put a group entries that were most successful in the early seventies, but I think it is worth it for those who do not know, I met some of these groups after 2000, there were others who knew of his existence but did not hear because I was not interested but oh, what a mistake, what I was missing .... many speak of Chicago as reference brass rock groups, like Blood Sweat & Tears, but Mexico was not far behind and Bandit , Peace and Love and White Ink, were good examples of these groups. Enjoy it .... and I dedicate this to my friends Manuel Martínez (+), Alberto Cruz 'Avandarito' Angel Velazquez and Arturo Lara for sharing music of these groups and as many more as well as my cousin who also likes Sergio this music and attended the festival because .....

White Ink 1The band Federal District White Ink, White Ink and initially called the Mother Earth Co., (winner of a competition held in Chapultepec Park, called the "Naranjiza" where public disapproval expressed oranges swinging musicians ), was also one of the groups that had their brass section, often the case in Mexico and was not made ​​with the same intensity in the Spanish-speaking groups.  probably due the influence of American bands (Chicago, Blood Sweat and Tears , Electric Flag and Buddy Miles), coupled with the tropical music tradition played in Mexico, where the great orchestras and groups mambo with Perez Prado at the top have always used brass sections. Also mention the participation of excellent jazz musicians as Cecilio  Chilo  Moran.

 White Ink 4White Ink recorded the longest piece of music of the time, Avándaro Psalm Psalm VII and VIII with 23:45 minutes.  's song became iconic Avándaro Festival, where White Ink was one of the featured participants, since all their songs had Spanish lyrics.

After Avándro Festival, White Ink faced resistance to the arbitrariness of government authorities and the fold of the broadcasters, record companies and entrepreneurs in the local music, coming to meet with the City Manager and the leader of the Union of musicians, Venus King, which gave them long to legitimate request to play his music. White ink 6 Closed all doors, used uncamión of redilas, where they loaded instruments and all, to play at any point in the city of Mexico, the famous Rock and Wheels, which was also pursued by the authorities.

Sergio  Keko  Figueroa (vocals and percussion),
Thomas Pacheco (bass and vocals),
Fernando Miramon (organ),
Miguel Morales (guitar),
Gonzalo Alejandro  Duck  Curiel (drums),
Cliserio Villagomez (tenor sax),
Francisco Acosta (trumpet) and
Jesus Segovia (Trumpet). 

Talk Thomas Pacheco, founder of White Ink: "All White Ink material is registered with the publisher Warner Chappell, which still receive royalties given that I am the author of it, not the White Ink.

While I share many memories with my former colleagues, whom I esteem and respect, I think it is unfair to try to avoid the fact that they were my creations that shaped the musical bases, on which the band worked. Systematically we have tried to minimize my involvement, arguing essentially sentimental reasons, and taking advantage of my absence. White ink complaint to the President However, I am now embarking on a musical project through which this will all be properly cleared, where legal authorities involved must be respected.

Among them, I wrote about the material including the title  Avándaro , in which of Do good faith? provisions have been made ​​that are not in the contract duly updated and current to date, signed by the responsible editor. (It has come to try the song is a creation of-Anonymous. - Enrique Krauze TV program. - Credits) ".

Source:  and"

Thanks for listening, adiós! Rich

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