Los Delfines "Estamos Seguros" 1969 Uruguay Garage Psych Rock

Los Delfines  "Estamos Seguros" 1969 Uruguay Garage Psych Rock

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In 1968, the dissolution of large Uruguayan groups such as Shakers, Mockers, Damned and Cats, left the way clear for the definitive consecration of The Dolphins within the beat in English. This group was one of the few that systematically improved its equipment (getting to buy Vox equipment in London), and that acquired an enviable level of professionalism. His presentations with the Modern Electronic Sextet were the preferred package for an important sector of middle class youth who used to dance every weekend at the “five star” circuit. The Sexteto’s “sweetened” proposal was complemented with the Dolphins hard-beat, who, in addition to their own songs in English, also performed good versions of English bands, such as “You really got me” by The Kinks. The vocal game (with the three solo voices of July, Coyo and Mario) and the instrumental cohesion of the band commanded from the battery of Chocho Vila (brother of Caio), were enriched harmonically at the end of 68 with the entrance of former Mocker Esteban Hirschfeld on keyboards. 
In 1969 they recorded “We are Safe”, their only LP; presented on August 16, 1969 at the Auditorio Sodre Studio. It was a revolutionary spectacle for the time, which featured lights, slides and slides, and the accompaniment of Julio Frade orchestras and the Sodre Symphony Orchestra. 
After a brief hiatus, and before most of its members emigrated, Los Delfines recorded a simple story in 1972: ‘Amigos sigue igual’ and 'With that voice’, two songs sung in Spanish that would become hymns of several generations thanks to the versions that the nickel group will make in 1990. 
The initial movement of Uruguayan rock had a date of death: December 1974. The institutional break imposed an adverse context, so the groups began to gradually dismember and a large number of its members emigrated to other countries…..

Los Delfines  are one of the great Uruguayan rock bands of the sixties. It began to take shape from “Los Cinco De La Costa” (1960) one of the first bands to play rock in Uruguay. It was something like a mix of The Beach Boys with the Teen Tops …Los Delfines  was the band with more years on the Uruguayan stages. And the only “big” band of the national rock, which did not emigrate to Buenos Aires in the 60`s … Its first simple was a great success that followed more … Until only in 1969 they recorded their first and only album: “Estamos Seguros” a great album already with “touches” of psychedelia, for which, to listen to them in a more “rocker” sound “” Garage “” Punky “or” Brit “is only possible through its simple ones. Despite not having recorded more lp`s, his songs appeared in compilations of bands … like Discodromo. In 1972 they released a simple that has truly become one of those simple ones that has the ability to delight us with its "dos caras”.“Con esa Voz” & “Amigo, Sigue Igual”, is a milestone (at least for me) regarding Rock in Uruguay. In my last talk with Esteban (keyboardist of the band, after leaving Los Mockers), he did not know how to answer the question about the existence or not of more recordings, unpublished recordings. Who without doubt has that answer is Jorge Abuchalja. It would not be at all strange that this was something real. 
I guess maybe a cover of Los Kinks or another type of recording, like some live recital, well known is that the recital in the SODRE was recorded, we consider those as an unpublished, I would rather refer to some study … Maybe the “VAULTS”, of the sounding or one of the members treasure something like this … 
Its great live sound, its equipment, everything was perfect for the band to perform like it did, the first level musicians, … and a lot of rehearsal! 
The Defines should not be forgotten, and we wait for their prompt edition on CD!

Credits 
Bass – Mario Aguerre 
Drums – Jorge “Chocho” Vila* 
Guitar – Jorge “Coyo” Abuchalja* 
Lead Guitar – Julio “July” Fontenla* 
Organ – Esteban Hirschfeld 
Vocals – Jorge “Coyo” Abuchalja*, Julio “July” Fontenla*

1-Jacinta 
2-Don`t Fear 
3-No Time To Live 
4-May I Madamme 
5-Look Without Seeing 
6-We Are Shure 
7-Everything 
8-It Never Stops 
9-Like Sunshine in the Rain 
10-Two Blind Mice 
11-La Red 

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Rob Jo Star Band "Rob Jo Star Band" 1975 France Garage Psych,Proto Punk

Rob Jo Star Band  "Rob Jo Star Band" 1975 France Garage Psych,Proto Punk  

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Interview Exlusive du Rob Jo Star Band 

http://fuzzine.over-blog.com/article-french-underground-interview-exlusive-du-rob-jo-star-band-77316193.html

