Musica & Entretenimiento Vinyl, CD & Tape 18 Items

"Sacros" (1973) is released now on vinyl, from the original IRT masters!The proposal of Los Sacros is inspired by American folk-rock, characterized by its compositions and lyrics full of content, whose main exponents were the group The Byrds and Bob Dylan.Los Sacros (Chile, 1973). Los Sacros were a recurrent band of schoolchildren in school festivals. The year 1968 was their consecration in the student festivals. The song that always defeated their competitors was called "Goodbye", original folk rock by the quartet The Byrds. In fact, Panussis was one of the few musicians on the fledgling scene who played with a twelve-string electric guitar. The rest of his bandmates, all painting aficionados (Gana and Valdovinos would become renowned painters years later), consolidated a neat visual aesthetic with a wardrobe that generally included black pants and lace shirts. As their name indicates, Los Sacros had a special fascination with religious motifs. They rehearsed for a long time in the premises of the Church of Divine Providence, provided by Father Correa, who even entrusted them with the task of setting a mass to music with their electric guitars. The approach to the church also extended to the themes of their songs. "We became friends with several priests, we talked and that's where the themes of the songs came from". After many changes of members, they managed to record their first LP for IRT, influenced by religious themes, with a more mystical sound that highlights the use of the guitar with some Andean touches. This LP had a release date of September 18, 1973.

"Kaleidoscope Men" (1967) by Los Mac's is released now on vinyl, from the original IRT masters! - This is the best known and most important LP of the Chilean group Los Mac's. Produced at RCA by Carlos Gonzalez, "Kaleidoscope Men" is a meritorious psychedelic album with phenomenal harmonies and great vocals. It is influenced by the Beatles' "Sgt. Pepper's" and Californian sunshine pop groups.Los Mac's were formed in 1962 in Playa Ancha, initially as a cover band. In 1965 they moved to Santiago, with their experience on their backs, and with their own songs they attracted the interest of RCA, who quickly signed them. In their career the band would record 6 albums, 4 in their heyday in the '60s, and 2 more after their reunion in 2010. "Kaleidoscope Men" is the most important and successful of this Valparaiso quartet, and was produced at RCA by Carlos Gonzalez."Kaleidoscope Men" is a psychedelic album clearly influenced by the Beatles' "Sgt Pepper's", and by the groups of the then called Californian sunshine pop. A mature album, with excellent vocal and instrumental arrangements that flies from the confines of the world to a universal sound with fluidity and elegance.The elegant "Degrees" shines with its own light, psychedelia with vocal touches of great bands of the '60s like The Turtles, The Association or the incomparable Byrds. "El evangelio de la gente sola" is a progressive instrumental cut with the peculiar sound of a church organ, while "Dear Friend Bob" uses the technique that George Martin used with the Beatles in their most experimental stage of using the tapes in the opposite direction, with which the sound of the instruments "upside down" gives the special touch popularized by the 4 from Liverpool but used assiduously by bands of the time. The acid baroque of "A través del cristal" is close to "Strawberry Fields Forever", while "La muerte de mi hermano" enters the anti-war current of the Vietnam War era; a poignant song structurally supported by the Byrds' guitar sound.Origi...

Show Rock! (1973) by Frecuencia Mod is released now on vinyl, from the original IRT masters!Their careful vocal harmonies and neat arrangements bequeathed a sound that still sounds elegant, far above similar danceable efforts of the time. Although at the time Frecuencia Mod defended a music of apparent evasion, it is impossible not to recognize its pioneering value for Chilean pop of high quality.The group was a vocal trio formed by the sisters Dolores, Soledad and Patricia García, which imposed on radios and nightclubs at least three singles of enormous popularity: "Cállate (Ya no me mientas)", "Duele, duele" and "Yo soy una dama". The band started as a family and adolescent project, with the four García sisters (Macarena left soon after) rehearsing in the family living room under the orders of their father, who had no problem in taking over as their manager and promoting the musical career of his daughters, who had not yet finished high school. Their first name was Las Incógnitas ("because they were unknown", according to them) and they reinforced it by performing under masks.Their recitals highlighted a strong stage organization, which always included dance steps and vocal harmonization. Kermesses and school festivals were their first showcases, which soon expanded with tours to the provinces. The girls received dance lessons from Paco Mairena and agreed on flashy outfits, indebted to the provocative New York disco wave that was already known in Chile.The enormous success of their music led them to foreign promotions that left them for a while in Germany, thanks to an exclusive RCA contract. However, in Europe it was impossible for them to keep the attention, and the group disbanded in the mid-80s. The García sisters have lived in Germany ever since, and have made very sporadic visits to Chile.

