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MYE 116LP
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Reissue, originally released in 1966. Los Beat 4 (Santiago de Chile, 1966) began as the partnership of four childhood friends: brothers Mario and Willy Benitez, Johnny Paniagua, and Reinaldo Rhino Gonzalez. Under the influence of the Beatles, the Kinks, and the Animals, they formed Los Electrones, a group with which they played at school parties and various meetings, following the style of the new wave. Around 1966, and after the explosion of the beat rhythm in our country with the arrival of the Beatles, they decided to change their name to Beat 4 and sing in Spanish. In 1967, backed by the wide radio diffusion of their single "Llora conmigo" (a Spanish version of an Italian pop song), they toured throughout the country. The band's second hit came with the jingle "Dame un Bananino", composed to promote a banana-flavored ice cream. The song was released as an EP, was a great success and took them on tour to the main beaches of Chile. They would later replicate the model with the song "Ta ta ta ta", as simple and catchy as the previous one. The Beat 4's career was short but intense and popular. At the beginning of the '70s they had already released four LPs, and since then they began to incorporate their own compositions. When Willy Benítez left the band, Tilo Mandiola replaced him, but soon after, the Beat 4 decided to leave. Willy Benítez entered the theater school of the Catholic University, to later begin a career as a humorist in television programs such as "El festival de la una". From the original IRT masters.
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MYE 118LP
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Reissue, originally released in 1972. Frutos del País was born from the union of two Chilean rock bands, Los Picapiedras and Beat 4. Their sound was quite advanced for the time, their song "Sin ti" is still heard on the radio in Chile. The band's sound is very influenced by Procol Harum, but that doesn't detract from its tremendous quality. Maybe some songs will remind you of of Procol Harum's "A Whiter Shade of Pale", especially with the sound of the Hammond organ. They did not have a direct musical relationship with the groups that in the early '70s fused rock influences with acoustic folk instruments, but Frutos del País belonged to the generation that at that time changed the guard for this music in Chile. By genealogy, they were the continuation of bands from the previous decade, such as Los Picapiedras and the Beat 4. Their two albums, Frutos del País (1972) and the more unnoticed Y volar... y volar (1974) described a brief trajectory but immortalized by one of the authentic and most recognizable hymns in the history of rock in Chile: the ballad "Sin ti", characterized by the Hammond organ of keyboardist Hugo Raymond and the evocative lyrics of singer Reinaldo Rhino González. From the original IRT masters.
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MYE 119LP
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Reissue, originally released in 1975. Enrique Luna was the son of Peruvian diplomats settled in Chile. He had lived and studied art in New York and for that reason he had first-hand knowledge of the current jazz scene: the last years of John Coltrane in the avant-garde and the mutation of Miles Davis to electric jazz. He had studied at Berklee College of Music in Boston and had an important collection of records by Davis himself and his disciples: Joe Zawinul, Herbie Hancock, Chick Corea, Wayne Shorter, Miroslav Vitous. While Matías Pizarro, who had appeared in the mid '60s as a very young pianist, of outstanding technique, advanced ideas and notorious musical culture, was also returning from a period of study at Berklee. The workshop meetings, jam sessions, and auditions of new music were held at Pizarro's house, on Hernando de Aguirre and Eliodoro Yánez streets, and there was no jazz musician during those years who did not go through the experience of attending the initiation sessions. According to Chilean musicologist Álvaro Menanteau in his book Historia del jazz en Chile (2003), from the youngest (pianists Manuel Villarroel and Mario Lecaros, or drummers Patricio Villarroel and Pedro Greene), to the most experienced (saxophonists Patricio Ramírez and Sandro Salvati, or drummer Jaime Farfán), they frequented Pizarro's house and consolidated the core of musicians that faced the hard decade of the '70s. That was the seed of the foundation of Fusion, a group that adopted its name directly from the generic topic that began to understand and describe the music promoted mainly by Miles Davis in those years. In 1972, Fusion launched its project with the Luna-Pizarro-Salvati trio, using electric instrumentation, experimenting with rhythmic patterns of soul, funk and rock, but keeping intact the impulse of the original jazz improvisation and an important factor of Afro-Latin music, full of percussion. Although to record the album Top Soul (1975), the band ended up with soloists like David Estánovich (tenor sax) and Lautaro Rosas (guitar), plus a rhythm trio with Mario Lecaros (electric piano, ex-Village Trio), Enrique Luna (bass), and Orlando Avendaño (drums, ex-Nahuel Jazz Quartet), plus guests like trumpeter Daniel Lencina, and the young percussionist Santiago Salas (from the group Santa y su Gente).