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This is some great garage rockin/Velvet Underground vibin’, stumblin’ psychedelic rock right here. For fans of Roky Erickson, the Velvet Underground, and their followers like Simply Saucer this is a no brainer and you want to download this right away. In fact Simply Saucer is a great comparison, this Rob Jo Star Band record having come out around the same time(1975) as Simply Saucer’s recordings, and both feelin the VU stylee and playing all around with primitive electronics on top of their garage rockin’ tunes. And those primitive sounds, they just show up all over the place on this record. 
Seemingly with a mind of their own, they interrupt songs whenever they please. Lots of broken english sing along choruses for your pleasure. A longtime French collectors treasure we can now join in the fun…..~

“Very great & unknown French quasi prog/psych hard rocker originally released on the Dom label in 1975. Even amongst the European psychedelic cognoscenti, Rob Jo Star Bands sole lp is somewhat of an enigma. Careening forward & stumbling over 13th Floor Elevators bleeb alien moves, Velvet Underground sustained vibes & Stooges-like guitar fuzz, Rob Joe Star created a singular masterpiece that is truly incomparable to anything released in or around its time (circa 1975). Along with the Angel Face Wild Odyssey lp, one of Frances long obscured musical treasure…..~

Official reissue of one of the weirdest records ever released in France in the early 70s. Stoned psychedelia. Garage punk under the influence of acid. Fantastic sci-fi spaced-out psych with astonishing lysergic fuzz distortions, drenched with crazy electronic noise effects. Though French underground rock in the early 1970s French underground certainly things to offer (mostly headaches and yawns) it was quite unexpected to stumble across a truly good album coming out of that scene. As often with those discoveries, one must thank the bootleg Cosa Nostra for this return from the grave. Beside a few collectors, Rob Jo Star Band managed to stay under the radar all these years. It all started in late 1972, in the Montpellier area in the south of France. Michel-Robert Sahuc aka Mick (bass) and Robert Castello aka Chris (guitar) had been friends since 1970, and after a couple of years in a non-formal band, they decided to move on one step further with new accomplices. In January 1973, they met Alain Poblador aka Penny. He was from Avignon, had been playing electric guitar for 12 years and had spent the 60s in local bands. None ever made a record. With Roger Vidal aka Cedric from Perpignan on drums, the original line-up of the RJSB was soon in place. After doing covers to get their act together, Penny and Mick, with occasional help from Chris, started writing original material in May 1973. Glam rock was happening and Bowie, Lou Reed, and The Velvet Underground were RJSBs muses. "Our musical philosophy was to go back to the roots of psychedelic rock, both soft and trash, simple yet with experimental leanings, finding inspiration in contemporary music, with intellectually-oriented lyrics.” They chose to sing in English, but “in a very French way, as we were not trying to hide our French identity.” In July 1973, they met Serge Soler aka Bryan, a sound and electronic engineer, who soon joined the quartet along with his “wave generators” (home-made prehistoric synths which were incorporated in a mix board). They now thought of themselves as something like The Velvets meets Pierre Henri, “trying to create some kind of a Messe pour un temps présent for outsiders and junkies.” The album came out in 1974 in a limited edition of 1,500 copies. The main influences included: Man Who Sold the World and Ziggy Stardust-era David Bowie, Roxy Music, Brian Eno, The New York Dolls, MC5 and The Stooges, Damo Suzuki, Agitation Free, Amon Düll II, Neu!, Hawkwind, Van Der Graaf Generator, and King Crimson. ….~

For a few years I have been predicting semi-ironically that French punk would become the next big thing in the United States. I suppose I’ve never really believed that prediction would come true because so many American punks tend to be hide-bound, conservative, and parochial. The common sense has long been—blame Lou Reed—that French punk/rocknroll sucks. Of course, the thing about common sense is that the last thing it needs to aid its ossification and acceptance is evidence. But let’s be clear: whether of the classic 70s punk variety (eg, Gasoline, Metal Urbain, Guilty Razors [Spanish expats living in France]), 80s streetpunk (eg, Reich Orgasm, Kidnap), protopunk/psych/hard rock (eg, Rotomagus, Soggy), or bizarre shit-fi inepto-core (eg, RAPT, Fuck Wave, Nèvrose), there remains much awesome French music to be discovered by those who have yet to dip their toes in the Seine. Yes, it is true that France in the early 80s did not have a hardcore scene comparable to, say, Finland or Italy, but while the punk scene in the U.S. was in its nadir in the early- to mid-90s, France was producing some stellar “garage” punk bands. Moreover, in recent years, a few great bands like Gasmask Terror and Lili Z. and zines like Kängnäve and Ratcharge have emerged from France. And that is just scratching the surface. Also, French archivists have done a stellar job of documenting their music scene. So it would not be impossible for my prediction to become reality. 

