Friday, February 27, 2015

Pescado Rabioso - 1973 - Pescado Rabioso 2

Pescado Rabioso 
Pescado Rabioso 2

101. Panadero Ensoñado   
102. Iniciado Del Alba   
103. Poseído Del Alba   
104. Como El Viento Voy A Ver
105. Viajero Naciendo   
106. Mañana O Pasado   
107. Nena Boba   
108. Madre-Selva   
109. Peteribí   


201. 16'' De Peteribí   
202. Zapada   
203. Credulidad   
204. ¡Hola Pequeño Ser!   
205. Mi Espíritu Se Fué   
206. Sombra De La Noche Negra   
207. La Cereza Del Zar   
208. Corto   
209. Cristálida   

Bass Guitar [Gibson Semi-acoustic, Standel, Fender Strings, Fender Jazz Bass, Rotosommal Strings], Chorus, Electric Guitar [Fender Stratocaster, Picatto Strings, Squire Strings, Fender Strings], Acoustic Guitar – David Lebon
Drums [Caf. Special, Ludwig, Zildgian Sound Plates, Paiste Sound Plates, Hispana Drumheads, Everplay Extra Drumheads], Percussion – Black Amaya
Electric Guitar [Fender Stratocaster, Picatto Strings, Squire Strings, Fender Strings], Acoustic Guitar, Vocals, Chorus, Illustration [Inner Cover, Vinyl 2] – Spinetta*
Organ [Hammond, Leslie 900], Piano – Carlos Cutaia

Even for a double album, this is a definite improvement over Pescado Rabioso's debut album Desatormentándonos. Their sound was rooted in blues rock, which also comes with the unfortunate side of blues rock: the fact that the songs drag on and on, with no excitement, or nothing to even enjoy in the slightest. With every song being over eight-minutes, you just get...bored.

On this, oh boy! Hold on to your butts, 'cause this album rocks your cock in the most non-sexual, psychologically satisfying way imaginable! I thought I was forever turned off hard rock, but this totally turns me back on. Unfortunately, my idea of hard rock is always going to be tarnished by having bands like AC/DC and Pearl Jam springing to mind when I hear the word, but Pescado Rabioso just proves that it doesn't all have to be bad. And I thank Luis Alberto Spinetta the most for this. I went the longest time without listening to him, and when I listened to this I forgot how absolutely mind-blowing this man's guitar work is. And he's self-taught! My God!

It's like your hard rock with organ along with all of the other conventional rock instruments. So it's really more heavy psychedelic rock than anything. Maybe a little bluesy, who knows. Spinetta sounds so unique, that his music should just be classified as 'Spinetta music'. The man does what he wants. If you know me, you would know that I have a personal vendetta against double albums, but the fact that this is a double album doesn't really turn me off. For a double album, this has relatively little filler. This makes the whole album seem much shorter than it actually is, since the boredom factor sets in very rarely. And time flies when you're having fun, right? I do prefer the first half to the second half, but the second half isn't bad by any means.

Now here's the most important part, where I tell you the goods on here. The following tracks rule on some level or another: "Inicidao del Alba", "Como el Viento Voy a Ver", "Madre-Selva", "Sombra de la Noche Negra" and "Cristalida". Not to say that those are the only good tracks, since everything rules on here in one way or another. And am I the only one who notices the glaring similarities between "Madre-Selva" and "Free Bird"? Since this album predates "Free Bird", I wouldn't be surprised if Lynyrd Skynyrd went down to Argentina and totally ripped off these guys. Mudderfuggaz...

In late 1972/early 73, Pescado Rabioso went to studio to cut their masterpiece: Pescado 2, a 2-LP set considered one of the top 5 best South American rock albums ever recorded, and certainly the highest point of Spinetta's creative genius.

Pescado 2 was conceived as two separate LPs: one called Pescado, and the other called 2. The two covers were joined upside down and the original version included a 48-page booklet with the lyrics, technical data, photos, texts and drawings, as well as a poem by Arthur Rimbaud and a quote from his "Illuminations". This is a coincidence, since it explains the origin of Spinetta's surrealistic lyrics of that time.

The 18 tracks are numbered, and the numbers are part of the song titles as well.