Xingu (1972) by Combo Xingu is released now on vinyl, from the original IRT masters!Combo Xingu was a short-lived band formed by students of the Chilean university of music, and ex members of the Beat Combo in 1971 and their career ended in 1973.They left two very original albums, being the first band to play soul and funk in Chile, with influence of the "nueva canción" and pop-rock touches. And a very powerful sound. In days of high politicization of music, the so-called New Song was undoubtedly the one that monopolized the media. In that environment appears the Combo Xingu, a band far from the Latin Americanist line and political ebullition, took elements of soul and funk to build this jewel mostly ignored at the time, which is his only legacy.Stevie Wonder and James Brown are their most notorious references, but they also bring their own personality and elements, especially in the song 'Black Power', as the band's position.It is also worth mentioning a memorable interpretation of Led Zeppelin's classic 'Moby Dick'. Far from the conjunctural, the band dissolves with only two years and one album to their credit, separated from the mainstream by a style that although it was very popular in the north, was of null diffusion in Chile, but they leave this unique piece as a sample of other bands that would come years later to continue their legacy, ahead for the times.

"Los Bric a Brac" (1967) by Los Bric a Brac is released now on vinyl, from the original IRT masters!The single "Sacale las balas a tu fusil" (Take the Bullets off Your Rifle) is an anti-war song, originally recorded by Argentinian duo Barbara & Dick."Alma joven" (Young Soul) was a second single, but their biggest hit was "Nunca Jamas" (Never Ever), the song that gave the band the chance to be included in the prestigious Viña de Mar Festival.Los Bric a Brac is a very special band within Chilean pop because of the diversity of its members: its leader and founding member, Luis 'Chino' Urquidi came from Los Cuatro Cuartos, one of the most successful Chilean neo-folk bands of the time who were joined by the two most recognizable faces of the band: Antonio Zabaleta from Los Red Juniors, and Paz Undurraga, formerly of 'Las Cuatro Brujas'. With such diverse influences the group achieved a sound closer to international pop, but with touches of Bossa Nova, vocal groups like The Mama's and the Papa's, or the most direct reference to the British beat.The convulsive times in Chile made Bric a Brac approach the social commentary, but not from the sidewalk of militancy, but with a more distant look, almost as an impartial observer.Given the popularity of its members, TV was important for the massiveness of success, which came very soon for the band, who after their debut single immediately released their first LP, which is the one we present here, and the most representative of a band that as the interpretation of its name seems to indicate - a little bit of everything - moved in a wide range of styles.Their life was very short, and after a second LP called 'Nuestro Show', equally successful, came the separation and the end of one of the most popular pop groups of the late 60's in Chile.

"Juegos prohibidos" (1967) by Beat 4 is released now on LP, from the original IRT masters!The band was at first called "Los Electrodos" and they started playing "nueva ola" songs. With the arrival Beatlemania they changed their name to Beat 4 and began playing song of their idols, The Beatles, The Kinks and The Animals. Soon the band began to write and play their own songs in Spanish.By the beginning of the '70s they have already released 4 albums with great success, but as key members quit the group, Beat 4 was over.In the 60's, in Chile there were two styles of pop music that were very popular: one was the 'new wave', something like the descendants of the Anglo-Saxon pop soloists; the other, naturally, were the groups that, under the influence of the British invasion by the hand of the Beatles, played rock and roll.With "Juegos prohibidos", Beat 4 begin to detach themselves a little from that current that was limited to copying and covering especially British hits, and began to sing in Spanish, and to risk more in the production of their songs, approaching psychedelia and experimentation.With its own personality and a fresh sound, "Juegos prohibidos" is a key piece to understand the first steps of Chilean rock, an album that although it keeps winks to the greats of rock, especially the Stones ("Encontrarás otro amor"), also gives original steps ("Quiero fugarme con ella a una isla solitaria (donde haya paz)"), and mystical experimentation with psychedelic touches already influenced by the hippie generation ("Viaje fantástico"). One of the jewels of a pioneer band of the Chilean rock of the '60s.