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MYE 120LP
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Reissue, originally released in 1968. Los Mac's was one of the inaugural bands of Chilean rock, started in Valparaíso in 1962 and left as a heritage a classic song of the psychedelic music of the sixties: "La muerte de mi hermano", composed by their fellow countryman Payo Grondona. The group started in 1962 in the neighborhood of Playa Ancha, as a rock cover band that was revealed and heard in some national radios. It was the surname of the brothers David and Carlos Mac-Iver (its first exponents) that gave the group its name. During their teenage years, in Playa Ancha, the Mac-Iver brothers met frequently with budding figures of Chilean culture, such as the singer-songwriters Gitano Rodríguez, Payo Grondona, and the poet Sergio Badilla Castillo. In 1965, after playing in festivals and universities in Buenos Aires, they moved to Santiago, where they met the composer and keyboardist Willy Morales, who shared the same musical interests and decided to join the group, later incorporating Eric Franklin. Morales was the son of artists and like Franklin, came from the experience of a very popular group (Alan y sus Bates). Now, with their own songs, Los Mac's began a new stage that would mark the history of national rock. Their initial singles were recorded starting in 1964, under an agreement with the record company RCA. That same music company backed the album Go Go/22 (MYECD 032CD, 2022), their first full-length, in 1966, with songs by The Beatles, The Rolling Stones, The Kinks, The Shadows, Bob Dylan, and only one original "No te comprendo" (authored by Willy Morales). Los Mac's were strongly influenced by the Beatles' Sgt. Pepper's Lonely Hearts Club Band, which led them to experiment in the field of psychedelia, prior to the recording of their album Kaleidoscope Men (MYE 121LP), released in December 1967. This is, perhaps, their most representative work that remained as a legacy for the history of Chilean rock. The instrumental track "El evangelio de la gente sola" (where the electric organ of Willy Morales stands out) is simply overwhelming and hallucinating. In 1968, the group, led by the hand of Morales, decides to leave for Europe, with a farewell concert at the Santa Maria University. They settled in Genoa, Italy, but for various reasons the band disbanded the following year.
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MYE 122LP
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Reissue, originally released in 1965. The Rockets was founded in 1961, the year the band recorded their first 45rpm. The following year Carlos Gonzalez, arranger, producer, and later solo singer, joins the band, giving them a new twist with a refreshing sound. After the release of some singles and the retirement of Carlos Gonzalez, in 1965 they released their first instrumental album which included their biggest and most distinctive hit, the surf "Playa solitaria". At that time two great exponents of national music were part of the group: Horacio Saavedra and Nano Vicencio. The other importance of the group is that they accompanied several national artists, among them Antonio Zabaleta y el Clan 91. The Rockets were the backing band for many of the new wave rockers, but in '65 they decided to record on their own. As they should. That's how Surf Shake came about. They recorded it with guitar, Hohner bass, Ludwig drums, a metallophone or glockenspiel and a Philicordia keyboard. The Rockets, influenced by jazz and blues, unknowingly drifted to the best quality surf and instrumental rock made in Chile. Surf Shake, their first instrumental album, includes genius mix of styles: jazz standards ("Caravana", "Amor en venta", "No es necesariamente así"); Go Go ("Jarrito de cerveza"); R'n'R ("Candy", "Desperado", "Hola Ximena"); spaghetti western ("Leyenda india"), and surf ("Playa solitaria"). From the original IRT masters.
