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The Beat Years

by Mario Antonelli

When record company Odeon brought Los Shakers from Uruguay in 1965, a new story began. The popularity of the group opened the eyes of other labels such as Music Hall, Microfón and Alaniky. The big ones, CBS and RCA, were not so convinced... maybe this shake was just another dance craze.

In Rosario (city 300km North from Buenos Aires), Ciro Fogliatta had a band called The Wild Cats. In need of a singer, a teenage Litto Nebbia passed the audition. Their repertoire was rock´n´roll covers just as any other band of that time. Persuaded by Nebbia, they begun to rehearse his own songs, and translated their name into Los Gatos Salvajes. After some good shows during the local carnival in 1965, they moved to Buenos Aires where they auditioned for the TV show La Escala Musical. This contract, which included TV appearances and a package of shows, led them to a record deal with Music Hall, releasing their first single.  La respuesta" b/w "Hablando de ti" (Music Hall 30370) was the very first beat single sung in Spanish.

One more single, a version of The Beatles' "Ticket to ride" (with Spanish lyrics by Nebbia) b/w the beautiful "Harás lo que te pida", and an EP "Porque heriste mi corazon/ Eres mala/ Yo soy el mejor/ Me tienes que besar", were also issued.

Ciro (organ, piano), Juan Carlos "Chango" Pueblas (guitar) Guillermo Romero (bass), Jose "Tito" Adjaiye (drums) and Litto Nebbia (vocals, harp) later recorded their only LP: Los Gatos Salvajes (Music Hall 12535). Sung entirely in Spanish, this album includes ten originals by Nebbia and two covers selected by the group. Two superb tracks "En tu corazón" and "Harás lo que te pida" are full of beatlesque vocal armonies. Various styles are developed in this LP: rhythm and blues ("Donde vas?"), Merseybeat ("Lo que más me gusta a mi", "Dejame, dejame"), blues ("Necesito saber") and beat ("La respuesta").

Litto, a Kinks fan, borrowed the riff of ''You really got me'' for " Quien vendrá por mi?". Ciro’s instrumental "Ruta a go-go" is The Shadows meets Booker T. The track that closes the LP -"Tan solo un perdedor"- is Nebbia’s own ''I’m a looser''. The album was a commercial flop, but more than thirty years later the quality and freshness of this record, mainly composed by a teenager, could resist the pass of time.

During 1965 they released two singles: "Estoy corriendo"/ "Es mejor que" (Microfón 3422) and "Estoy aqui otra vez"/ "Hace mucho tiempo" (Microfón 345). A year later, their album Liverpool At B.A. (Microfón IP100) was produced by Horacio Malvicino. The songs were credited to Max & Rodney (actually, Carlos & Alejandro) to pretend they were British! They sang in a very strange English language, mostly a ''phonetics'' type of thing. After some shows backing Ringo Bonavena, a charismatic heavyweight boxer who had just released a single with Los Shakers (unaccredited) as backing band, the joke was over. Later on, Mellino formed Alma y Vida and Medina formed the great Manal.

Formed in April 1966, Los Beatniks released their only single "Rebelde" b/w "No finjas más" (CBS 21574) four months later. Pajarito Zaguri, Mauricio Birabent (better known as Moris), Alberto Fernandez Martín and Antonio Perez Estévez, without knowing, had released the first garage single in Argentina. Sung in Spanish and with a controversial guitar solo, it didn’t get any airplay. Some public scandals used as publicity gimmicks did not help at all. Only two hundred were sold.

Los In were Francis Smith (guitar), Amadeo Alvarez (vocals), Freddy (bass), and Osvaldo López (drums). Their first two records were cover versions. El toque de hoy (CBS 8661) in 1966 included the foreign hits "Yellow Submarine", "Hanky Panky", "Black Is Black" and "These boots were made for walking", among others. Action! (CBS 8737), a year later, developed their taste for choosing covers: "Little red book" (Love)," Night of fear" (The Move) and "Happy Jack" (The Who). Their rendition of "A Whiter shade of pale" was a tour de force for Amadeo. Two years later he would performed it with Cuervo Tórtora and Almendra as backing band at the Pinap festival.