"A Go Go" (1966) by Los Larks is released now on vinyl, from the original IRT masters!This is a legendary album, as it was the first record ever by a Chilean pop - rock band.The band took a very special care with their look, so they used the famous "beatle wigs "on their live show and TV appearances.Los Larks were the first exponents of Chilean rock to reach an important repercussion, supported by their aesthetics, close to that of the fab four, and their style, framed in what was then called 'a go go' Pop rock perfectly executed, danceable and that led Los Larks to success despite their short career, just two LPs, and some singles, and to be the main representatives of the visual phenomenon called at that time 'colerico'.This album is essentially covers of the hits of the moment in the 'beat' world, with classics by the Monkees, Dave Clark Five, and of course, their favorites, the Beatles.

Nueva sociedad (1967) by The Jockers is released now on vinyl, from the original IRT masters!Valuing the rebellious and naive spirit of a song like 'Nueva sociedad" (New Society), which is actually the Kinks' 'Party Line', with a new lyric that originally spoke of the "Nueva suciedad", (new dirt) a "daring" that was not tolerated by the label.The garage rock electricity that underlies songs like 'La verdad', 'La corbata de mi abuelo' and 'Yo te quiero'.It was released in 67 after Los Jockers entered the Guinness Book of Records for having played for 54 hours (54!!!) without stopping. Such a feat took place at the record fair at Paseo Ahumada, grabbing the front pages of the newspapers, colleagues and even soccer players greeted them and even President Eduardo Frei Montalva invited them to La Moneda. In other words, it was an achievement worthy of national heroes.Los Jockers were also one of the first bands to present a wild and rock aesthetic, in fact, their live performance generated several controversies with the Chilean establishment, such was the scandal they caused, that once a group of hooded outraged people surprised them at night in La Serena and burst into their room to shave their heads. On other occasions, while they were playing on top of a truck next to the Coppelia in Providencia, cadets from the Military School assaulted them.

If you like the Rolling Stones of the glorious '60s, or the Yardbirds, or the original psychedelia, this album is for you."En la onda de" (1967) by Los Jockers is released now on vinyl, from the original IRT masters!Los Jockers were formed in 1964, and started playing live in 1965, and were one of the first rock groups to have great success locally. They used flashy clothes, influenced by the British mods at first, and by psychedelia, and had a very aggressive and raw live show. Their music was called "pop contracultural" (counterculture pop).Their version of the Rolling Stones' classic "Satisfaction" hit the radios before the original Stones version was known locally, and it was such a smash hit that during their show at the "Viña del mar festival" they had to play the song five times!!! The Jockers were one of the pioneer bands of Chilean rock, ahead of their time, and the first to differentiate themselves from the more romantic 'new wave' style, by being ahead of the curve in adopting the psychedelic clothes and long hair that were the image of rock in the world at that time.Precursors of Chilean rock, mainly influenced by British rock, this is an essential album to relive the days when rock was young, original, and fresh.

"Todos juntos" (1972) by Los Jaivas is released now on double vinyl, from the original IRT masters! True finds that for the first time reach a disc."It is my favorite cover - says René Olivares in the book Cultura Alter-nativa - since it represents the loneliness that each of us felt when we were outside of Chile, but mainly, the poetic soul of the Chilean"."Todos Juntos" was recorded in Chile in 1972-1973 and was presented for the first time to the public in Argentina in 1976 by Record Parnaso S.A. This double album contains all the material that Los Jaivas recorded for IRT during 1972 - 1973, plus a supplement of three previously unreleased recordings.Disc 1 is the re-release of the album "Todos juntos", which appeared in Argentina in 1976 under the Parnaso record label, with a different repertoire and order from the LP known as "La ventana", released in Chile at the end of 1972. Disc 2 completes the catalog of works recorded for IRT, to which are added three unreleased tracks from the same period: the music that Los Jaivas made for the documentary "Descomedidos y chascones", made by Carlos Flores Delpino and produced by the experimental film department of the Universidad de Chile in Santiago, the theme "Ta hueca la vaca está loca", an improvisation recovered from a television special produced by UCV television in Valparaíso, and a live recording of the theme "Marcha al interior del espíritu", taken at the Chilean-French institute of culture in Valparaíso. At that time, the painter René Olivares, who is already part of the Jaivas family settled in Buenos Aires, creates a new cover design for the 1976 edition, which today we deliver to the public in a remastered version, restored and enriched with valuable archival documents.

