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| 1966-New Pop Group |
Due to its geographic location atop South America, Venezuelan musicians were in a favorable position during the '60s to merge the musical influences arriving from land, air and sea with their own regionalisms. Junior Squad certainly delivered the full-fledged pop goods filled with abundant hooks and a harbor full of ‘60s influences. In retrospect, a discernible career arc can be traced as each of their records sound like the encapsulating cover art and design. As might be detected by viewing the front cover of their debut, the combo delivers jingle-jangle pop rock au go-go teeming with endearing charm, earnest intent and the requisite tambourine. Discomoda Records’ truth in advertising is a refreshing way to present their attractive and alluring mix of folk-rock, pop and instrumentals. The combo from Caracas reflected both the tones of their times (1966-1970), while they also concocted a unique Venezuelan spin on their sound.
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| L-R Valere Díaz (vocals, bass), Teresa Díaz (vocals), Fernando Cohen (drums) Néstor Ramírez (guitar), Gilberto Rebolledo (keyboards) |
New Pop Group
The group's marks of distinction were their multi-layered male-female harmonies rising over melodic songs almost entirely sung en Español. Stirring melodies are offered by Teresa Díaz and her bass playing brother Valere Díaz and they share singing lead on a song-by-song basis. Their debut is an express of non-stop covers, but some of them are so obscure they come across as originals. The more familiar covers range from the hits of the Seekers to the Turtles, which are fitting indicators of their sound. The delightfully concise album is packed with exceptional musicianship as they have solid command of their instruments. The bright and precise guitar playing of Néstor Ramírez particularly sparkles as it verges on the edge of coiling surf rock and sparkling electric folk-rock. Ramirez was also responsible for their impressive arrangements. Another key element is the percolating skating rink Farfisa Combo Compact organ presided over by Gilberto Rebolledo. It chimes like the best doorbells and percolates like Mr. Coffee as it embellishes and enhances a perfect mid-sixties pop rock sound.
The group's marks of distinction were their multi-layered male-female harmonies rising over melodic songs almost entirely sung en Español. Stirring melodies are offered by Teresa Díaz and her bass playing brother Valere Díaz and they share singing lead on a song-by-song basis. Their debut is an express of non-stop covers, but some of them are so obscure they come across as originals. The more familiar covers range from the hits of the Seekers to the Turtles, which are fitting indicators of their sound. The delightfully concise album is packed with exceptional musicianship as they have solid command of their instruments. The bright and precise guitar playing of Néstor Ramírez particularly sparkles as it verges on the edge of coiling surf rock and sparkling electric folk-rock. Ramirez was also responsible for their impressive arrangements. Another key element is the percolating skating rink Farfisa Combo Compact organ presided over by Gilberto Rebolledo. It chimes like the best doorbells and percolates like Mr. Coffee as it embellishes and enhances a perfect mid-sixties pop rock sound.
The Joe Meek Appreciation Society
Further explorations into their layers of covers reveal some rather unexpected wrinkles. “Gotta Be a First Time”/"Siempre Hay una Primera Vez” was originally a 1967 single from the Riot Squad (who would later feature David Bowie). The song also has the distinction of being Joe Meek's final production before things got tragic at Meek’s studio home on 304 Holloway Road. In addition, it was composed by the New York songwriting team of Larry Kusik and Ritchie Adams. Larry Kusik is the late uncle of Lenny Kaye while Ritchie Adams is best known as co-writing "Tossin' And Turnin'” for Bobby Lewis besides stacks of other songs that were recorded by the likes of the Blues Magoos, Every Mother’s Son and the Electric Prunes. The Meek connections and influence continue throughout the album. They cover Glenda Collins’ atmospheric “Don't Let It Rain On Sunday/ “Que No Lleva En Domingo” and “My Heart Didn’t Lie”/”Mi Corazon Nunca Mintio”-both written by Joe Meek and Mike Collet. Side two features the Meek composition “Don’t Worry Baby”/”No Te Preocupes Nena" that was originally recorded by Heinz (Burt) as well as the Riot Squad’s “It's Never Too Late To Forgive”/"Nunca Es Tarde Para Perdonar,” which was produced by Joe Meek. By the way, the Riot Squad were popular in Venezuela to the point of placing records in their Top 10 and frequent offers to tour the country.
Drilling Down
Junior Squad were equally adept at instrumentals as they delivered the T-Bones’ big instrumental hit “No Matter What Shape”/”En El Barco” in gleaming fashion with haunting backing harmonies. If Los Shakers were the South American Beatles, Junior Squad were the Seekers of South America. They particularly shine on the Seekers covers: “I Will Never Find Another You”/"De Una Nueva Vida," “A World of Our Own”/"Todo Un Mundo Para Los Dos” and the biggest hit “Georgy Girl” is rendered as “Georgina.” Besides the Seekers, comparisons can also be made to the Sandpipers and Four Jacks and a Jill. Surprisingly, they cover the Equals’ “Hold Me Closer” under the title of “Escribiendo en Celofan.” I’m curious if the bands ever crossed transatlantic paths. Junior Squad were certainly familiar with the recordings of the Equals as their third album, Baila Muchacha contains a cover of “Baby Come Back” rendered en Espanol as “Baby Ven Ya.” The radiant pop-folk sound on their first album exudes youthfulness and ebullient fun, while expressing an inherent warmth and yearning that goes with their name. They would later go on to shine on their original material as they were on the cusp of a new era atop Sudamerica.
