Junior Squad (Venezuela) 1966-1970

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. 

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 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.

 

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.

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. They released their final record, Arriba!! con Los Junior Squad, in 1969. This album presents them as 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. 

1968-Baila Muchacha

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. 

L-R: Gilberto Rebolledo, Fernando Bustamante, Teresa Díaz, Valere Díaz, Néstor Ramírez

 

Desert Edges of Doo Wop

I-10/I-15 interchange in Ontario, CA

Pre-ramble

While recently in the greater Los Angeles area where San Bernardino, Riverside, L.A. and Orange Counties overlap, the only thing I could listen to in the rush of traffic was classical on KUSC. However, recollections were spurred along congested Interstate 10 as it continued east into San Bernardino-namely the music of the Turtles and Frank Zappa.  It is in this no man’s land that the California air takes on an overall darker hue due to pollution and the industrial nature of the area. (When I left California in 2007, I realized that the Jan and Dean I was listening to driving up Kellogg Hill in West Covina did not mean anything at all to California.) With apologies to Reyner Banham, the congested raceway heads into San Bernardino where the all-encompassing built environment sprawls outs indiscriminately beyond human scale.

Happened to be in the Area

Plain Wrap were another group who acknowledged and sardonically expressed the frustration and futility of the rat race in their song “Traffic.” They were a Dickies-Descendents-ish melodic punk band from Placentia who had one album released by Enigma Records in 1985. The song succeeds in almost articulating the seemingly incomprehensible by taking the route of humor.  Their lead singer Dallas Don Burnet would later go on to release a pretty much unknown, yet totally solid solo album in 2012 under the clever and optimistic title Cancel My Disappointment. 

Anyway the Wind Blows It’s only in the last five years that I have finally started to "get" some of Zappa and the Mothers of Invention due to choice selections played on WFMU’s Big Planet Noise.  Freak Out! is actually a lot more song-oriented and structured than the all-out Dada and theatrics that I was expecting.  Being in the Mothers’ old stomping grounds, one can still sense the major swirls and their influences in the air. In fact, “Anyway the Wind Blows,” “Trouble Every Day” and “The Orange County Lumber Truck” continue to speak volumes to the situation here in the ‘20s. Further, Is it any wonder that Flo & Eddie would go on to join the Mothers of Invention? While the aforementioned musicians take vastly different approaches, they all share the same impetus to encapsulate and express the absurdity of this way of life with some much needed sense of levity and perspective.

Still Feeling the Aftershocks

Vocal group harmony was such a prevalent and pervasive influence on the Mothers, that they naturally became latter day champions of a sound that was then not exactly au courant according to the avant garde, the self-proclaimed hip and the cognoscenti. Including “Go Cry on Somebody Else’s Shoulder” on Freak Out! and releasing an entire concept album Cruising with Ruben & the Jets were pretty bold countervailing moves for ‘66-’68. Cruising... could also be heard to be all part of a continuum and a conduit to a sound both earthy and otherworldly. (With their ardent love and devotion to the streetcorner sound, Frank Zappa and Lou Reed had more in common than the  musical adversaries were both willing to admit.)

Beyond Pledge Drives

With a majority of its singers, creators and original listeners no longer around, the original Doo Wop groups and sounds have been largely cast aside in its country of origin once again after its last resurgerence during the reissue heyday of the ‘90s. The recordings were then encoded onto compact disc and successfully sold in the form of Rhino’s Doo Wop box sets or even the numerous "discount" releases offered by Collectables. PBS did what it could at a national level with their pledge-drive specials, while Jerry Blavat and Art Laboe kept the sound alive on regional levels as legendary disc jockeys and personalities. As far as Doo Wop in this century, I have fond memories of the Mighty Echoes opening up for Jonathan Richman at Safari Sam’s in Hollywood in 2007. One of my favorite Doo Wop-influenced acts here in the ‘20 are Jintana & Emeralds who hail from Tokyo and have a highly-stylized, balmy and dreamy sound. 

Jintana & Emeralds' 2nd full-length Lp from 2022

Rama Lama Ding Dong

The harmonies of the vocal groups were able to soar thanks to a strong melodic foundation being efficiently propelled by continuous triplets galore. Nonsense syllables provided both hooks, while zig zagging the songs in different directions and echoes ricocheted off the walls. Unbridled joy and sorrow and everything between is expressed by the lyrics. Lastly, the layered vocal parts combined with minimal instrumentation added dimension, shade, contrast, while also dispelling the darkness. Successfully combining these moving parts resulted in urban hymns of spare elegance and deceptive simplicity that expresses an unmistakable American sound. Sometimes it’s austere and subtle, other times over-the-top and enthralling and occasionally the sound lifts off the streets to the stars. With lyrics typically focusing on elemental aspects that are usually taken for granted (e.g., moon, stars, love) it can hopefully spur listeners towards retaining a sense of wonder. Overall, Doo Wop is an evocative, atmsopheric nightfall music, with the best exploring emotional heights and offering transcendence.