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MYE 123LP
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Reissue, originally released in 1967. In 1964, in the city of Santiago, Chile, Héctor Sepúlveda and Juan O'Brien were studying law at the University of Chile. With a common taste for the rock and roll of The Beatles, The Kinks, Yardbirds, Dave Clark Five, and The Byrds, plus their love for the guitar, they decided to create their own musical project, which was joined by the brother of a classmate, Cristian Larraín (bass), and his cousin Juan Enrique Garcés (drums). The first line-up under the name of The Lawyers, which later became Los Cuervos, and quickly changed to Los Vidrios Quebrados. The name was inspired by the stained-glass windows of the church of the French Fathers and also because it was supposed to "sound groundbreaking". They started doing covers of The Beatles, The Rolling Stones, The Yardbirds, and a lot of The Kings. After their first public appearance as Los Vidrios Quebrados at a singing festival at the Catholic University in 1965, Emilio Rojas from Odeon approached them and said he wanted to record with them. The 1966 single "Friend" and "She'll Never Know I'm Blue" gave way the following year to the recording of Fictions, their only LP, under the RCA Victor and Ues Producciones label. Without merely copying their influences, the songs on the album feature smooth and fine instrumental arrangements by Héctor Sepúlveda (guitar and vocals), who also acted as the album's musical director. Those who were lucky enough to hear them live say that they were much more rock than what can be appreciated on the album. And the music on the Fictions album was even more sophisticated than what was being done at the time, there was a musicality that was quite anticipatory, even foreign. If you listen to the harmonies in "Introduction to Life..." or "Concerto in A Minor", they are quite complex compared to what was heard at the time. That's why they also had a place in radio stations more accustomed to playing classical music, like Radio Andrés Bello. There was a certain intellectual taste, something like an "intellectual arrogance", like the quotations to Oscar Wilde in the lyrics of the songs, for example. For the recording of Fictions, Los Vidrios Quebrados had very little time, as was customary in those days. And despite the technical limitations of the recording studios (two tracks -vocals on one side and all the instruments on the other-, bottle cap tambourines and homemade instruments), when listening to the album, the result is surprising and, considering that in Chile the music of the Beatles and the Rolling Stones was already known, the reception of Fictions was quite good. From the original IRT masters.
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MYE 124LP
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Reissue, originally released in 1973. Los Sacros were a recurrent band of schoolchildren in school festivals. The year 1968 was their consecration in the student festivals. The song that always defeated their competitors was called "Goodbye", original folk rock by the quartet The Byrds. In fact, Panussis was one of the few musicians on the fledgling scene who played with a twelve-string electric guitar. The rest of his bandmates, all painting aficionados (Gana and Valdovinos would become renowned painters years later), consolidated a neat visual aesthetic with a wardrobe that generally included black pants and lace shirts. As their name indicates, Los Sacros had a special fascination with religious motifs. They rehearsed for a long time in the premises of the Church of Divine Providence, provided by Father Correa, who even entrusted them with the task of setting a mass to music with their electric guitars. The approach to the church also extended to the themes of their songs. "We became friends with several priests, we talked and that's where the themes of the songs came from." After many changes of members, they managed to record their first LP for IRT, influenced by religious themes, with a more mystical sound that highlights the use of the guitar with some Andean touches. This LP had a release date of September 18, 1973. The proposal of Los Sacros is inspired by American folk-rock, characterized by its compositions and lyrics full of content, whose main exponents were the group The Byrds and Bob Dylan. Members: Patricio Panussis - guitar, vocals; Hernan Valdovinos - bass, vocals; Tomas R. Herrera - percussion. From the original IRT masters.
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MYE 114LP
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Reissue, originally released in 1967. In the '60s, in Chile there were two styles of pop music that were very popular: one was the "new wave", something like the descendants of the Anglo-Saxon pop soloists; the other, naturally, were the groups that, under the influence of the British invasion by the hand of the Beatles, played rock and roll. With Juegos Prohibidos, Beat 4 begin to detach themselves a little from that current that was limited to copying and covering especially British hits, and began to sing in Spanish, and to risk more in the production of their songs, approaching psychedelia and experimentation. With its own personality and a fresh sound, Juegos Prohibidos is a key piece to understand the first steps of Chilean rock, an album that although it keeps winks to the greats of rock, especially the Stones ("Encontrarás otro amor"), also gives original steps ("Quiero fugarme con ella a una isla solitaria (donde haya paz)"), and mystical experimentation with psychedelic touches already influenced by the hippie generation ("Viaje fantástico"). One of the jewels of a pioneer band of the Chilean rock of the '60s. The band was at first called Los Electrodos and they started playing "nueva ola" songs. With the arrival Beatlemania they changed their name to Beat 4 and began playing song of their idols, The Beatles, The Kinks and The Animals. Soon the band began to write and play their own songs in Spanish. By the beginning of the ´70s they have already released 4 albums with great success, but as key members quit the group, Beat 4 was over. From the original IRT masters.