Side A opens with "Panadero ensoñado" a guttural duo between Luis and David, and is followed by the great saga "Iniciado del Alba"/"Poseído del Alba" lead by the Hammond organ with Leslie. "Como el viento voy a ver" is a wonderful easy blues number. The effects of "Viajero naciendo" and the first Lebón composition to be recorded "Mañana o pasado" close the side.

Side B features a rock and roll number "Nena boba", "Madre Selva", another superb moment of the album with climatic guitar and organ, and the enigmatic "Peteribí" (unique Argentine tree).

Side C begins with 16 seconds of "Peteribí" to give continuity to the whole concept. "Señorita" is a group-improvised composition. "Credulidad" is an acoustic song with Spinetta remembering his early years. "Hola, pequeño ser!" is an anti-drug hard rock with excellent guitar and organ duels. "Mi espíritu se fue" is a nice ballad written by Bocón.

Side D opens with "Sombra de la noche negra", a hard rock composed by Black Amaya with furious guitars and organs. The calm returns with "La cereza del zar", a folk-psycho ballad, and "Corto" (originally called "Después de la bomba") about the nuclear holocaust. The album closes with an absolute Spinetta masterpiece: "Cristálida", a 9-minute opus with rhythm changes and orchestral arrangements.

In other words, an absolute must have album!!!

Pescado Rabioso - 1972 - Desatormentándonos

Pescado Rabioso

01. Blues De Cris   
02. El Jardinero (Temprano Amanecio)   
03. Dulce 3 Nocturno   
04. El Monstruo De La Laguna   
05. Serpiente (Viaja Por La Sal)

Luis Alberto Spinetta (guitar, vocals)
Black "Negro" Amaya (drums)
Bocón Frascino (bass, guitar, vocals)

After Almendra broke up, Luis Alberto Spinetta recorded his legendary first solo album and left for Europe. Back in Buenos Aires, he formed a trio to perform stronger acid-related music with Osvaldo "Bocón" Frascino on bass and Juan Carlos "Black" Amaya (ex-Pappo's Blues) on drums.

click to enlarge The dreamy psychedelic cover –drawn by Jorge Visñovesky and originally released with a poster insert including the group's Statement of Principles– was the preamble of Desatormentándonos, their first superb album. (Note: future reissues lacked the insert.)

Side A, a.k.a. "Damas" ("Ladies") opens with "Blues de Cris", a powerful hard-blues led by Spinetta's guitar and dedicated to the same girl that inspired him for the sweet "Muchacha ojos de papel" (his most famous song) but this time to say goodbye. "El jardinero (temprano amaneció)" is a long psycho song full of effects and distorted guitars. On the other hand, "Dulce 3 nocturno" sung by Spinetta and Bocón is a beautiful and relaxing tune.

Side B, a.k.a. "Caballeros" ("Gentlemen") begins with "Algo flota en la laguna" –another distorted guitar psycho song– and ends with the enigmatic "Serpiente (viaja por la sal)" featuring Carlos Cutaia (soon to join the group) on Hammond organ. A must!

Bocón left and was replaced by David Lebón (ex-Pappo's Blues and Color Humano) on bass. With this new line-up, Pescado Rabioso released an excellent hard-rock single: "Post-crucifixión" b/w "Despiértate nena". During a show at the Olimpia Theatre of Buenos Aires, the quartet was filmed performing the single for the movie Rock hasta que se ponga el sol. These live versions, included on the soundtrack album (Talent I-382), are even better than the studio ones!

Luis Alberto Spinetta - 1971 - Almendra

Luis Alberto Spinetta 

01. Castillo De Piedra   
02. Ni Cuenta Te Das   
03. Tema De Pedro
04. Dame, Dame Pan
05. Estrella
06. La Busqueda De La Estrella
07. Vamos Al Bosque   
08. Era De Tontos   
09. Alteracion De Tiempo
10. Descalza Camina   
11. Lulu Toma El Taxi   

Luis Alberto Spinetta: Bass & Vocals
Pappo: Guitar
Pomo: Drums

Miguel Abuelo (Guest): Tambourine & Backing Vocals

 Luis Alberto Spinetta was born on January 23rd, 1950, in Buenos Aires. He was the founder and leader of extremely important groups like Almendra, Pescado Rabioso and Invisible.

When Almendra split, he participated in the Billy Bond y La Pesada debut. Then he went to the studio to cut a solo LP for contractual reasons. His friends Pappo, Miguel Abuelo, Pomo, Víctor Kesselman and Elizabeth Viener, joined him for this effort.