West Coast Doo Wop 

An entire compilation of rare Los Angeles Doo Wop is not something you see usually featured and/or reviewed in this digital age.  Give credit to Ace Records for releasing this well-deserved and designed collection. One of the standouts is Arthur Lee Maye’s “Last Night.” This previously unissued rarity recently surfaced as an acetate provided by its producer Arthur Wright. The singer of this dusty diamond, Arthur Lee Maye, also had a stellar career in Major League Baseball as Lee Maye. Immediately following is another obscurity involving another leading figure. “A Long Time Alone” showcases Danny (aka Sly) Stone’s “golden child” talents. This deeply affecting record is the beginning of a long journey with many ascents, descents and detours to come.  

Lee Maye in the Astrodome

Some “Last Date” piano stylings break up the formula and sets “Eternal Love” by Cordials apart from the usual fare. The group, who transplanted to L.A. from Boston, would later go on to change their name to the Stompers and record for Landa Records. (On a related note, Landa featured some of my favorite graphic design that has ever appeared on a 45 record.) Surprisingly, the Cordials also featured Bobby (Boris) Pickett of “Monster Mash” fame in their lineup. The Dandevilles’ “Psychology'' includes almost as many “Don’t Wannas” as the Ramones, while “Jolly Green Giant'' has the Valaquans testing the rock ‘n’ roll waters before before later becoming an Impressions-ish soul combo. Another highlight is the striking “Hold Me” by Dorothy Berry & the Swans. Dorothy Berry was the wife of Richard Berry of “Louie Louie'' fame.  In addition, Richard Berry himself is said to provide the basso profuno on this Vanco release that was composed by Etta James.  Another intriguing element is the wiry, taunt and pronounced guitar that sounds like a jaw harp heard throughout the recording.

Call and Response

The Jades’ soothing “When They Ask About You” is reminiscent of the Flamingos’ “Only Have Eyes For You” with their take on the “doo-bop sh-bop” background responses.  Elsewhere, James Lee Washington’s “I Need Somebody” jumps into this century in sensational fashion. This 1962 mini-masterpiece evokes Ronnie Spector and her wonderful “whoa whoa whoa'ing”, as she channels her inner-Frankie Lymon. Coincidentally, James Lee Washington’s real name is Morris Chestnut and he’s the father of actor Morris Chestnut Jr.-who made his film acting debut in Boyz n the Hood.

The Road to Los Angeles

Not everything is top-tier, but overall This Love is Real is a solid retrospective that plays well on the whole with its superior sound quality sourced from the original master tapes. The labyrinthine history of these obscure records and groups is straightened out in the comprehensive liner notes accompanied by fitting graphics and rare photos.  Again, Ace Records is due recognition for their commendable coverage of this mostly overlooked, but pivotal era of Los Angeles music history of Doo Wop transitioning to Soul. 

Desert Center of Attention

Moving over to Phoenix, the Tads were a versatile combo led by singer, songwriter and guitar player Leroy Fullylove. Released on Valentine’s Day 2023, this collection presents 30 tracks, recorded between 1956 and 1962, straddling the blurry line between R&B and vocal group harmony. The Tads were always my favorite when they previously appeared on Arizona-centric various artists collections like Desert Doo Wops and Sha-Boom Bang! It’s great to have this well-sequenced definitive collection including rarities, demos and alternate takes, which reveals additional aspects, facets and the prodigious talents of Leroy Fullylove. They were a classic vocal quartet with solo lead and harmony backing who both played in and overlapped the prevailing styles of the day. Their records spanned the range from the raucous and rough-hewn through melodic pop to brooding balladry. Leroy Fullylove and the Tads could even be compared to the legendary Nolan Strong & the Diablos.