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MYE 115LP
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Reissue, originally released in 1972. In days of high politicization of music, the so-called new song was undoubtedly the one that monopolized the media. In that environment appears the Combo Xingu, a band far from the Latin Americanist line and political ebullition, took elements of soul and funk to build this jewel mostly ignored at the time, which is his only legacy. Stevie Wonder and James Brown are their most notorious references, but they also bring their own personality and elements, especially in the song "Black Power", as the band's position. It is also worth mentioning a memorable interpretation of Led Zeppelin's classic "Moby Dick". Far from the conjunctural, the band dissolves with only two years and one album to their credit, separated from the mainstream by a style that although it was very popular in the north, was of null diffusion in Chile, but they leave this unique piece as a sample of other bands that would come years later to continue their legacy, ahead for the times. Combo Xingu was a short-lived band formed by students of the Chilean university of music, and ex members of the Beat Combo in 1971 and their career ended in 1973. They left two very original albums, being the first band to play soul and funk in Chile, with influence of the "nueva canción" and pop-rock touches. And a very powerful sound. From the original IRT masters.
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MYE 117LP
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Reissue, originally released in 1973. The group was a vocal trio formed by the sisters Dolores, Soledad, and Patricia García, which imposed on radios and nightclubs at least three singles of enormous popularity: "Cállate (Ya no me mientas)", "Duele, duele", and "Yo soy una dama". The band started as a family and adolescent project, with the four García sisters (Macarena left soon after) rehearsing in the family living room under the orders of their father, who had no problem in taking over as their manager and promoting the musical career of his daughters, who had not yet finished high school. Their first name was Las Incógnitas ("because they were unknown", according to them) and they reinforced it by performing under masks. Their recitals highlighted a strong stage organization, which always included dance steps and vocal harmonization. Kermesses and school festivals were their first showcases, which soon expanded with tours to the provinces. The girls received dance lessons from Paco Mairena and agreed on flashy outfits, indebted to the provocative New York disco wave that was already known in Chile. The enormous success of their music led them to foreign promotions that left them for a while in Germany, thanks to an exclusive RCA contract. However, in Europe it was impossible for them to keep the attention, and the group disbanded in the mid-80s. The García sisters have lived in Germany ever since, and have made very sporadic visits to Chile. Their careful vocal harmonies and neat arrangements bequeathed a sound that still sounds elegant, far above similar danceable efforts of the time. Although, at the time, Frecuencia Mod defended a music of apparent evasion, it is impossible not to recognize its pioneering value for Chilean pop of high quality. From the original IRT masters.
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MYE 113LP
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Reissue, originally released in 1967. Los Bric a Brac is a very special band within Chilean pop because of the diversity of its members: its leader and founding member, Luis "Chino" Urquidi, came from Los Cuatro Cuartos, one of the most successful Chilean neo-folk bands of the time who were joined by the two most recognizable faces of the band, and Antonio Zabaleta was from Los Red Juniors, and Paz Undurraga, formerly of Las Cuatro Brujas. With such diverse influences the group achieved a sound closer to international pop, but with touches of bossa nova, vocal groups like The Mama's and the Papa's, or the most direct reference to the British beat. The convulsive times in Chile made Bric a Brac approach the social commentary, but not from the sidewalk of militancy, but with a more distant look, almost as an impartial observer. Given the popularity of its members, TV was important for the massiveness of success, which came very soon for the band, who after their debut single immediately released their first LP, which is the one we present here, and the most representative of a band that as the interpretation of its name seems to indicate -- a little bit of everything -- moved in a wide range of styles. Their life was very short, and after a second LP called Nuestro Show, equally successful, came the separation and the end of one of the most popular pop groups of the late '60s in Chile. The single "Sacale las balas a tu fusil" (Take the Bullets off Your Rifle) is an anti-war song, originally recorded by Argentinian duo Barbara & Dick. "Alma joven" (Young Soul) was a second single, but their biggest hit was "Nunca Jamas" (Never Ever), the song that gave the band the chance to be included in the prestigious Viña de Mar Festival. From the original IRT masters.