In just 30 studio hours, he recorded an excellent mind-blowing experimental album, full of creativity and improvisation. Spinetta was credited as composer of all tracks, but it is known that "Castillos de piedra" and the hard psycho "Era de tontos" were actually written by Pappo; (Pappo later recorded his own version of "Castillos de piedra" for the Pappo's Blues Volúmen 2 album). Both songs were a sort of preview of the first Pescado Rabioso LP. Other songs like "Ni cuenta te das", "Dame, dame pan" or "Vamos al bosque" are more hippie psycho-folk oriented.

Spinetta's will was to call the album Spinettalandia y sus amigos (Spinettaland and his friends); but RCA had a "better" idea: they called the album Almendra (!) and designed a cover featuring a photo of all former members of the late group, omitting details about the musicians involved in the recording. All this was done behind Spinetta's back (he was visiting Europe at this time). Eventually, Emilio del Güercio and Rodolfo García (from Almendra) sued the company and won. The LP was reissued with a different title and photo. Later on it was re-released as La búsqueda de la estrella with a totally different photo (Luis Alberto's face). (It had yet another re-reissue with this same title, but with a cover photo of Spinetta standing).

The story behind the release of Luis Alberto Spinetta's first solo album is a bit strange, and it shows clearly two different mentalities: the honest -even innocent- artist and his work, and the underhand and merely commercial company that releases and distributes that work. The aim of the artist, if there is something valuable in him in the first place, will be the hallucination and the beauty just for the sake of it, and justified in it, without any second intention.
On the other hand, the responsibility of those media (labels, companies, men in suits, CEO's, technocracy, commercial plausibility, numbers) should be reduced to a simple distribution and diffusion of the artist's work, nothing more, respecting the work as the artist conceived it and created it to be showed to public consideration.

On the late 1970 Spinetta disbanded his project Almendra, they recorded two albums for RCA Victor Argentina, the RCA (Argentine branch) said to Spinetta that the band still owed the company one album, according to a contract (contract which apparently was for three albums), Almendra didn't exist anymore in the early 1971, but they insisted, so Spinetta decided to record an album, exclusively to solve the contractual demand.
Is interesting how this story continued, cause for me, it shows two clear vital philosophies: the cold commercialism vs. the simple art.
Spinetta was back then involved in a loose project "that some day could come true" with guitarist Pappo, and drummer "Pomo" Lorenzo, it was a heavy psych power trio, "Agresivos", Pappo on guitar, Pomo on drums & Spinetta on bass and vocals; the RCA contract gap was the opportunity for "Agresivos" to crystallize their LP, so Luis penned a bunch of songs in a weekend, plus some Pappo's tracks that were added, and there the album was created, and they quickly recorded it, with the help of a friend: Miguel Abuelo, on tambourine, flute & backing vocals.
The album was presented to the RCA authorities, including 11 tracks, an artwork, and a title: "Spinettalandia y sus amigos", and it was not an Almendra album.

Actually Spinetta was pretty fed up with all this affair of the contract, debts etc, and decided to record something rare, experimental and acid that, in his own words "they (the RCA) couldn't sell to anybody".
The RCA declined the release of this stuff, the album was archived, and Spinetta, tired of Argentina, flew to Europe, that was March of 1971.

While Spinetta was in Europe (April, May, June, July?) the RCA released the album suddenly, but in their own terms: they 'entitled it' "Almendra" unilaterally, and the cover showed a photograph of the Almendra's members, who didn't participate in the record at all, an absolute nonsense with commercial intentions, and especially, a clear example of the disrespect that the corporations showed for the rock musicians (and for the fans) back then in Argentina, selling a misleading and false product.