Francophilia is far rarer in the States than Francophobia, which is more or less the default stance, and I do not want to endorse the former. But ignorance is ignorance, and the reactionary position of endorsing ignorance, however tacitly, is but a symptom of the lack of control even punks have over their lives. The choice simply isn’t a choice. 

The Rob Jo Star Band LP is not likely to convince any cynics or close-minded types that France has something to offer. Indeed, it is likely to do the opposite because it is so odd. But I doubt many such cynics are reading, so here goes. I have read comparisons to the Stooges and 13th Floor Elevators, but the most obvious influence is the Velvets (ironic, eh, Lou?). As we know, many bands around the globe took that influence (and at least one remarkable band, Index [and here, too], seemingly stumbled across a similar sound and vibe). But no other band, to my knowledge, added the elements that make Rob Jo Star Band stand out: a singer whose French accent is so thick it’s like your ears are filled with melted brie; a mix that is so sparse it’s like the instruments were recorded in the colonies while the singer and synth player were on the Left Bank; and—about that synth, it might give some of the most WTF-inducing Killed by Death classics a run for their money. One apt comparison might be to the Iberian ultra-obscurity Vibración, but Rob Jo Star Band is thinner, less robust, more tentative. 

As Shit-Fi readers are by now aware, I just won’t let drop the question of the 1970s. What is the 1970s? Why did punk emerge in the latter half of the decade and what was its relationship to what came before it, politically and musically? I pose the question not out of antiquarian interest but because I cannot help but think that the crisis of the present, to be provisionally defined as one of the capitalist racial state in a period of world-scale financial expansion, is directly connected to the crisis and transformations that began in that decade. In some sense, we still live in the 1970s, or at least with the 1970s and the unresolved contradictions the 1960s wrought. If punk rock was music that was conditioned by the confluence of events and forces that define the crisis of the 1970s and, in turn, affected the ways multiple levels or aspects of society were opposed and imagined opposable, it strikes me as continually worthwhile to try to understand the how and why of punk. One aspect of this investigation is figuring out what the hell is up with the records that preceded punk but, in retrospect, were reacting to similar influences, broadly construed. Thus, protopunk was not something that existed until punk, but after the experience of punk its contours emerge for the historical imagination. I’m not quite sure that I would label Rob Jo Star Band protopunk, at least as eagerly as I would apply that term to, say, Vertical Slit. It is clear that these too-late-for-the-trend drug-addled hippies—with their tunes “Acid Revolution” and, more enigmatically but presumably on the same tip, “Stone Away” and at times jaunty mood (check the photos on the back of the LP), rather than the deep melancholia of Vertical Slit—were not on punk rock’s wave-length. (The LP’s homemade, provisional, unprofessional aesthetic on the sleeve and in the sound, however, are clearly presaging punk.) You can tell that not all was right, and these dudes were attempting to escape their present, both sonically and, uh, medicinally, but it is impossible to imagine this record having emerged much before, or after, its release date of 1975. Characterizing that imaginative impossibility is, in essence, the task of answering the question of the 1970s …..~.

Mid-70s Parisian proto-punk, spit out in churlish English amidst acres of fuzz and indiscriminate pulsars. This shit is wrong in so many perfect ways. Or as my pal Nick describes it: “Like an incoherent, uber-primitive Velvets or Simply Saucer collaborating with Pierre Henry – what with all the freaky synth doodlings and such.” …~

Ultra obscure, freaky French ‘70s underground psychedelic proto punk reissued, oui!! Crazy how there’s still stuff like this out there ready to be (re)discovered. The Rob Jo Star band originally put this out in 1975, probably under the influence of the Velvets and the Stooges, kinda like cult Canadian contemporaries Simply Saucer. Like SS, the Rob Jo Star Band packs these tracks with all kinds of ridiculous synth blurt, electronics swooshing and bleeping and farting all throughout this album, other key elements of which include jangling distorted guitars and heavily accented vocals… Pretty darn cool if you ask us! There’s moments that sound like a French version of The Cramps, inside a spaceship; others where the singer gets kinda Damo, and basically it’s a healthy (or perhaps unhealthy) dose of throbbing fuzz, chugging rock n’ roll rhythms, handclaps, wild vox, with song titles like “Acid Revolution” and “Blood Flower”. File with the likes of Soggy, Angel Face, and Metal Urbain… (aquariusrecords)…~