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MYE 121LP
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Reissue, originally released in 1967. Los Mac's were formed in 1962 in Playa Ancha, initially as a cover band. In 1965 they moved to Santiago, with their experience on their backs, and with their own songs they attracted the interest of RCA, who quickly signed them. In their career the band would record six albums, four in their heyday in the '60s, and two more after their reunion in 2010. Kaleidoscope Men is the most important and successful of this Valparaiso quartet, and was produced at RCA by Carlos Gonzalez. Kaleidoscope Men is a psychedelic album clearly influenced by the Beatles' Sgt Pepper's, and by the groups of the then called Californian sunshine pop. A mature album, with excellent vocal and instrumental arrangements that flies from the confines of the world to a universal sound with fluidity and elegance. The elegant "Degrees" shines with its own light, psychedelia with vocal touches of great bands of the '60s like The Turtles, The Association, or the incomparable Byrds. "El evangelio de la gente sola" is a progressive instrumental cut with the peculiar sound of a church organ, while "Dear Friend Bob" uses the technique that George Martin used with the Beatles in their most experimental stage of using the tapes in the opposite direction, with which the sound of the instruments "upside down" gives the special touch popularized by the four from Liverpool but used assiduously by bands of the time. The acid baroque of "A través del cristal" is close to "Strawberry Fields Forever", while "La muerte de mi hermano" enters the anti-war current of the Vietnam War era; a poignant song structurally supported by the Byrds' guitar sound. Originally released in 1967, Kaleidoscope Men is the penultimate and most respected album by the Mac's, who would record their last album in 1968 and then move to the United States. A jewel to rediscover through this careful release that honors the original with an excellent remastering and artwork. From the original IRT masters.
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MYE 109LP
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Reissue. Tu Sueño Es Mi Sueño, Tu Canto Es Mi Canto, is the second and last album by Amerindios, released in 1973. The band was formed in 1968, and although its style was associated with the current then called "nuevo canto", Amerindios innovated by adding instruments such as electric guitars, something that was unusual. The band was formed by artists of great importance in the field, such as Julio Numhauser, founding member of the legendary Quilapayun, Mario Salazar, and Patricio Castillo. An essential album to understand the popular music of Chile in the pre-dictatorship days, for its texture, fine melodies, and excellent songs. Includes the song "A Pie Camino", the last song broadcasted by radio Magallanes and Corporación on the day of the Pinochet coup the state on September 11, 1973. Also includes the song "Mi Río" was winner of the Viña del mar festival in February 1973. A classic. From the original IRT masters (originally released on alternative IRT Label Machitun).
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MYE 125LP
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Todos Juntos was recorded in Chile in 1972-1973 and was presented for the first time to the public in Argentina in 1976 by Record Parnaso S.A. This double album contains all the material that Los Jaivas recorded for IRT during 1972-1973, plus a supplement of three previously unreleased recordings. Disc one is the re-release of the album Todos Juntos, which appeared in Argentina in 1976 under the Parnaso record label, with a different repertoire and order from the LP known as La Ventana, released in Chile at the end of 1972. Disc two completes the catalog of works recorded for IRT, to which are added three unreleased tracks from the same period: the music that Los Jaivas made for the documentary Descomedidos y Chascones, made by Carlos Flores Delpino and produced by the experimental film department of the Universidad de Chile in Santiago, the theme "Ta Hueca La Vaca Está Loca", an improvisation recovered from a television special produced by UCV television in Valparaíso, and a live recording of the theme "Marcha Al Interior Del Espíritu", taken at the Chilean-French institute of culture in Valparaíso. At that time, the painter René Olivares, who is already part of the Jaivas family settled in Buenos Aires, creates a new cover design for the 1976 edition, which is delivered here to the public in this remastered version, restored and enriched with valuable archival documents. From the original IRT masters.