Junior Squad were equally adept at instrumentals as they delivered the T-Bones’ big instrumental hit “No Matter What Shape”/”En El Barco” in gleaming fashion with haunting backing harmonies. If Los Shakers were the South American Beatles, Junior Squad were the Seekers of South America. They particularly shine on the Seekers covers: “I Will Never Find Another You”/"De Una Nueva Vida," “A World of Our Own”/"Todo Un Mundo Para Los Dos” and the biggest hit “Georgy Girl” is rendered as “Georgina.” Besides the Seekers, comparisons can also be made to the Sandpipers and Four Jacks and a Jill. Surprisingly, they cover the Equals’ “Hold Me Closer” under the title of “Escribiendo en Celofan.” I’m curious if the bands ever crossed transatlantic paths. Junior Squad were certainly familiar with the recordings of the Equals as their third album, Baila Muchacha contains a cover of “Baby Come Back” rendered en Espanol as “Baby Ven Ya.” The radiant pop-folk sound on their first album exudes youthfulness and ebullient fun, while expressing an inherent warmth and yearning that goes with their name. They would later go on to shine on their original material as they were on the cusp of a new era atop Sudamerica.
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| 1967-Vol. II |
Explorations
Their second album Vol. II has them expanding out even more with their cover material along with getting more soulful. They cover a lot of ground from the "Happy Together" follow-up hit of the Turtles (“She’d Rather Be With Me”/"Siempre Para Tí") to the left field twist of taking on “Making Time”/"Conóceme" by the Creation. This is not one of their better efforts as they deliver the freakbeat favorite in somewhat hokey "good-timey" fashion that is further marred by an annoying honking sax that comes off like a bike horn. Their extensive touring of the UK and Europe probably led to becoming aware of the Creation as well as further broadening their horizons. Later, they return to Meeksville to take on “Something I’ve Got To Tell You”/“Algo Quiero Decirte” by the Honeycombs/Glenda Collins and somehow blend the Four Seasons with Os Mutantes. Vol. II also offers Nestor Ramírez’ soulful slow burner “Ya No Sientes Lo Mismo.” It appears to be an original and a showcase of his stellar guitar work. The combo continually transitioned with the quickly shifting times, while retaining their recognizable sound, widening their repertoire and recording almost entirely en Español.
Their second album Vol. II has them expanding out even more with their cover material along with getting more soulful. They cover a lot of ground from the "Happy Together" follow-up hit of the Turtles (“She’d Rather Be With Me”/"Siempre Para Tí") to the left field twist of taking on “Making Time”/"Conóceme" by the Creation. This is not one of their better efforts as they deliver the freakbeat favorite in somewhat hokey "good-timey" fashion that is further marred by an annoying honking sax that comes off like a bike horn. Their extensive touring of the UK and Europe probably led to becoming aware of the Creation as well as further broadening their horizons. Later, they return to Meeksville to take on “Something I’ve Got To Tell You”/“Algo Quiero Decirte” by the Honeycombs/Glenda Collins and somehow blend the Four Seasons with Os Mutantes. Vol. II also offers Nestor Ramírez’ soulful slow burner “Ya No Sientes Lo Mismo.” It appears to be an original and a showcase of his stellar guitar work. The combo continually transitioned with the quickly shifting times, while retaining their recognizable sound, widening their repertoire and recording almost entirely en Español.
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| L-R Néstor Ramírez (guitar), Fernando Bustamante (drums), Teresa Díaz (vocals), Gilberto Rebolledo (keyboard), Valere Díaz (bass & vocals) |
Bubblegum dance moves and kite flying music
Their 3rd album Baila Muchacha places emphasis on dance (as the title indicates) and Motown, while their visual presentation projected the prevailing influence of dada, surrealism and Sgt. Pepper's Lonely Hearts Club Band in South America. Their final album has them returning to be a versatile showband somewhere between early Bee Gees, Bubblegum blasts (e.g. “Sugar, Sugar”/"Dulce, Dulce") and the Spiral Starecase. Teresa and Valere Diaz went on to release a 1972 album on CBS under the name of La Nueva Generación that leans towards the soft & mellow middle-of-the-road.
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| 1968-Baila Muchacha |
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| 1969-Arriba!! con Los Junior Squad |
Their cover art not only expresses their sound and phases, but also signals to some things beyond the immediate. All four albums have their moments of surprise and unexpected connections to a wide-array of international ‘60s sounds and influences. Their debut especially stands out as what other Latin pop act would be directly inspired by the Turtles, the Seekers, the Equals and the shadows of Joe Meek? Overall, they certainly sound centered in Caracas, yet oriented towards many worlds.
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| L-R: Gilberto Rebolledo, Fernando Bustamante, Teresa Díaz, Valere Díaz, Néstor Ramírez |
