Lo mejor de los Salvajes


Lo mejor de Los Salvajes, originally released in 1967, would be Los Salvajes' only album. It was a sampler from the six EPs recorded by the band in 1966-1967, with some of their biggest hits and a sound opened up to experimentation, thanks to the consent of EMI, their record label, due to the success of their previous recordings. Gone was the period of melodic or rock and roll covers, mainly of Italian and French songs. Los Salvajes went back to The Stones, plus The Troggs and Spencer Davis Group along with them, in an explosive agreement with the kaleidoscopic British pop of the time. The decisive factor, however, was the increase of self-written songs, creating a sort of genetic backbone from which they would transcend, and which started with "Al Capone," a minimal but robust R&B instrumental and the oldest track included in the LP. The gangster nod would be followed in their catalog of originals by "Soy así," an involuntary hymn of ye-yé self-affirmation and a first-rate nugget which referenced previous recordings such as "Satisfaction" and "Al Capone." Also with a generational viewpoint, "Es la edad" made a similar point as "Soy así," including the reference to long hair, but this time without the cocky stance, attributing their crazy attitude and silliness to their young age; all encapsulated in a rev-up of progressive and mind-bending guitar. "Las ovejitas" would be the peak of the lot, one of their collaborations with the radio presenter Luis Arribas Castro as lyricist and rhapsodist, who here is immersed in a dense freakbeat piece with which they tele-transported to the UFO Club in technicolor dreams. With its hilarious defense of the moustache, the "Paint It Black" sound-alike "Mi bigote" continued not only the band's hair obsession but also their psychedelic dalliances, featuring a sitar. This track would put an end to their cycle under the Regal label, later moving on to La Voz de su Amo, another EMI division on which they would release notable singles, with original songs such as "El Don Juan," before calling it quits in 1969. Lo mejor de Los Salvajes contains the whole productive artistic emancipation of Los Salvajes, marinated with a number of covers which aren't lacking in worthy details: the homemade fuzz of "Corre, corre," the fleeting psychedelic tricks that already appear in "Una chica igual que tú," or the lyric adaptation of their excellent version of "Paint It Black," translated as "Todo negro," in which the protagonist crosses himself when facing the black future ahead, a completely current message nowadays, even if girls don't wear op-art patterns anymore.