Francis Smith left Los In and became a successful A&R man for CBS. After the single "Homburg"/ "La clave" (CBS 21855) they packed to RCA. With Richard Green as their new keyboard player, they issued "Nights in white satin" b/w" (In the small wee hours) Sixpence" (RCA Vik 31Z-1296). Freedy left in March 1969 and the group continued as a trio. Their third LP would finally appear in July 1969. Conmocion (RCA AVL3850) features an exquisite cover of "Can’t let Maggie go", and fine versions of "Hey Bulldog", "Crimson And Clover" and "Nights in white satin" (without the mellotron).

The songs composed by Green were the highlights of this LP: "Conmocion" opens with punch and a great organ solo. "Victoria" and "Blue Eyes" are typical British pop tunes. The Walker Brothers are the reference for "That what I can’t understand". The only track sung in Spanish, maybe a suggestion of the record company, "Hasta Pronto", was their swan song. Organ a la Procol Harum, a melancholic mood and an awesome vocal performance by Amadeo, who squeezes every drop of emotion into this song, turned this track into a classic. This LP deserved much better luck, but it flopped; so the group split. Amadeo would briefly take part in Conexión Nº5, and Osvaldo López would join Carlos Bisso and play sessions.

Issued in July of 1967, the single "La Balsa" b/w "Ayer Nomás" by Los Gatos changed the whole scene. A smash hit, this record proved that beat songs sung in Spanish could be very popular.

Their second album -Nosotros Los Walkers (Music Hall 719)- released in 1968 only included only covers: "Something happend to me yesterday", "Honey", "Tin soldier", "Green Tamburine", "Words", "Jennifer Ecles", "Lady Madonna", and the likes. Their renditions were extremely good, which was difficult at that time due to equipment limitations.

This great live band lost Rover who moved to London. Polo Pereira (ex-Los Mockers) took his place, forming a songwriting team with Carlos. Not convinced with by "La Balsa syndrome", they refused the company´s suggestions to sing in Spanish.

By the end of 1968 they released their masterpiece: the ambitious Waking Up Con Los Walkers (Music Hall 2047), entirely composed by Carlos and Polo. "Tenemos mucha ayuda" was a plea to buy this record not for their looks but for their music. "Sonríe a Tremelon" with vocal effects and string arrangements is one of the stand out tracks. They remembered their mod period with the Small Faces-type rhythm & blues "Where goes Miss Lee on Saturdays?" Great vocal arrangements, backward guitars, sound effects and great tunes make this a superb record.

"El extraño del pelo largo" b/w "Motores de pastel" (RCA Vik 31Z-1442) was released in January 1969. Four months later their first LP -now a beat classic- hit the stores: El extraño del pelo largo (RCA Vik LZ-1150). The title track features everything a hit must have: danceable rhythm, a middle eight borrowed from "Dancing in the streets", dynamic vocal arrangements with beatlesque backing vocals and a great melody line fading out with a great guitar solo by Narvaja. "Después de la tormenta" shows that Narvaja is a great vocalist and an underrated guitar player. "La muerte del extraño", "Me siento solo" and "Hoy es distinto" are pure flower power. "Motores de pastel" with its orchestral arrangements and the acoustic ballad "Otoño", were clearly influenced by The Beatles.

At the height of their commercial success, "La extraña de las botas rosas" b/w "En el pueblo de San Esteban" (RCA Vik 31Z-1522) was used for a TV commercial. By the end of the year, for the LP La extraña de las botas rosas (RCA Vik LZ-1159) they repeated the safe formula.

During 1969, the beat movie El extraño del pelo largo was filmed featuring Litto Nebbia, Pintura Fresca, Trocha Angosta, Conexion Nº5 and obviously La Joven Guardia. You can get this video here.

When the movie was premiered on March 5,1970, Narvaja was no longer in the group. Looking for a more rocking horizon he rehearsed with Cuervo Tórtora and Amadeo Alvarez and formed Trío Comuníon. Diego Chamorro would replace Narvaja in the single "Yo no soy un caradura" b/w "Nos gustaban los helados (y también La Joven Guardia)" (RCA Vik 31Z-1701).

With Mario Ricardelli (organ) they returned to a more safe sound. With their next single "Comprador de amaneceres" b/w "Las estaciones de nuesto amor" (RCA Vik 31Z-1912) they returned to the beat sound and the sales improved.

