(Formell ) was convinced that he could capture the imagination of Cuba's younger generation by infusing Revé's arrangements with elements of North American rock and roll, creating an odd new style that he called ''changüí 68''. Early the next year, almost exactly a decade after Revé's band had jumped ship to form () Ritmo Oriental, . . . Formell incited the most famous of the Revé mutinies and absconded with the majority of the musicians to form a group which has stayed at the true leading edge of its country's music longer than any other . . . at first Formell relied heavily on the songs and stylistic tendencies of his previous work with Revé. The harmonies, never before heard in Cuban music, were clearly borrowed from North American pop—in some cases rather corny North American pop . . . their sudden commercial popularity shattered the formulaic limitations on harmony to which Cuban popular music had faithfully adhered for so long . . . rhythmically, the 1969 group made the transition from changüí 68 to the first incarnation of a style which Formell called ''songo'' (Moore 2011).〔Moore, Kevin (2011). "The Roots of Timba, Part II; Juan Formell y Los Van Van." ''Timba.com''. Web. http://www.timba.com/encyclopedia_pages/juan-formell-y-los-van-van〕