[SPA]Grabado en 1968, "En jazz" es el LP más atípico de los grupos españoles de los sesenta. Transformados en vigoroso cuarteto de jazz (vibráfono, piano, contrabajo y batería), Lone Star tocan standards, Mozart y Pau Casals. También hay rhythm and blues: Pedro Gené canta a Ray Charles en 'Believe To My Soul'.[ENG]"En jazz" (1968) is the most atypical LP by any Spanish 60s band. Transformed into a vigorous jazz quartet (vibraphone, piano, double bass and drums), Lone Star plays standards, Mozart and Spanish composer Pau Casals. There's also rhythm & blues: Pedro Gené sings to Ray Charles in 'I Believe To My Soul'. Licensed from Sony Spain. First time reissued. Very limited edition of only 500 copies. 180 gram vinyl. Insert with liner notes in English and Spanish.Formed in Barcelona around 1960, Lone Star broke the mold of contemporary Spanish bands. Like all the groups signed by the EMI subsidiary Hispavox, they had to record covers of foreign hits, specializing in The Animals ('La casa del sol naciente' ('The House Of The Rising Sun'), 'Comprensión' ('Don't Let Me Be Misunderstood')). However, they obtained enough recognition to be able to record their own material, achieving a huge impact in 1968 with 'Mi calle', an outstanding song that reflects working-class frustration in Spain under Franco.That same year, La Voz de su Amo released "En jazz". For a while, Lone Star operated in two fronts: first they would play jazz and later their pop songs. They gained a fantastic reputation and were signed up for Festivales de España, an official touring circuit that used to offer "cultural" shows during the summer.The grupo-lonestar.com site features an interview from that tour. It explains how Pedro Gené, the singer, switches his usual role to that of piano player for the jazz section; Juan Miró leaves the guitar to play the vibraphone; Rafa de la Vega plays the double bass and Enrique López caresses the drum kit with brushes. In it, they state that "jazz is a way of letting off steam, you can come out of it feeling upbeat or sunk into uncertainty".Listening to "En jazz" today, you can notice there was a certain evangelical component in the project. They were trying to educate the public: "It's jazz which contains all the styles: cool, classic, modern. We try to play straightforward jazz, commercial, which can be attractive to the youth." At the same time, they showed their music school formation, in contrast to the self-taught education of most of the bands from the period: they included a Mozart sonnet or 'Cant del ocells', a traditional Catalan Christmas song associated with cellist Pau Casals.Quite possibly, the model for Lone Star was The Modern Jazz Quartet, with their elegant swing and affinity for classical music. But Lone Star added two tracks with vocals, in order to entice their listeners. Ray Charles' 'I Believe To My Soul' was reminiscent of their beloved Animals (in fact, Eric Burdon's band had recorded it in 1965). The second one was 'Misty', written by pianist Erroll Garner, which had become a standard thanks to versions by Ella Fitzgerald, Frank Sinatra or Sarah Vaughan."En jazz" was a unique project. As Pedro Gené stated in 1969, when interviewed by newspaper La Voz de Navarra: "We only play jazz in front of specialised audiences and at chosen occasions." After the success of 'Mi calle', the second jazz LP they announced at the time never saw the light of day. Only in 2010 has the recording of their daring concert at the Teatro Infanta Beatriz been recovered. It was the presentation in Madrid of their double aspect as jazz and rock musicians.TRACKLIST: SIDE A: 1. PETER GUNN THEME; 2. I BELIEVE TO MY SOUL; 3. EL CANT DELS OCELLS; 4. SONATA Nº 15; SIDE B: 1. MISTY2. LOVE IS JUST AROUND THE CORNER; 3. OPEN EARS[END]

Con solo seis singles editados entre 1965 y 1966, y desde un remoto lugar como Lima, Peru, Los Saicos crearon un sonido poderoso, salvaje y visceral. El equivalente en el Hemisferio Sur al garage rock que salió del Noroeste de USA en ese mismo momento. Ellos tienen el mismo DNA que bandas como The Sonics, Rocket From The Tombs, The Cramps y Black Lips. Este lanzamiento recopila todas sus grabaciones y cuenta su increíble historia.Todos los temas han sido extraídos de los masters originales. Contiene un libreto de 56 páginas con extensas notas en español e inglés ilustradas con numerosas fotos nunca vistas. La caja de singles (edición limitada de 1.000 copias) contiene una tarjeta de descarga de regalo.