"Tu sueño es mi sueño, tu canto es mi canto", is the second and last album by Amerindios, released in 1973.The band was formed in 1968, and although its style was associated with the current then called 'nuevo canto', Amerindios innovated by adding instruments such as electric guitars, something that was unusual.The band was formed by artists of great importance in the field, such as Julio Numhauser, founding member of the legendary Quilapayun, Mario Salazar, and Patricio Castillo.An essential album to understand the popular music of Chile in the pre-dictatorship days, for its texture, fine melodies, and excellent songs. A classic.Includes the song "A pie camino" the last song broadcasted by radio Magallanes and Corporación on the day of the Pinochet coup the state on September 11, 1973.Also included is the song "Mi río" winner of the Viña del mar festival in February 1973.

Los Prisioneros is the most successful Chilean band of all time, with fans all over Latin America.Influenced by The Clash first album, musically simple but with lyrics full of teenage anger and deep social comments, 'La Voz de los '80' is the soundtrack of the dark days of Pinochet's dictatorship.'La Voz de los '80' (Remaster 2021), is the first album by Los Prisioneros, released by the indie record label Fusion in December 1984 and it came an instant hit. Time has proved that this is the most important album of Chilean rock. Written and produced mostly by their lead singer and bass player, Jorge Gonzalez, the album is a collection of Latin American rock classics, with anthems like 'La voz de los '80', 'Sexo', 'Latinoamerica es un pueblo al sur de Estados Unidos' o 'Paramar' - songs that has punk, pop and reggae as their main influences.'La Voz de los '80' is a masterpiece of street rock, from a band from the suburbs, with the raw sound of a garage band and lyrics that were saying everything everybody wanted to say but couldn't because of censorship. A true classic.Band members:Jorge González, bass and lead singer (1982 - 2006)Claudio Narea, guitar (1982 - 1989 / 2001 - 2003)Miguel Tapia, drums (1982 - 2006)

"Fictions" (1967) by Los Vidrios Quebrados is released now on vinyl, from the original IRT masters! Los Vidrios Quebrados were pioneers in Chile in adopting psychedelia as a musical aesthetic, due to the influences gathered mainly from British groups. Although they bequeathed only one LP, this one is a permanent reference of research and applause, for having been worked with their own material (without covers, as was the norm of local rock at the time) and combining their electric flight with opinions of social observation. "Fictions" (1967) is one of the most important rock albums made in Chile. The 1966 single "Friend" and "She'll Never Know I'm Blue" gave way the following year to the recording of "Fictions", their only LP, under the RCA Victor and Ues Producciones label. Without merely copying their influences, the songs on the album feature smooth and fine instrumental arrangements by Héctor Sepúlveda (guitar and vocals), who also acted as the album's musical director. Those who were lucky enough to hear them live say that they were much more rock than what we can appreciate on the album. And the music on the "Fictions" album was even more sophisticated than what was being done at the time, there was a musicality that was quite anticipatory, even foreign. If you listen to the harmonies in "Introduction to Life..." or "Concerto in A Minor", they are quite complex compared to what was heard at the time. That's why they also had a place in radio stations more accustomed to playing classical music, like Radio Andrés Bello. There was a certain intellectual taste, something like an "intellectual arrogance", like the quotations to Oscar Wilde in the lyrics of the songs, for example. For the recording of "Fictions", Los Vidrios Quebrados had very little time, as was customary in those days. And despite the technical limitations of the recording studios (two tracks -vocals on one side and all the instruments on the other-, bottle cap tambourines and homemade instruments), when listening to the album, the result is surprising and, considering that in Chile the music of the Beatles and the Rolling Stones was already known, the reception of "Fiction" was quite good. After the success of "Fictions" and with a promising future, Los Vidrios Quebrados decided to go to Europe in 1969, but the idea was rejected by the parents of two of the members, who only saw music as a hobby. Different life choices and musical tastes led months later to the end of the band.

