Mexico was one of the first Spanish-speaking countries to embrace the rhythms of rock 'n' roll as its own. Bands like Los Teen Tops and Los Locos del Ritmo were perhaps the leading exponents of that country's first wave of rock 'n' rollers in terms of popularity and record sales. But it didn't stop there. In the 1960s, a second wave of bands displaced the pioneers and took over the top spots, maintaining - and even surpassing - the earlier standard.
Among them, Los Apson stand out on their own merits. The band's early period has been compiled by Sleazy Records on this stunning 10' release featuring 10 tracks recorded between 1963 and 1964, when the group from Agua Prieta, Sonora was performing as a septet. In just those two years, they released no fewer than five LPs before settling into a quintet format from their third LP onward and achieving massive success from 1965. Their sound evolved from traditional rock 'n' roll - influenced by artists such as Johnny & The Hurricanes and Chuck Berry - toward more British-influenced sounds, mostly performing Spanish-language versions of songs originally released in English.
The album opens with 'Barba Azul,' actually an adaptation of 'Let's Do the Limbo' by Chris Montez, whose Spanish lyrics - as was often the case at the time - bear absolutely no relation to the original. From this very first track, it becomes crystal clear what a magnificent band Los Apson were, displaying instrumental mastery and featuring the superb lead vocals of Leopoldo Sánchez 'Polo,' who would embark on a solo career in 1965.
'Anoche Me Enamoré' showcases the versatility of the early Apson, delivering a magnificent version of 'Tonight I Fell in Love' by The Tokens. With harmonies shared between Polo and the rest of the group, it becomes a perfect lesson in doo-wop, on par with bands like Los Zafiros.
Side A continues with 'El Cartero,' a version of 'Twistin' Postman' by The Marvelettes, followed by 'Cuando Era Jovencito,' a reinterpretation of 'Cotton Fields,' later popularized by Creedence Clearwater Revival six years afterward. Here it's performed in a calypso rhythm, once again with divine-level vocal harmonies. To close the side, 'Las Quinceañeras' proves the band could also rock hard, following the path laid down by Chuck Berry's 'Sweet Little Sixteen.'
Side B continues with material associated with Chuck Berry, one of Los Apson's main influences, represented here by no fewer than three covers. This time it's 'Maybellene,' retitled 'El Último Tren.' Once again, the version bears little resemblance to the original, yet stands as one of the album's highlights. Pay close attention to the guitars - they verge on garage rock territory.
'Tu Seguro Servidor' is a magnificent stroll, based on 'Walk Myself On Home' by Johnny Rivers. This track comes from the band's fifth LP, when they were already working as a quintet and guitars had become the dominant instrument. It contrasts sharply with the following track, 'Sueña Dulce Nena,' a version of 'Dream Baby' by Roy Orbison. That song appeared on their second LP, released just a year earlier, yet it features a very different sound, as the seven-member lineup emphasized vocal harmonies and a prominent horn section.
'No Tiene la Edad' adapts 'You Can't Say Goodbye' by Trini Lopez, maintaining - and even intensifying - the rhythm & blues feel of the original, while adding the vocal harmonies that defined the group's first two LPs. For me, this version surpasses the original.
The album closes with 'Fusilando a Beethoven,' an instrumental take on 'Roll Over Beethoven' by Chuck Berry. Although it appeared on their fourth LP, it was probably recorded during the band's earliest sessions for Discos Peerless, since the instrumentation includes the horn section featured on their first records. It's a terrific version, very much in the style of Johnny & The Hurricanes, with one foot planted in surf music and only a loose connection to the original beyond the title and a hint of the melody.
A magnificent selection - ideal for discovering, in a single record, one of the finest rock 'n' roll bands to emerge from Mexico, and one that remains far too underrecognized, especially during its prolific early period.

Side A:
1- Barba Azul (Listen Here)
2- Anoche Me Enamore (Listen Here)
3- El Cartero (Listen Here)
4- Cuando Era Jovencito (Listen Here)
5- Las Quinceañeras (Listen Here)

Side B:
1- El Ultimo Tren (Listen Here)
2- Tu Seguro Servidor (Listen Here)
3- Sueña Dulce Nena (Listen Here)
4- No Tiene La Edad (Listen Here)
5- Fusilando a Beethoven (Listen Here)

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