Members 
Michel-Robert “Mick” Sahuc (bass, songwriter), Robert “Chris” Castello (guitar, 1972-74), Serge “Solerm” Soler [aka Brian] (noise generator, keyboards, effects, electronics, 1973-76, 2012-15), Alain “Penny” Poblador (vocals, guitar, 1973-76), Roger “Cédric” Vidal (drums, backing vocals, 1973-76), Antoine “Tonio” Pelle (vocals, guitar, 2012-present), Arnaud “Arno” Touillier (drums, 2012-16), Laurie Agnel (keyboards, programming, 2015-present)

Tracklist 
I Call On One’s Muse
Rob Jo Star Band
Lovings Machine
Not The Crazy Man
Story Dangerous
Acid Revolution
Black Sun
Blood Flower
Stone Away 

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The Agnostic Phibes Rhythm & Blood Conspiracy "Campfire Tales" 2011 Canada Garage ,Country Blues,Punk Blues

The Agnostic Phibes Rhythm & Blood Conspiracy  "Campfire Tales" 2011 Canada Garage ,Country Blues,Punk Blues

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A bit if a mouthful for a band name, The Agnostic-Phibes Rhythm & Blood Conspiracy is a wedding of sorts of Canadian garage punk rocker Jackson Phibes (of Forbidden Dimension) and members of the rockin’ and rootsy combo Agnostic Mountain Gospel Choir. A collaboration that combines elements of Phibes’ fascination with pulp shock and the Choir’s scattergun bluegrass together they create an unholy mess that howls at the moon and sends shivers up the spine. 
With twelve songs that are primal, primeval and soaked in voodoo menace, guitars slide and moan, fuzzed and slashed while the rhythm section batters away like men on fire. The electrifying guitar that opens the first track, A Match To The Kindling sounds like Neil Young meets Duane Eddy before the band chug into the title song, a perfect introduction to the delights contained herein. They invite you to sit by the campfire and listen to tales of “ mad trappers and severed heads bouncing down the stair, hippie baby sitters and spider eggs in your hair.” Shiveringly good and delivered in a classic cowboy song gone weird fashion it’s a tremendous opener. There’s even some shades of The Shadows in there. 
Having set the scene we’re treated to an aural equivalent of an all night B-movie gore fest as we hear about the wolfman of Budapest, speed down an endless highway pursued by a Windago spirit and go on a booze fuelled night of lust and murder. 
The dual guitar duelling of Phibes (on electric) and Bob Keelaghan (acoustic) spark and flare throughout the album and the overall impression is of going for a ride in a fairground Ghost Train that has a really cool soundtrack. If Robert Rodriguez is looking for some sounds for a follow up for From Dusk To Dawn then he need look no further…. by Paul Kerr….~

Something evil this way comes. SOMETHING REALLY EVIL! Macabre, twisted and most definitely rockin’, The Agnostic-Phibes Rhythm & Blood Conspiracy are the spawn of an unlikely collaboration between three members of those Appalachian-styled bluegrass punksters, The Agnostic Mountain Gospel Choir and Jackson Phibes – the reclusive, horror-obsessed frontman of underground garage/swamp-blues act, Forbidden Dimension. 
It would be inaccurate to call Campfire Tales an easy listen. We’re talking low-down, dirty murder ballads splattered with gore, bluegrass, blood, rockabilly and a raw, pile-driving delta blues sound. What is impressive about this collection of creepy musical tales is that the collaboration really works well. Like the soundtrack to some Tarantino-esque zombie splatter-fest it relentlessly shuffles along with the living dead, impervious to the constrictions of musical genre. Think Johnny Cash and Link Wray meet The Cramps and you’re heading along the right dark, secluded, forest-lined highway. The savage stories contained here are of serial killers and vicious murders but are delivered with a sneer and a country-rock drawl. Like a white-knuckle, schlock-horror movie you will find yourself screwing your eyes up in fright and praying that the killer is not standing behind you – don’t answer that phone and for god’s sake don’t go into the woods! 