The Rockets, influenced by jazz and blues, unknowingly drifted to the best quality surf and instrumental rock made in Chile. "Surf Shake" (1965), their first instrumental album, includes genius mix of styles: jazz standards (Caravana, Amor en venta, No es necesariamente así); Go Go (Jarrito de cerveza); R'n'R (Candy, Desperado, Hola Ximena); spaghetti western (Leyenda india) and surf (Playa solitaria) and is released now on vinyl, from the original IRT masters! The Rockets was founded in 1961, the year the band recorded their first 45rpm. The following year Carlos Gonzalez, arranger, producer, and later solo singer, joins the band, giving them a new twist with a refreshing sound. After the release of some singles and the retirement of Carlos Gonzalez, in 1965 they released their first instrumental album which included their biggest and most distinctive hit, the surf "Playa solitaria". At that time two great exponents of national music were part of the group: Horacio Saavedra and Nano Vicencio. The other importance of the group is that they accompanied several national artists, among them Antonio Zabaleta y el Clan 91. The Rockets were the backing band for many of the new wave rockers, but in '65 they decided to record on their own. As they should. That's how "Surf Shake" came about. They recorded it with guitar, Hohner bass, Ludwig drums, a metallophone or glockenspiel and a Philicordia keyboard.

"Mac's" (1968) by Los Mac's is released now on vinyl, from the original IRT masters! Los Mac's were one of the first rock bands formed in Chile. They are justly considered pioneers of rock in Chile, and although their history ended before the beginning of the seventies, their mark is fundamental in the history of the genre in the country. Los Mac's was one of the inaugural bands of Chilean rock, started in Valparaíso in 1962 and left as a heritage a classic song of the psychedelic music of the sixties: "La muerte de mi hermano", composed by their fellow countryman Payo Grondona. The group started in 1962 in the neighborhood of Playa Ancha, as a rock cover band that was revealed and heard in some national radios. It was the surname of the brothers David and Carlos Mac-Iver (its first exponents) that gave the group its name. During their teenage years, in Playa Ancha, the Mac-Iver brothers met frequently with budding figures of Chilean culture, such as the singer-songwriters Gitano Rodríguez, Payo Grondona and the poet Sergio Badilla Castillo. In 1965, after playing in festivals and universities in Buenos Aires, they moved to Santiago, where they met the composer and keyboardist Willy Morales, who shared the same musical interests and decided to join the group, later incorporating Eric Franklin. Morales was the son of artists and like Franklin, came from the experience of a very popular group (Alan y sus Bates). Now, with their own songs, Los Mac's began a new stage that would mark the history of national rock. Their initial singles were recorded starting in 1964, under an agreement with the record company RCA. That same music company backed the album "Go Go / 22", their first full-length, in 1966, with songs by The Beatles, The Rolling Stones, The Kinks, The Shadows, Bob Dylan and only one original "No Te Comprendo" (authored by Willy Morales). The Mac's were strongly influenced by the Beatles' Sgt. Pepper's lonely hearts club band, which led them to experiment in the field of psychedelia, prior to the recording of their album Kaleidoscope Men, released in December 1967. This is, perhaps, their most representative work that remained as a legacy for the history of Chilean rock. The instrumental track "El Evangelio de la Gente Sola" (where the electric organ of Willy Morales stands out) is simply overwhelming and hallucinating. In 1968, the group, led by the hand of Morales, decides to leave for Europe, with a farewell concert at the Santa Maria University. They settled in Genoa, Italy, but for various reasons the band disbanded the following year.

"Top Soul" (1975) by Fusion is released now on vinyl, from the original IRT masters! The experience of the group Fusion, historically considered the first Chilean electric jazz project, according to musicologist Alvaro Menanteau in his book Historia del jazz en Chile (History of jazz in Chile). Luna was the son of Peruvian diplomats settled in Chile. He had lived and studied art in New York and for that reason he had first-hand knowledge of the current jazz scene: the last years of John Coltrane in the avant-garde and the mutation of Miles Davis to electric jazz. He had studied at the Boston school of Berklee and had an important collection of records by Davis himself and his disciples: Joe Zawinul, Herbie Hancock, Chick Corea, Wayne Shorter, Miroslav Vitous. While Pizarro, who had appeared in the mid '60s as a very young pianist, of outstanding technique, advanced ideas and notorious musical culture, was also returning from a period of study at Berklee. The workshop meetings, jam sessions and auditions of new music were held at Pizarro's house, on Hernando de Aguirre and Eliodoro Yánez streets, and there was no jazz musician during those years who did not go through the experience of attending the initiation sessions. According to Chilean musicologist Alvaro Menanteau in his book Historia del jazz en Chile (2003), from the youngest (pianists Manuel Villarroel and Mario Lecaros or drummers Patricio Villarroel and Pedro Greene), to the most experienced (saxophonists Patricio Ramírez and Sandro Salvati or drummer Jaime Farfán), they frequented Pizarro's house and consolidated the core of musicians that faced the hard decade of the 70s. That was the seed of the foundation of Fusion, a group that adopted its name directly from the generic topic that began to understand and describe the music promoted mainly by Miles Davis in those years. In 1972, Fusion launched its project with the Luna-Pizarro-Salvati trio, using electric instrumentation, experimenting with rhythmic patterns of soul, funk and rock, but keeping intact the impulse of the original jazz improvisation and an important factor of Afro-Latin music, full of percussion. Although to record the album "Top Soul" (1975), the band ended up with soloists like David Estánovich (tenor sax) and Lautaro Rosas (guitar), plus a rhythm trio with Mario Lecaros (electric piano, ex Village Trio), Enrique Luna (bass) and Orlando Avendaño (drums, ex Nahuel Jazz Quartet), plus guests like trumpeter Daniel Lencina, and the young percussionist Santiago Salas (from the group Santa y su Gente). But it was, in any case, a brief history with few live appearances. One of them took place in 1972 at the Chile Stadium, with some members of Fusion as Luna, Pizarro and Greene, joined Los Jaivas for a free collective improvisation session, under the name of La Banda, and of which there is a valuable filmed testimonial record, although without audio. Fusion's life ended definitively after the release of the album, with Matías Pizarro living in Paris since 1977, Mario Lecaros in Barcelona in 1976, Orlando Avendaño retired from music, Enrique Luna back in Peru after working with the fusion group Almandina, and a hostile reality for the development of music during the first years of the military dictatorship.

