Vol 10 Chilean
No.: QDK 045|
||DUG DUG’S / SAME - Lost In My World 4:05
||THE KALEIDOSCOPE / SAME - Hang Out 2:15
||LA FACHADA DE PIEDRA / ROCK EN AVANDARO VALLE DE BRAVO - Roaming 3:05
||EL TARRO DE MOSTAZA / SAME - El Ruido Del Silencio 3:04
||LA VIDA / SAME - Touch Me 2:31
||LA LIBRE EXPRESION / SAME - Joven Amante 2:48
||THE FLYING KARPETS / FLYING KARPET - Behind A Young Girl Smile 2:22
||LA REVOLUCIÓN DE EMILIANO ZAPATA / NADA DEL HOMBRE ME ES AJENO (HOY) - EN Medio De La Lluvia 7:57
||THE SPIDERS / BACK - It´s You 4:03
||THREE SOULS IN MY MIND / TRES ALMAS EN MI MENTE - Lenon Blues 2:44
||TONCHO PILATOS / SAME - Tommy Lyz 3:48
||RENAISSANCE / SAME - I’m Dying 3:34
||ERNAN ROCH Con Las Voces Frescas / LA ONDE PESADA DE - The Train 4:14
||GRUPO CIRUELA / REGRESO AL ORIGEN - Nada Nos Detendra 3:11
||LOS OVNIS / HIPPIES - Cuando Era Nio 2:06
||THE SURVIVAL / LA ONDA DE - The World Is A Bomb 2:25
||NAHUATL / SAME - Volvere 3:32
OK, so maybe it is a slight oversimplification, but there is more than a grain of truth to the notion that rock & roll was
a virus born in the US, spread to Great Britain and, from there, to the rest of the planet like some alien plague you can
dance to. Without Elvis, Little Richard, Jerry Lee Lewis and Carl Perkins you don’t get The Beatles, The Stones, et al.,
and without The Beatles, let’s face it, the last half of the last century has to be rewritten from scratch and I just don’t
have that kind of time.
The impact of The Beatles and “British invasion” in general upon the US music scene of the early Sixties was a bit
like that of the neutron bomb; it swept across the country leaving all the buildings intact, but vaporizing all musicians
who didn’t change their names to something British-sounding quick enough (a contract with Motown would also
shield you from the lethal radiation).
Rock and Roll was the “shot heard round the world,” and its impact was truly heard planet-wide. If we take the time
to look for it, we would expect to find traces of that impact across every continent. The seven volumes of the Love,
Peace & Poetry series represent a catalog of those influences. This most recent volume, Mexican Psychedelic Music,
takes as its focus what was one aspect of our second collection in this series, Latin American Psychedelic Music.
While there are some parallels between the evolution of rock and roll in the US and Mexico, the stories are out of
synch with each other in interesting ways. In the US, the first wave of rock and roll presented a challenge to longstanding
racial divisions and repressed sexuality that was fought off (by 1960 Elvis was in the Army, Jerry Lee Lewis
in exile, Chuck Berry in prison and Little Richard turned to Jesus) and replaced by the mostly bland and neutered pop
of singers like Fabian, Dion, Paul Anka, Frankie Avalon and Pat Boone (if you’ve ever wonder what music might sound
like in Hell listen to Pat Boone’s covers of Little Richard; possibly the most frightening music ever made). It was the
British invasion and marriage of folk to rock that returned the dangers (sex, drugs & politics) to the youth culture that
grew up around the music.
The history of Mexican pop music remains calm and fairly controversy free through the 1950s and into the late 1960s.
The economic prosperity that fueled the Baby Boom generation in the United States didn’t exist for Mexican youth,
nor was Mexico as racially volatile or sexually repressed. In the 1950’s the culture of the United States was far more
shook up by Elvis and his gyrating army than was Mexico.
Rock and roll became dangerous in Mexico when it began to be mixed with a challenge to the political status quo.
September 11, 1971 is of great importance in the history of Mexican rock music because of the Avandaro Music
Festival in Valle de Bravo, a two-hour drive from Mexico City. While it is sometimes referred to as the Mexican
Woodstock, the Avandaro festival had a political dimension it would be difficult to translate into an American or British
context. As in Chile and many other Latin American nations during this era, rock music in general (and psychedelic
music in particular) was viewed as dangerously subversive by heavy-handed (and often brutal) ruling political regimes.
While walking down the street in Woodstock, NY, a music fan might hear “Get a haircut, hippie!” shouted from a passing
car, a similar expression of personal freedom in Latin America was often an actual matter of life and death.