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MYE 112LP
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Reissue, originally released in 1967. If you like the Rolling Stones of the glorious '60s, or the Yardbirds, or the original psychedelia, this album is for you. The Jockers were one of the pioneer bands of Chilean rock, ahead of their time, and the first to differentiate themselves from the more romantic "new wave" style, by being ahead of the curve in adopting the psychedelic clothes and long hair that were the image of rock in the world at that time. Los Jockers were formed in 1964, and started playing live in 1965, and were one of the first rock groups to have great success locally. They used flashy clothes, influenced by the British mods at first, and by psychedelia, and had a very aggressive and raw live show. Their music was called "pop contracultural" (counterculture pop). Their version of the Rolling Stones' classic "Satisfaction" hit the radios before the original Stones version was known locally, and it was such a smash hit that during their show at the "Viña del Mar Festival" they had to play the song five times. Precursors of Chilean rock, mainly influenced by British rock, this is an essential album to relive the days when rock was young, original, and fresh. From the original IRT masters.
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MYE 110LP
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Reissue, originally released in 1967. The band was composed of singer Alan Ferreira, guitarists Sergio del Río and Mario Pregnant, bassist Gustavo Serrano, and drummer Peter Buksdorf are the essential lineup of Los Jockers, which recorded a few singles and released the LPs En La Onda De Los Jockers and Nueva Sociedad, both in 1967. A third album, Los Jockers Y Una Buena Pichanga, already registered changes in the line-up, with the future Aguaturbia member Carlos Corales (guitar) and Willy Cavada (drums) and the former bass player of the almost unnoticed Gaffas, Jimmy Cerda. On the same level as Los Mockers, Los Blue's Men, or Los Saicos are Los Jockers: a band that alternates, for the first time in this album, songs in Spanish and English. It was released in '67 after Los Jockers entered the Guinness Book of Records for having played for 54 hours without stopping. Such a feat took place at the record fair at Paseo Ahumada, grabbing the front pages of the newspapers, colleagues, and even soccer players greeted them and even President Eduardo Frei Montalva invited them to La Moneda. In other words, it was an achievement worthy of national heroes. Los Jockers were also one of the first bands to present a wild and rock aesthetic, in fact, their live performance generated several controversies with the Chilean establishment, such was the scandal they caused, that once a group of hooded outraged people surprised them at night in La Serena and burst into their room to shave their heads. On other occasions, while they were playing on top of a truck next to the Coppelia in Providencia, cadets from the Military School assaulted them. Valuing the rebellious and naive spirit of a song like "Nueva Sociedad" (New Society), which is actually the Kinks' "Party Line" with a new lyric that originally spoke of the "Nueva Suciedad" (new dirt), a "daring" that was not tolerated by the label. Garage rock electricity underlies songs like "La Verdad", "La Corbata De Mi Abuelo", and "Yo Te Quiero". From the original IRT masters.
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MYE 111LP
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Reissue, originally released in 1966. Los Larks were the first exponents of Chilean rock to reach an important repercussion, supported by their aesthetics, close to that of the fab four, and their style, framed in what was then called "a go go" pop rock perfectly executed, highly danceable. This led Los Larks to success despite their short career, just two LPs, and some singles, and to be the main representatives of the visual phenomenon called at that time "colerico". This album is essentially covers of the hits of the moment in the "beat" world, with classics by the Monkees, Dave Clark Five, and of course, their favorite, the Beatles. A legendary album, the first record ever by a Chilean pop-rock band. From the original IRT masters.
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MYECD 027CD
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CD reissue, originally released in 1974 as Los Blops. Locomotora is a remarkable example of music that really escapes any typecasting rigid in some style. In it you find from a very particular progressive rock, through jazz rock, a very avant-garde folklore, certain elements of classical music, experimental parts, and even a certain groove with a compressed funky taste. "Locomotora" opens the album and it is a song full of solos and rhythmic breaks, with a lot of percussion, psychedelic sounds, and pure rock, perhaps the most experimental on this album, with its introduction full of strange noises and that lives up to the name that the band had adopted for live performances of that time: "Paraffin", a pseudonym that contrasted the clearly acoustic Los Blops of the first two albums, with these very crazy and electric ones. The album continues with the song written by Villegas, "Pirómano", where the characteristics of the mentioned above, in a theme with many changes, colors and arrangements of each of the members. Following with the songs we came across, as the bizarre composition by Juan Contreras, "Sandokan", which after a beginning where a language taken from another planet or at least non-existent is used -- in the style of the French Magma --, becomes a more melodic theme, but full of rock power and symphonic solos. The album continues with the song of Eduardo Gatti, "Strawberry Tart". With a more melancholic and melodic beginning than the previous one, little by little, the song becomes a more jazzy piece, where the voice of Eduardo Gatti himself and the flute solos stand out, along with guitar and piano. Without a doubt, an absolute classic of Chilean rock that closes with the song "Allegro Ma Non Troppo", where the solid base of bass and drums -- very syncopated -- stand out, serving as a platform for the guitar solos and flute and the strange arrangements of each one of the instrumentalists, within a quite complex structure. There are highs and lows in intensity, with parts of a lot of experimentation and improvisation, where all the instrumentalists demonstrate their technical quality and great sensitivity. This special release includes two singles as bonus tracks that were released later in 1978, "Los Momentos" and "La Francisca". For those who call themselves lovers of progressive rock or the avant-garde, this is a jewel that cannot be missed.