"Frutos del País" (1972) is released now on vinyl, from the original IRT masters! Apart from "Sin ti", their most popular single, there are other songs that move away from this aesthetic, such as "Salgamos a correr" or "Tema de Willy", which give a plus to the album for not only sounding different, but also for being very good songs. Frutos del País was born from the union of two Chilean rock bands, Los Picapiedras and Beat 4. Their sound was quite advanced for the time, their song "Sin ti" is still heard on the radio in Chile. The band's sound is very influenced by Procol Harum, but that doesn't detract from its tremendous quality. Maybe this song reminds them of Procol Harum's "A Whiter Shade of Pale", especially the sound of the Hammond organ. They did not have a direct musical relationship with the groups that in the early 70's fused rock influences with acoustic folk instruments, but Frutos del País belonged to the generation that at that time changed the guard for this music in Chile. By genealogy, they were the continuation of bands from the previous decade, such as Los Picapiedras and the Beat 4. Their two albums, "Frutos del País" (1972) and the more unnoticed "Y volar... y volar" (1974) described a brief trajectory but immortalized by one of the authentic and most recognizable hymns in the history of rock in Chile: the ballad "Sin ti", characterized by the Hammond organ of keyboardist Hugo Raymond and the evocative lyrics of singer Reinaldo Rhino González.

This is one of the first Chilean rock albums recorded in Spanish. "Boots a Go Go" (1966) by Beat 4 is released now on vinyl, from the original IRT masters! Los Beat 4 (Santiago de Chile, 1966) began as the partnership of four childhood friends: brothers Mario and Willy Benitez, Johnny Paniagua and Reinaldo Rhino Gonzalez. Under the influence of the Beatles, the Kinks and the Animals, they formed Los Electrones, a group with which they played at school parties and various meetings, following the style of the New Wave. Around 1966, and after the explosion of the beat rhythm in our country with the arrival of the Beatles, they decided to change their name to Beat 4 and sing in Spanish. In 1967, backed by the wide radio diffusion of their single "Llora conmigo" (a Spanish version of an Italian pop song), they toured throughout the country. The band's second hit came with the jingle "Dame un Bananino", composed to promote a banana-flavored ice cream. The song was released as an EP, was a great success and took them on tour to the main beaches of Chile. They would later replicate the model with the song "Ta ta ta ta", as simple and catchy as the previous one. The Beat 4's career was short but intense and popular. At the beginning of the 70's they had already released four LPs, and since then they began to incorporate their own compositions. When Willy Benítez left the band, Tilo Mandiola replaced him, but soon after, the Beat 4 decided to leave. Willy Benítez entered the theater school of the Catholic University, to later begin a career as a humorist in television programs such as "El festival de la una". Reinaldo Rhino González, vocals (1966 - 1971). Johnny Paniagua, guitar (1966 - 1971). Willy Benítez, bass (1966 - 1971). Mario Benítez, drums (1966 - 1971). Tilo Mandiola, bass (1971).