Surprisingly, Masllorens left after the release of this single. With Vitico Bereciartúa (ex- Vip’s & Alta Tension) on bass they recorded "La reina de la canción" b/w "Pensar que no pensaba enamorarme" (RCA Vik 31Z-1988). Another commercial success, the a-side is still sung by soccer fans on terraces. Their third LP La reina de la canción (RCA Vik LZ-1199) presents them in a power pop sound, being Badfinger the alleged reference. Narvaja displays his evolution as composer with "Tú libertad" and "Aqui me tienes Buenos Aires". Social commentary and a great guitar work were his trade. Ricciardelli improved the group vocals. He also wrote two superb songs: "Noches de sal" and "Mi pensamiento". This record was released in January 1972. Months later, Roque Narvaja quit to pursue a solo career. The group split up by mid 70s. A compilation CD is available.

Francis Smith became the writer, producer and mastermind of the best selling singles of the period 1969-1973. He just gave the people what they wanted. As A&R of CBS he created Los Náufragos, the first of a string of ghost groups. Their single "Vuelvo a naufragar" took the idea from Los Gatos' mega hit "La balsa". Smith wanted an LP with songs for the happy go lucky. He met Pajarito Zaguri (ex-Los Beatniks) in CBS and offered him the job. Pajarito was able to choose the session musicians. The line-up included Jorge López Ruiz (guitar), Nacho Smilari (guitar in Zaguri’s songs), Mojarra (bass) and Néstor Astarita (drums). Without knowing it, was singing for the first Los Naúfragos LP Otra vez en la vía (CBS 8927). The single "Otra vez en la vía" b/w "Tendría que insistir" topped the charts. Six Pajarito’s originals were included on the album: "Como viene la mano", "Hippies y todo el circo", "Hoy un plato volador", "Naufragando", "Brillan las estrellas" and "Tendría que insistir". He later quit to form La Barra de Chocolate with Smilari.

Conexión Nº5 were Carlos Bisso (vocals), Marcelo Tull (guitar), Mario Ricciardelli (organ), Ruben (bass) and Cuervo Tórtora (drums). They became RCA´s main band for covers. The single "Gimmie a little sign" b/w "If I only had a time" (RCA Vik 31Z-1310), one EP: "Chewy chewy"/ "Gimmie a little sign"/ "Baby Come back"/ "The Red ballon" (RCA Vik 3ZE-3652) and LP Conexión Nº5 (RCA Vik LZ-1146) were issued in 1968. The album included eleven covers ("Hey Joe" among them) and one original "Buscándote", the highlight of the LP. New covers "People are strange", "Softly, softly", "Ob-la-di-, Ob-la-da" and the great original "Extasis" were issued in 1969. Pure commercial beat for beat people!.

1969 saw the birth of many beat bands that began to sing in Spanish: Ricardo Roffo (vocals, guitar), Roberto Cruizay (vocals, bass) Luis Terreno (organ) and Enrique Gamboa (drums) became Trocha Angosta. They released a good single "Caballos verdes" b/w "Si tienes un amigo" (Music Hall 31255), but the first LP Trocha Angosta (Music Hall 2141) was a disappointment.

Luz de Mercurio released a single "Viajando a dedo" b/w "Amante siglo XX" (Music Hall 31299) and a disappointing LP.

Jarabe de Menta were Enrique Londaits (guitar and vocals), Alejandro Fusalba (guitar), Richard Kegan (bass), and Lucas Gonzalo (drums). They released the singles "Tristezas de un flaco" b/w "Un bar, luz, risas y algo más" (Pharlaphone 1164) in 1969 and "Tirado sobre el pasto" b/w "Juán Goma" (Pharlaphone 1210) in 1970.

Like Carlos Bisso y su Conexión Nº5, other outfits kept singing in English.

In 1969, Formación 2000 issued their only LP El mundo al revés (Odeon Pops LDF 4397) and two singles: "La vida sigue igual" blw "Grítalo" (Sudisco 331) and "Mañana será" b/w "Proud Mary" (Odeon 7361).

Alta Tensión (RCA Vik LZ-1171) was the eponymous debut album of a cover band led by Alejandra de Aldao (vocals), Hector Starc (guitar) and Vitico Bereciartúa (bass) played as backing band performing covers of Led Zeppelin, Jeff Beck and Janis Joplin for the dance circuit.

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