The album opens with A Match to the Kindling, a short, dark country instrumental on overdriven electric guitar and echoing mandolin evoking images of some ruthless, lonesome, high plains drifter riding into the night. This gives way to Campfire Tales in which Phibes begins the narrative “Harken to me children, let’s hear some campfire tales…” He goes on to describe all manner of nasty mutilations and “murders dripping with gore – but nothing you ain’t heard a dozen times before”. You just haven’t heard it quite like this before. With double bass plodding and laid-back surf guitar licks this really is a Frankenstein’s monster of a song. It could be straight out of a 50’s B-movie and does not suffer for that fact. 

Then there is Wolfman Franz. A fusion of southern blues and Eastern European-styled guitar riffs which set the scene for this song based on a story told by Judd Palmer of The Agnostics about a guy he met in Eastern Europe who was faking insanity to get disability benefits. Every night he goes up to the roof and howls at the moon. The comedy is found as they question how much Franz was faking and how much of the insanity was real. The quality of the song writing and story-telling really shows in this track as the music neatly mirrors the storyline. 

Another real stand-out track on this compendium of the grotesque is Windigo Song , based on an old tale of a wood-spirit that made victims go crazy from isolation. Again, the instrumentation depicts the story in a frenzied Appalachian country-punk style reminiscent of the more rocky Agnostic Mountain Gospel Choir material. There is a rockabilly strut to this song as well which invites the listener to join in this danse macabre. This is probably where the Agnostic-Phibes project is at its most accessible and enjoyable. 

Throughout Campfire Tales there are elements which sound like something from an early Alice Cooper LP, none more so than the horrific Neckin’ Party which is based around a fairly unpleasant story of violence and rape over a dirty, rockin’ blues riff. This is not a tale for the faint-hearted by any means. Phibes tells how this song “wrote itself, kinda dragging me down some dark roads”. He then admits that “It’s always weird playing this one for pleasant folk-type audiences, but it’s just a story I made up.” It may not be one for “pleasant folk-type audiences” but if you like your tunes gritty and sleazy then you will devour this with vigour. 

Interestingly enough, the Agnostic’s Bob Keelaghan and Jackson Phibes share a fascination with Norwegian Black Metal and it is from that interest that they were inspired to write the song Who Fears The Devil? It is based on the true story of the bitterly cold Norwegian night when Varg Vikernes of Black Metal Band Burzum fatally stabbed Mayhem front man, Euronymous outside his Oslo apartment. A gory tale indeed, Phibes continues “it was a modern murder ballad that was already written. I just had to put it into verse over my bastardized desert blues”. The song is driven by a growling slide electric guitar sound more evocative of the Deep South than Scandinavia. Phibes drawls his way through the tortured mind of the frenzied killer to great effect in this plodding rocker. 

The album closes with an eerie slide blues lament called Blind Ghost Moan. Both electric and acoustic slide is used to create an almost hypnotic effect. This was intended to be reminiscent of Blind Willie Johnson’s Dark was the Night, Cold was the Ground but, as Phibes puts it “louder and more creepy”. There are no words, just a mournful wail and sparse, deathly percussion. This is a fitting conclusion to what is a very strange album. 

The Agnostic Phibes Rhythm & Blood Conspiracy have produced a stunning album in Campfire Tales. It is an album which evokes feelings of B-movie slasher pics being shown in a run-down movie theatre in a forgotten backwater town in some god-forsaken American state – the sort of place that psychotic trappers hang out and strangers aren’t welcom. Its theme is gory and blood-soaked and its aura is simply chilling. Musically, it is an enthralling blend of raw blues, rockabilly, country and Southern rock. The guitars are dirty and overdriven and the vocals are snarled. In conclusion, this really is one hell of a concept album…should I say concept project. It will be very interesting to see this hybrid in the live setting especially if they get their hands on a certain Mr Cooper’s gallows and guillotines……by: Craig Walker……~

Credits 
Acoustic Guitar, Lead Vocals, Backing Vocals – Bob Keelaghan 
Bass, Vocals, Other [Good Times] – Vladimir Sobolewski 
Drums, Percussion [Metal Parts], Tambourine – Jay Woolley* 
Electric Guitar, Lead Vocals, Backing Vocals, Keyboards, Jew’s Harp, Handclaps – Tom (Jackson Phibes) Bagley*


Tracklist 
1 A Match To The Kindling
2 Campfire Tales
3 Wolfman Franz
4 Windigo Song
5 Voices
6 Necking Party
7 Wild Night Company
8 Who Fears The Devil?
9 Magpie & Skunk
10 Respected
11 Butcher, Maker, Undertaker
12 Blind Ghost Moan 

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