Over two hundred and fifty thousand young people attended Avandaro and listened to the cream of the Mexican
music scene. Bands who performed at Avandaro included Los Dug Dugs, El Epilogo, División del Norte, Tequila with
Marcela, Peace and Love, El Ritual, Tinta Blanca, Bandido, Los Yaki with Mayita Campos, El Amor, Three Souls in my
Mind and La Fachada de Piedra. In the aftermath of Avandaro the Mexican government cracked down on rock music
and virtually all of the bands who had performed at the festival found themselves banned from all their normal clubs
and venues as the rock music scene either dissipated or moved underground. After Avandaro, a new emphasis on
cover versions of US and UK artists, believed by record companies and media outlets to be safer in the face of
government authoritarianism, was born. A search on an internet search engine will take you to numerous websites
where a comprehensive history of Avandaro can be found.
This collection opens with “Lost In My World” by Los Dug Dugs taken from their 1971 debut LP for RCA Mexico. The
first band to play Beatles songs in Mexico, Los Dug Dugs were also the first in Mexico to sing in English, breaking a
long-standing rule in Mexican rock up until then. That first album, rediscovered by US psychedelic collectors in the
1980s, was one of the three most important records (along with the first La Revolución De Emiliano Zapata LP and the
Three Souls in My Mind collection issued by the US Rockadelic label in 1991) in popularizing Mexican psychedelic rock
among US and European psychedelic music fans. The original orange label RCA pressing is also one of the rarer and
more sought artifacts of the era.
As difficult to find in nice condition as the Dug Dugs’ debut may be, one of the three or four rarest records in the record
collecting world remains the 1969 self-titled LP by The Kaleidoscope issued on the Orfeon label in 1969, represented
here by the West Coast sounding “Hang Out.”
La Fachada de Piedra (The Stone Facade) was one of the best of the Avanadro bands. Formed in 1968 in Mexico’s
second biggest city, Guadalajara, they recorded two 4-track EP’s represented here by the hard rock track “Roaming.”
Later this year, Shadoks will issue an LP collecting those eight tracks, plus a couple live tracks.
Released on Capitol in 1970, the self-titled LP by El Tarro de Mostaza is well respected by collectors for its psychedelic/
progressive crossover side-long opening track and Soft Machine influences, and is represented here by the pretty “El
Ruido Del Silencio.” The original album, in nice condition, is also in the top five for Mexican rarities.
The stinging fuzz guitar that dominates “Touch Me” from the 1972 LP by La Vida is culled from the period in Mexican
rock when English language vocals dominated, contrasted by the 1968 release of “Joven Amante” from the self-titled
LP by La Libre Expression. By the way, the sleeve art of that LP is by the same artist who did the artwork for
“In the Middle of the Rain” from the second album by La Revolución de Emiliano Zapata is just plain brilliant, with the
guitar playing of Carlos Valle Ramos is in the driving seat throughout. At just under eight minutes it is the longest track
on this collection. In contrast, “It’s You” taken from The Spiders “Back” LP from 1970 is representative of the dreamy
West Coast sound present throughout, sometimes sounding a bit like Jefferson Airplane with faint traces of Procol
Harum drifting by on occasion. Predating the first releases by Los Dug Dugs and La Revolución de Emiliano Zapata,
“Back,” released by RCA Camden, was one of the most successful Mexican psychedelic LPs of the period.
Three Souls in my Mind was the last band to take the stage at the legendary Avandaro festival. Alex Lora approached
the microphone and shouted to the audience, “This band is not about hippie ideals!” before leading his band into an
aggressive cover of The Rolling Stones’ “Street Fighting Man.” In this incarnation Three Souls released two now impossibly
rare LPs on the Mexican Raff label in 1971.
Toncho Pilatos released their very rare LP on the Polydor label in 1973. The blend of native Mexican music with Rolling
Stones and Jethro Tull sensibilities is one of the more unique and engaging on this compilation. The two brothers,
Poncho and Rigo Toncho, who led the band also lived in the long standing tradition of hard rock musicians; Poncho
died of drug overdose a couple of years after recording the album, while his brother died shortly thereafter of alcoholic
The Mexican Renaissance released their very rare LP in 1972 on Raff Records. The band is particularly notable for the
presence of the late Alfredo Diaz Ordaz, son of former Mexican President Gustavo Diaz Ordaz (1964-1970) on lead
vocals. The album is also sought in its original gatefold edition for the cover art, both full of political symbolism and
among the best examples of psychedelic album cover art from any country.
Tracks from rare LPs by The Flying Karpets, Grupo Ciruela, Los Ovnis, La Onda De Survival, and Nahuatl help complete
our tour through the various climates of 1960s-1970s Mexican psychedelia, and readily demonstrate the origins of a
musical culture that continues on into contemporary times in the many bands that make up the active Mexican music
scene here in the new century.
» Normal Records
» Return to Sender
» QDK Media
» Shadoks Music