Ring Chimes They have the distinction of being the first Black group to record for Randy Wood’s Dot Records and also the experience of auditioning for Bumps Blackwell’s Speciality Records in Los Angeles.  The Tads got off to a promising and quick start in 1956. The group’s first release, “The Pink Panther” was composed and produced by future legend Lee Hazlewood. Hiding on the flipside is the hushed and heartfelt “Your Reason” that reflects the group's gospel beginnings as the Crusaders. This ballad contains the imploring line sung with candor: “I tried so hard to do my best.” “I Want to Know” continues their sound in the realm where the secular seems somewhat influenced by the spiritual.  The ultra-catchy “Ring Chimes” with its skip-a-long tempo and underlying tropical rhythm could have been on one of the aforementioned Rhino box sets.

“Ring Chimes” is actually a cover from an Ohio-based group named the I.V. Leaguers who recorded for Dot Records. The song would also be covered by the Cadets at an even brisker pace. “She is My Dream” would have benefited from being played as a speedier clip. Still, it would be quite the cover song for a current roots-oriented outfit.  “Wolf Call” is not the Elvis number from Girl Happy, but sounds more like a Leiber and Stoller vehicle for the Coasters and even locates itself in Los Angeles with the line: “Wella...Here I Stand on the Corner In Downtown L.A." The dusky “Me, My Shadow and I” features a menacing and looming guitar augmented with the prominent background accompaniments most likely influenced (once again) by the ones heard on the Flamingos’ “Only Have Eyes For You.”

The Tads with Lee Hazlewood
"The Pink Panther"/"Your Reason" sessions in 1956

Both Mainstream & Marginal

The collection offers some surprising departures like the rockin’ R&B heard on the previously unreleased “I’m Sorry Little Girl,” and even country inflected numbers like “It’s Been Nice” which was composed by Leroy Klingman (who was a teacher by day and owner-operator of Viv Records at night). The uplifting “Glowing Moon” sounds like another lost classic that taps into the eternal. Two takes of the uptempo proto-soul of “One of These Days” has the outfit sounding like the near future in 1962. With its interstellar harmonic blend, “Jumpin’ Over the Moon” exuberantly achieves lift off in the midst of the space race. Lee Hazlewood was back in the picture as this blaster was launched by his short-lived Tandem Records label in 1961 and has the Tads sounding in fine fashion on this Fullylove composition. 

For the Accelerated Ages The groundbreaking Tads were able ot put Phoenix on the map in the ever-evolving world of Doo Wop and R&B in the late ‘50s and early ‘60s. They helped set Phoenix-area music in motion and made headway for those who would come after them like Eddie & Ernie, Dyke and the Blazers and even the Servicemen. After years of being prominently featured on compilations, Your Reason offers a closer look and more complete view of a group and their leader Leroy Fullylove. The vocal harmony/R&B group could be defined by the all-too-familiar missed opportunities, but most of all they should be heard and recognized for their striking, wide-ranging and timeless recordings forged as things were moving in so many directions.

The Tads-1959

Yea-ming and the Rumours-So, Bird ...

Yea-Ming and the Rumours continue to refine their distinctive guitar-driven jangly and twangy sound, while also branching out in new directions on “So, Bird…” Their sophomore album presents both a continuation of the melodic and sincere folk-pop-rock of 2016’s I Will Make You Mine and also an adventurous breakthrough to new musical realms for the Bay Area group. 

“I Don’t Dare” unfolds as an invocation and a welcoming call to listen. With a click of the recorder, the intimate opening number allows them to subtly establish their presence and begin creating a better world of their own making. Despite the harsh realities, obligations and distractions, this koan expresses the need to be resolute and determined to hold on to life's vital aspects by paradoxically letting go. Accompanying the spare and unvarnished song is a güiro played by percussionist Sonia Hayden.  The Rumours further expand and refine their requisite twang and jangle sound on “Oh Sweet Mother.” They bring sunburst ‘60s pop into soft focus with an exquisite and hymnal melody supported by overlapping harmonies. This sublime lead single overflows with even more jangly guitars than we have ever heard before on a Rumours recording due to the contributions of Matt Bullimore of the Mantles. The gleaming guitars sparkle and will have you guessing if they were nicked from the mid-sixties top pop of the Turtles, the Seekers or We Five. Regardless, the lyrics could be heard to invoke a vast array of spiritual mother figures along with our own and the human need for protection, compassion and forgiveness. The remarkable single is perfectly complimented by a sweeping video, directed by Chris Anderson and Lily Chou of JetLagRocknRoll, where Yea-Ming comes across like a young Chrissie Hynde.

The strummy “Back To The Days of I Don’t Knows” conveys the drone of Velvet Underground to the point where the guitar tones sound like bagpipes in the distance. Not only does the song reflect the chugging brilliance of VU, but also the dissonance of We Five’s “You Let a Love Burn Out.” Chen’s matter-of-fact vocals command presence and convey yearning for a new phase in life and music. Meanwhile, the lyrics point out that the closer you get, the further away you are and that's what goes on.