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MYECD 023CD
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CD reissue of Congregación's Congregación Viene..., originally released in 1972. Psych-folk prog album by one of the most legendary bands of the early 1970s Chilean music scene, that was released at the worst possible time. In spite of not having been a popular band like Los Jaivas, Los Blops and Congreso, they deserve a position of privilege in the history of Chilean rock. Congregación, led by musician and poet Antonio Smith, was from Valparaiso. They wrote lyrics with a significant political, philosophical and religious content, they were a real "celebration of life". Musically, they crafted songs in an Andean style with ethnic atmosphere, we could say they made a kind of psychedelic folk with progressive leanings. They recorded just one LP and a single in 1972. The group was disbanded in 1973 following Pinochet's coup. Their multi-layered music is rich in unexpected nature textures and sounds, emphasizing the deep spiritual and mystic vibe of the album. It features the collaboration of members of Los Jaivas and Amerindios. The music of Congregación has conquered new folk lovers around the world and the original LP is yet a very rare collector's piece. Remastered sound from the original master tapes.
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MYECD 018CD
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After 47 years after its original release on the Chilean label IRT, here it is Los Jaivas' La Ventana, the iconic album that includes the anthems "Todos Juntos" and 'Mira Niñita". Los Jaivas has often been considered one of the most important rock bands in Chile and South America. This influential Chilean band formed in 1963 mixes psychedelic rock and progressive rock with Latin American folk instruments and rhythms. In this album Los Jaivas shows many different artistic facets from improvisation and song writing to the first steps of symphonic creation. Original master tapes have been used for this reissue, following the reels find at the IRT vaults after years unavailable. State of the art technology has also been used to guarantee a top-quality remastered sound that shows music details barely noticeable in the original pressing. The artwork restoration process has been undertaken by Martín Uribe, a member of the band's team, with great attention to detail, by using several copies of the original issue. According to Felipe Domínguez (Al Albordaje Muchachos SPA), supervisor of this reissue project, "we aimed to publish a top-quality release, improving on previous rather average reissue editions. So, when we opened the box containing the tapes of 'la Ventana' and found the reels with all the annotations made at the time, we knew we would be able to make a difference." This is the first in a series of various projects that will make the musical heritage of Los Jaivas available again, including recordings that have remained archived for years and the reissue of other historical titles of the band. This is the aim of the Los Jaivas Cultural Foundation: "to pass on its experience to new generations, along with encouraging a love for music without distinction of race, faith, political color or gender," highlights Mario Mutis, bassist and vocalist of the band.
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MYECD 031CD
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Second album by Chilean beat pioneers Los Mac's, originally released in 1967 on RCA Victor. This record features such a unique sound that made them stand out in the local scene and has become a milestone in the development of popular music in Chile. Recorded under the influence of the British Invasion sound, this album includes covers of the Rolling Stones, Dylan, the Hollies... and the outstanding original "Qué Clase de Sentimiento". GG Session anticipated the band's new sound, fully achieved in their next album Kaleidoscope Men.