[SPA]Grabado en 1973, el debut de Solera supuso una aproximación a los sonidos de la Costa Oeste americana y la etapa final de los Beatles a partir de una perspectiva española. Los cuatro componentes del grupo se encargaron de firmar canciones y letras magníficas, y el disco contó con la producción y arreglos de Rafael Trabucchelli.[ENG]Recorded in 1973, Solera's debut was a Spanish interpretation of the US West Coast pop/rock sound, Badfinger, or late-period Beatles. The four band members were responsible for the wonderful songs and lyrics, and the album was brilliantly produced by Rafael Trabucchelli. An essential record by four exceptional artists, responsible for some of the best songs and most brilliant lyrics in the history of Spanish pop. Reissued on vinyl for the first time. 180 gram vinyl. Limited edition of 500. Insert with liner notes in Spanish and EnglishA landmark in 1970s Spanish music, the birth of Solera can be explained looking at the career of its four members. The most experienced of them, José Antonio Martín (Málaga, 1943), had already toured Europe aged 14 along with his city's choir and dance group. By then, both he and his brother Manuel (Málaga, 1947) had become infatuated with the sounds of young America, but their presence in several 60s bands only left a trace of two records for RCA with Los Gansos.Rodrigo García (Sevilla, 1943) came back from Bogotá in 1969. He had lived the previous few years as a star fronting the Colombian band Los Speakers. Thanks to that background he soon was busy in Madrid, featuring briefly in Los Pekenikes and getting a regular gig in charge of the Vox organ in Juan Pardo's band. José y Manuel enrolled him for their first LP as a duo, the amazing "Génesis" (Hispavox, 1971). But everything would change with the second LP, "Pronto amanecerá", when bassist José María Guzmán (Madrid, 1952) joined the band, who despite his young age had been performing on stage for five years, first with the "Rey del Silbido" ("King of the Whistle"), Curro Savoy, and later with Los Diamantes and Micky.In the periods between recordings and rehearsals, the two brothers discover the McCartney-esque talent of Guzmán and Rodrigo's Dylan phrasing, and start to wonder how they would fit in with the increasingly folkie atmosphere of their compositions. When Hispavox offers to support their forthcoming release with a proper promotional campaign, they already know they want to record as a four-piece. As a whole, "Solera" appears today as the most accomplished piece of its authors' saga, only comparable to "Señora azul" (Hispavox, 1974) by Cánovas, Rodrigo, Adolfo y Guzmán (CRAG). The brothers' vocal harmonies reach great heights and provide a deliciously sunshine counterpoint to the ochre-coloured sound of their colleagues. Rodrigo writes a major classic, 'Linda prima', and generally exhibits his maturity as a songwriter. But Guzman's talent also shines on "Solera", and it's likely he's ultimately responsible for the chamber pop character that permeates the record, specifically the sweetly playful 'Viejo París', the Beatles-sounding 'Juan' or the Badfinger reminiscences of 'Tiempo perdido'.In spring 1973, critics unanimously lauded the album on its release. But as could have been expected, the whole seemed too neat and kind for the pamphletary silliness of those years, and the total lack of interest by the FM stations condemned the record to the AM ones.It's possible that when they formed Solera, Rodrigo and Guzmán already had CRAG in mind but, with Cánovas and Adolfo busy with their respective groups, they opted for this adventure as a temporary solution. Still immersed in the album's promotion, Rodrigo gathered the band at the Hispavox offices and announced that Guzmán and he were going their own way, which was seen by the brothers as a betrayal and prevented the name Solera from being used in the future. Of course, listening to this record nowadays we won't understand the reasons for those events, but we will be amazed at the romanticism these timeless grooves exude.TRACKLIST: SIDE A - 1. NOCHE TRAS NOCHE; 2. UNA SINGULAR DEBILIDAD; 3. LINDA PRIMA; 4. LA TEMPESTAD; 5. TIERRA MOJADA; 6. EL DISCIPULO DE MERLIN - Side B - 1. VOLVERAS; 2. CALLES DEL VIEJO PARIS; 3. JUAN; 4. AGUA DE COCO Y RON; 5. TIEMPO PERDIDO[END]

El impresionante regreso del Hombre de Goma y Coloso del Ritmo! Micky, pionero del rock & roll español junto a los míticos Tonys, ha grabado un álbum con 12 hits en los estudios vintage Circo Perrotti de Jorge Explosion. En esta ocasión se hace acompañar por una verdadera banda de amantes del rock & roll que cuenta con la presencia de miembros de Doctor Explosion, Raunch Hands, The Kaisers, The Real McCoyson y Bubblegum, entre otras estrellas del underground garagero.

[SPA]De los archivos de Philips en Nigeria llega esta primera colección a cargo del desconocido trompetista y bandleader Bola Johnson. Grabaciones esenciales de los sesenta y principios de los setenta para cualquier fan del highlife y Afrobeat.[ENG]From the vaults of Philips in Nigeria comes this collection of mysterious trumpeter and bandleader Bola Johnson. Unmissable 60s and early 70s recordings for all highlife and Afrobeat fans. A missing jewel from a golden age of Nigerian music.1. BABY £1:10 /-2. SOMEBODY FIND ME TROUBLE 3. IYAWO KOKORO MI DA 4. MONEY HARD 5. OH MY BABY JOSEPHINE6. OBIRIKO AYE N YILO 7. ASEWO AJEGUNLE YAKARE 8. ORO AIYE 9. KOTO YE O10. BURODA MASE11. KILODE 12. MIMO MIMO LOLUWO13. EZUKU BUZO 14. HOT PANTS 15. MELE LATORI16. LAGOS SISI 17. OYINMOMO18. LAGOS SPECIAL 19. NEVER Part 1 20. EDUMARE SORO21. PAPPA REBECCA SPECIAL 1 (SHE'S A WOMAN) 22. NIGERIA DRIVE ON THE RIGHT[END]