|
|
|
|
|
|
|
|
|
|
|
7"
|
|
MR 7368EP
|
Los York's became the epitome of Peruvian garage sound. Abrázame features a beat-influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band resulting an irresistible Latin garage hipshaker! Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem "Abrázame." The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The original version of "Abrázame" was included in this album and also released as a single. Although clearly based on Don Covay & The Goodtimers' R&B classic "Mercy Mercy," the recording features a beat influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band, Pablo Luna. A rawer, fuzzier version of the same song was released one year later and renamed as "Abrázame Baby."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 442LP
|
At the beginning of 1968, Los York's was the most popular group in Peru at morning shows, parties and on tours, and had a legion of fans who found the answers to their youthful concerns in the band's songs. The bulk of the quintet's repertoire were Spanish versions of their favorite rock songs in English, where they took advantage of free translation to speak openly about freedom, drugs and hippy love. That same year, Los York's would announce the new album was in the makings and would comprise two of their own songs and eight cover versions ranging from well-known hits to vinyl rarities. 68 was finally released in October of that year, with cover art based on the album by the American band The Other Half, recreated by designer Estanislao "Zanahoria" Ruiz. The versions include "Solo pido amor," by Rocky Roberts & The Airedales. "La punta de mi lengua" is a cover of The Grass Roots' song, featuring the multifaceted Pablo Villanueva (aka Melcochita) on xylophone. The nostalgic "Charo," originally by The McCoys, is dedicated to a friend of the group. "Abrázame, baby" is another recording of "Abrázame" -- a Don Covay original -- released on the previous album. "El viaje" owes its inspiration to the song "The trip," by Kim Fowley, but it was gradually transformed in rehearsals until it moved away from the original, while keeping its lysergic jamming spirit. The other versions included are "Vallery," by The Monkees; "Mira tú," by The Kinks; and "La alegría de tu amor," by Cream. The album ends with fast-paced "Solo estoy," a ritmazo composed by Pablo Luna, which shows the good vibes in the day-to-day life of the group.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 434LP
|
First time official reissue. Originally released in 1967. Los York's became the epitome of Peruvian garage sound, and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers, and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The band was backed by Melcohita on vibraphone and Mario Allison on percussion. It features a beat-influenced go-go twang guitar garage psych tone throughout, including a bunch of covers like Alan Y Sus Bates' "Pronto Un Doctor" or The Box Tops' "The Letter", and amazing originals like "No Puedo Amar" with an intense garage beat.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
MR 285LP
|
|
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MR 285CD
|
2008 release. This collection brings together the greatest tracks from Peru's Los York's, taken from their four LPs and 25 singles, between 1966 and 1974. Los York's were the most famous and successful band in their country (more than Los Shains or Los Saicos). Back in their heyday, they were accused of drug-abuse and criticized because of the evilness of their sound and lyrics (which praised free love). The very original feedback guitar playing of Walter Paz will be a true discovery for fans of The Who's Pete Townshend and even Sterling Morrison from The Velvet Underground. On the other hand, singer Pablo Luna was some sort of crazy hybrid between Iggy Pop and Reg Presley of The Troggs. He was a true character, and a stage animal, which was shocking for a place like Peru in the '60s. Years later, a Peruvian journalist wrote that during his career, Pablo had smashed a total of 48 microphones. But Los York's attitude was TRUE, and not posture, unlike these days when scandal and outrage is a powerful marketing tool. Los York's were true rebellious souls, unstoppable and genuine. And their on-stage and off-stage behavior is still legendary in Peru. They got so famous that they even had their own TV show (El Show de Los York's) that aired for almost a year.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
10"
|
|
EH 041EP
|
2010 release. In 1969, Los York's went on to change labels, leaving MAG and signing on the El Virrey label. The MAG label then released this record, recruiting Pablo "Melcochita" Villanueva (comic cabaret actor and tropical musician) to put some voices in a few tracks, left unfinished, along with some other pieces recorded by Los Teddys. Those sessions spawned tracks like "El Loco," "El Psicodelico" and "El Preso." The result is disconcerting -- a real rarity which goes all the way from grotesque to enthralling.
|