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MYECD 032CD
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The first album by Los Mac's, pioneers of Chilean rock, released in 1966 under the RCA Víctor label. It would be a foundational and groundbreaking work that would open paths in this style of electric guitars and generational ease. After having been discontinued since the 1960s, it is re-released today as a historical artifact to reach record stores all over the world again; now on CD format, remastered with the best technology available. The reissue of Go Go/22 comes back to life after a restoration work on its sound, which was remastered from the original IRT/RCA Victor tapes, giving these new versions a perfect sound of the highest level, rescuing details that manage to give new life to the album when compared to the original edition, in synchro with the new technologies and the times. In addition, its cover and album art has been completely restored, processed to improve the quality of colors and definition, and remain as it was printed the first time, but with a quality that brings the album reborn as a modernized and essential production of Chilean music of important historical value. Los Mac's Go Go/22 is added to a prestigious collection of reissues that Musica & Entretenimiento Discos is developing to preserve and restore the roots of our genealogy of popular music in Chile. This first album in the history of Los Mac's, has 19 tracks where the group covers famous bands such as The Beatles, The Rolling Stones, The Shadows, Buddy Holly, and Chuck Berry, among others, artists that give life to this emblematic band led by David and Carlos MacIver on guitar and bass, respectively. "An album full of the dreams of four boys, brought together in songs that were and will continue to be the favorites of all young people like them... and why not? Also, of those who are no longer teenagers, but feel the spell of 'going back to live' the songs that get into the heart, to the rhythm of the dance or looking into each other's eyes and dreaming... holding hands. And after hearing the album, they will surely think, like us, that 'Los Mac's are ¡MAC... knots!" Features Poncho Perez's pictures inside the disc cover. Unmissable musical document and refined record that is back for the enjoyment of all those who eagerly awaited this album.
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MYECD 028CD
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CD reissue, originally released in 1967. Los Vidrios Quebrados (something like "The Shattered Glasses") formed in 1965 by making their own instruments and playing at schools while they were in the Católica School of Laws. Odeon offered them a contract and they recorded their first single, Friend b/w She'll Never Know I'm Blue. In 1967, they record the legendary Fictions for RCA. This album is played with their own instruments. They cut, pasted, and arranged the frets of their guitars on their own pure intuition. They cut their strings out of steel wire rolls bought at hardware stores. They picked up the songs they wanted to play -- Beatles, Rolling Stones, Yardbirds, and a lot of Kinks stuff -- by going into a club, listening to them on a Wurlitzer jukebox, and going back home trying to remember the song. All songs were sung in English "to separate ourselves from the commercial music of that time", the so-called "Nueva Ola". They sang about everyday things such as "the lack of liberties, the fights caused just by the length of your hair", trying to be the spokesmen of a generation. They were indeed quite an intellectual band in their references and intentions. Though they had begun doing covers, all the songs in Fictions, recorded in a total time of nine hours, were written by themselves. The history of the band ended when Héctor Sepúlveda moved to London in 1969. Originally, they tried to go all together but the rest could not make it, and Héctor played in the streets for a while and opened once for Family at the Marquee. CD with remastered sound from the original master tapes.
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ARCICD 002CD
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CD reissue of the first album by Brazilian musician, poet and plastic artist Manduka. Originally released in 1972 on IRT, the album is a sought-after collectors' item, especially among those who seek in its cultural richness, fundamental episodes of Chilean popular musical history. An essential record almost entirely written by Manduka during his exile years in Chile, away from his home in Brazil. It includes improvised jams and songs about Brazilian history, his own exile and the new cultures he got exposed to. A sublime combination of acoustic guitar sounds, percussions and delicate songwriting that may remind you of some other Brazilian artists like Os Novos Baianos or even Caetano. It includes a special cover version of Violeta Parra's "Qué dirá el Santo Padre" and features guest artists like Soledad Bravo, Patricio Castillo, Baltasar Villaseca from Congregación, brothers Gabriel and Eduardo Parra, members of Los Jaivas, and Numhauser himself.
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MYECD 026CD
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CD reissue of Panal's self-titled album, originally released in 1973. Panal was born following the IRT director's will to put together a group that would blend folk and rock in a similar way to one of the most successful bands in the Chilean label: Los Jaivas. A roster of very experienced and talented musicians was recruited for this project and this self-titled album was finally released in 1973. Fierce percussions, stunning guitar riffs and filtered voices create a unique sound across this only album by Panal. The guitar of Carlos Corales (also founder of Aguaturbia) shows resemblances of Santana's style and Franz Benko's work on the production adds a fresh twist and renewed touch to the featured repertoire. Shortly after the coup, the group disbanded, leaving behind this masterpiece. Remastered sound from the original master tapes.
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