Rock & Indie 201 Items

Here is Beybonlar Orkestrasi. Ultra rare Turkish heavy psychedelic single by Beybonlar from 1969.

Amazing stuff from the teenagers band that the drummer was only 12 years old when they recorded the tunes Side A is Gelin Ayse (Bride Ayse) which is very sad traditional Turkish folk song that arranged by the psych form Side B is Nenni (Lullaby) that is a traditional tune, but what a traditional tune by the teenagers!!! Enjoy it..!

This is one of the first Chilean rock albums recorded in Spanish. "Boots a Go Go" (1966) by Beat 4 is released now on vinyl, from the original IRT masters! 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 70's 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". Reinaldo Rhino González, vocals (1966 - 1971). Johnny Paniagua, guitar (1966 - 1971). Willy Benítez, bass (1966 - 1971). Mario Benítez, drums (1966 - 1971). Tilo Mandiola, bass (1971).

Classical infused psych from NY groovers Ars Nova! Through their creative use of medieval modes, hook-driven pop, & trombone, Ars Nova delivers psychedelia within a classical & prog rock lens, a style that’s their own, yet recalls bands like Left Banke, Honeybus, and Aphrodite’s Child - all who were experimenting with the short-lived baroque pop craze. Pressed on green vinyl! Ars Nova was something totally different for the musical ears of 1968, and still sounds fresh and exciting today, when you think of the great albums of ‘68, like Abbey Road, White Light/White Heat, The Hangman’s Beautiful Daughter, The Move, Electric Ladyland, This Was or Wonderwall Music shows how influential the year was and yet, Ars Nova with its wide sphere of influences has nothing in common with the trends of the year. The only albums that it can be vaguely compared to is either the Velvet Underground or United States of America, both bands that, like Ars Nova, bucked against existing trends and the end of psychedelia, instead preferring to go their own unique way. This is American progressive music, and takes the art of music making into a different genre, an alternative alleyway. The intelligence and musical nous that spans [this album] is really worth diving into and enjoying. It’s always great to get to hear albums like this, as it provides a counterpoint to the contemporary of the time and gives a real insight into the underground and alternative scene of that era. The beauty of being underground and away from the mainstream is that something that is not of its time ends up being timeless.

Classical infused psych from NY groovers Ars Nova! Through their creative use of medieval modes, hook-driven pop, & trombone, Ars Nova delivers psychedelia within a classical & prog rock lens, a style that’s their own, yet recalls bands like Left Banke, Honeybus, and Aphrodite’s Child - all who were experimenting with the short-lived baroque pop craze. Pressed on green vinyl! Ars Nova was something totally different for the musical ears of 1968, and still sounds fresh and exciting today, when you think of the great albums of ‘68, like Abbey Road, White Light/White Heat, The Hangman’s Beautiful Daughter, The Move, Electric Ladyland, This Was or Wonderwall Music shows how influential the year was and yet, Ars Nova with its wide sphere of influences has nothing in common with the trends of the year. The only albums that it can be vaguely compared to is either the Velvet Underground or United States of America, both bands that, like Ars Nova, bucked against existing trends and the end of psychedelia, instead preferring to go their own unique way. This is American progressive music, and takes the art of music making into a different genre, an alternative alleyway. The intelligence and musical nous that spans [this album] is really worth diving into and enjoying. It’s always great to get to hear albums like this, as it provides a counterpoint to the contemporary of the time and gives a real insight into the underground and alternative scene of that era. The beauty of being underground and away from the mainstream is that something that is not of its time ends up being timeless.

The story of Japanese psychedelic band Apryl Fool and their eponymous debut album is simply extraordinary. It was the vehicle by which bassist Haroumi Hosono first came to prominence, years before he became known as the “Godfather of Japanese electronica” as the founding member and leader of Yellow Magic Orchestra, though this musical titan had work released prior to the group’s 1968 founding, such as the song “The Sea Of Summer Day,” recorded with Yuko Okuyama and released by King Records the year before. Drummer Takashi “Rei” Matsumoto was a Beatles maniac that had covered songs by Them and Sam & Dave in his earlier group, Burns, while pioneering prog-rock keyboardist Hiroyoshi Yanagida and guitarists Chu Kosaka and Eiji Kikuchi had all been part of a group called The Floral, formed in 1967 through the Japanese wing of the official fan club of The Monkees (whom they supported during a Japanese tour enacted in October 1968). In September 1969, Apryl Fool played behind musical theatre group Tokyo Kid Brothers, the recording issued in minute quantity as the Love & Banana EP, issued on Columbia Japan’s Musicolor subsidiary; Apryl Fool’s own LP, also issued on Musicolor that year, had extended spacey psychedelic freak jams in the form of “Tanger” and “Pledging My Time,” marathon blues-rock tracks such as “April Blues” and “Honky Tonk Jam,” with the employed English sounding fairly credible, though both parts of epic opus “The Last Mother Land” feature Japanese lyrics. Of course, the day that the LP was actually released is reportedly the day that Apryl Fool announced their termination, giving this scarce release another level of legend for connoisseurs.

The story of Japanese psychedelic band Apryl Fool and their eponymous debut album is simply extraordinary. It was the vehicle by which bassist Haroumi Hosono first came to prominence, years before he became known as the “Godfather of Japanese electronica” as the founding member and leader of Yellow Magic Orchestra, though this musical titan had work released prior to the group’s 1968 founding, such as the song “The Sea Of Summer Day,” recorded with Yuko Okuyama and released by King Records the year before. Drummer Takashi “Rei” Matsumoto was a Beatles maniac that had covered songs by Them and Sam & Dave in his earlier group, Burns, while pioneering prog-rock keyboardist Hiroyoshi Yanagida and guitarists Chu Kosaka and Eiji Kikuchi had all been part of a group called The Floral, formed in 1967 through the Japanese wing of the official fan club of The Monkees (whom they supported during a Japanese tour enacted in October 1968). In September 1969, Apryl Fool played behind musical theatre group Tokyo Kid Brothers, the recording issued in minute quantity as the Love & Banana EP, issued on Columbia Japan’s Musicolor subsidiary; Apryl Fool’s own LP, also issued on Musicolor that year, had extended spacey psychedelic freak jams in the form of “Tanger” and “Pledging My Time,” marathon blues-rock tracks such as “April Blues” and “Honky Tonk Jam,” with the employed English sounding fairly credible, though both parts of epic opus “The Last Mother Land” feature Japanese lyrics. Of course, the day that the LP was actually released is reportedly the day that Apryl Fool announced their termination, giving this scarce release another level of legend for connoisseurs.