Surprising turns into unexpected places has long been a forte of Chen’s songwriting. For instance, “Pour Some on You” goes on for a minute before changing direction like a Taiwanese Nine-turn bridge 九轉橋. The arrangement, counterpoint, and harmony interplay to become slightly evocative of “The Circle Game” by Joni Mitchell if played by Moe Tucker, Rose Melberg or Dear Nora. The lilting song encourages an elusive sense of wonder and beginners’ mind approach, not by retreating into cloying tweeness, but by trying to make good things happen and finding momentum. There is obviously far more to it than that, but it's a viable starting point.

Changing Directions

“Look Me in the Eyes” demonstrates Yea-Ming’s inherent ability in creating graceful music containing life’s messy emotions. The endearing vocal inflections and a perfect baroque solo played by Yea-Ming on a nylon string guitar reconcile the very human volatility expressed in the lyrics. Overall, this song is presented with an awareness that ornate details and subtle measures frequently make the difference and often leave the most lasting impressions.

Yea-Ming adeptly made the best of the covid lockdown situation and found her musical way forward by experimenting with a midi keyboard when she was unable to collaborate with her band. The midi-simulated group of cellos embellish “Look Me in the Eyes” and provide contrast and variety. She should be commended for daring something different with this song that bridges her characteristic form and style and signals the literal and figurative turning point on the record and in her artistic development.  Additionally, it’s a glimpse into the process of change.

Striking the perfect twangy tone with abundant echo and taking the sound further into crossover territory, “Heartache Ain’t Nothing To Me” kicks up some dust. This mountain topper has hit-bound written all over it and could go on to become a timeless countrypolitan classic like "It's a Heartache” by Bonnie Tyler, Juice Newton and Ronnie Spector. Eoin Galvin’s jaunty lap steel playing sparks this boundless number and especially shines on the solo. On a related note, it sure would be interesting to know if the quartet would ever consider covering “Queen of Hearts" or even "Angel of the Morning."

From Sea to Tree

“Sleeping in California” made its debut at the 2020 virtual CAAMFest Film Festival. With an emphasis on capturing the ripples, along with some slight splashes, the elegiac and stately ballad signifies continual growth. With its retreat into nature, it’s a courageous step, while also acknowledging the unceasing threat of the continually escalating wildfires. The lyrics could also be interpreted as a declaration of looking for home in the disputed and contested golden state, while still being open to the possibilities of California Redemption Value (CRV). Lastly, it encapsulates that brief moment in 2020 when Covid-19 brought on the small blessing of cleaner skies and things were indeed quieter and nature itself started the healing process towards some sort of equilibrium. 

Rolling Tides & Sea Breezes The lovely and layered “I Still Dream of You” is tinged with Bossa Nova, while also encompassing folk, Hawaiian, and tourchsong. The “After Hours” track lands somewhere in the otherworldy realm between Ranny Sinclair and 河名伸江 Nobue Kawana with Yea-Ming providing the banjo-esque plunks on a nylon-string guitar. This understated beauty is a sonic display of her prodigious talents, while also a soundtrack of making her own path and seeing where the sound will take her. “Takeda Lullaby'' closes out the album and had my son in the back of the car humming along on first exposure, while it stirred memories for me of observing an August bon festival in Oxnard, CA.

What the Water Gave Me

“So Bird…” is the sound of moving forward into a new day of a new era along the western edge of the continent. It also provides a sense of natural stillness and rhythm in a moving and jagged human world still seemingly out of any semblance of balance. It’s no wonder that the oceanic is a recurrent motif and prevailing theme as the lyrics frequently contemplate the pull, power and vastness of the Pacific. Further, the album does not evoke the fragile and murky mood of the in-between and indefinite atmosphere of 2021 or the swirling turmoil and the sadness which permeated much of 2020, but maintains connection to a timeless past while also transitioning in the midst of recent challenges.

Best of Both Worlds 

This fully-realized and varied album offers the Rumours’ immediately striking Pacific Coast Pop with departures into directions leading to expanses over swirling seas. Not only does the stellar album connect Yea-Ming's past and present along with individual and universal sentiments, but also captures and reflects the rhythms and routines of the everyday. By ending with a lullaby, it leaves things open-ended and yet to be completed. It’s hard to foretell what subsequent efforts and the future will bring. For now, these starlight sounds express the full hope of another sunrise.

Photo by Chris Anderson