The rest of the Almendra's ex-members, Rodolfo García, Emilio del Güercio & Edelmiro Molinari, along with a returned -and surprised- Spinetta took legal actions, the album was withdrawn from the record stores.
And that was, basically, the turbulent solo debut of Luis Alberto Spinetta... the record was reissued as "La búsqueda de la estrella", "Luis Alberto Spinetta" and, finally in the digital era, it was released on CD with the cover and title that Spinetta originally gave it: "Spinettalandia y sus amigos".
Listening to this album is, in part, like listening to the first Pappo's Blues, the Pappo's additions and presence are too imperative here to ignore them, especially on the hard rock cuts penned by him, "Castillo de piedra", and "Era de tontos".
Strangely, in the copy I own (a vintage tape of "La búsqueda de la estrella"), "Castillo de piedra" is credited as a Spinetta's song... Pappo would record it, as well, with different lyrics and arrangements on his second LP "Pappo's Blues 2", as "Tema I", months later.
This album, intended in the first place by Spinetta to be a simple contractual obligation (mixed with willingly experimental pleasure with friends), is divided among the hard rock, the psychedelia and a considerable acoustic element... the Spinetta's usually great lyrics are not so inspired here, though the rocks featured have a cool and groovy feel a la Black Sabbath of "Master of reality", sounding like some insane 1971's stoner rock.
Among the folk-ish tracks, "Ni cuenta te das" it's a fine exercise in the vein of "Led Zeppelin III", same as the acoustic instrumental "Tema de Pedro", the lucid "La búsqueda de la estrella", or the vehement and lysergically beautiful "Dame, dame pan" (give me, give me bread).
The psych-folk and nightmare-like "Vamos al bosque" is possibly the climax of the LP, track which is spiritually linked to the dyonisiac journey "Estrella".
This LP, with its multiple titles, issues and album covers, it's like a wild testament from the Argentine rock 70s' scene, mixing in a same bag, musicians whose own environmental deficiencies extracted, surely by force, a huge potential in creativity ideas and poetry, and a local industry, idiotic, flat, mediocre, old, pathetic, commercial and horrible, which was surely obstacle for the pure development of the spirit, obstacle that created muscle and hardened carcasses.
Today, Luis Alberto Spinetta is not that post-adolescent that the RCA fucked anymore, he's a sort of national symbol, a nationwide bard decorated by the authorities, sort of Borges of the rock music, the Sony-BMG CEO's are younger than him today, and wouldn't dare to modify a comma of his albums, now you tell me who won.

Almendra - 1970 - Almendra 2

Almendra 2

01. Toma El Tren Hacia El Sur   
02. Jingle   
03. No Tengo Idea   
04. Camino Difícil   
05. Rutas Argentinas   
06. Vete De Mí, Cuervo Negro   
07. Aire De Amor   
08. Mestizo   
09. Agnus Dei   
10. Para Ir   
11. Parvas   
12. Cometa Azul   
13. Florecen Los Nardos   
14. Carmen   
15. Obertura   
16. Amor De Aire   
17. Verde Llano   
18. Leves Instrucciones   
19. Los Elefantes   
20. Un Pájaro Te Sostiene   
21. En Las Cúpulas

Bass, Vocals, Organ, Piano, Effects – Emilio del Guercio
Drums, Vocals, Percussion – Rodolfo García
Guitar, Vocals, Organ – Edelmiro Molinari
Guitar, Vocals, Piano – Luis Alberto Spinetta

The second album of this Buenos Aires rock band Almendra was an ambitious double vinyl, perhaps slightly less solid than the debut for some, more erratic and less concise, in style and inspiration, yet including a considerable amount of great tracks, and possibly its sound is more appealing for my taste.
Notwithstanding the best songs here are better than the best songs of the first LP, this one cannot capture that especial, fragile and almost golden mood the first album had, and due to its length, "Almendra 2" ends being a more diluted affair.
The irruption of Led Zeppelin and other 70s' bands is already clear in the sound that Luis Alberto Spinetta et al gave to this record, also influenced by some progressive rock acts of its time, and why not, by the blues rock of groups like Jethro Tull, with vocation for the jam and the psychedelia a la early Amon Duul 2, which is especially appreciated on the long and trippy "Agnus Dei".
There are many good songs, in quality and quantity to remark here, like "Toma el tren hacia el sur", "Camino difícil", "Rutas argentinas", "Leves instrucciones", "Mestizo", "Parvas", "Los elefantes", "Aire de amor", "Vete de mí, cuervo negro" or "Un pájaro te sostiene", among others, and despite the disc one it's slightly better than the second, these -almost- 80 minutes of music are interesting, beginning to end.
After this album Almendra would disband, and several outfits would born from its ashes: Pescado Rabioso, Color Humano, Aquelarre, but these bands belonged more clearly to the 70s' hard and progressive rock camp than Almendra itself.
"Almendra 2" is, in short, a genuine classic, in spite of certain technical 1970's imperfections

On December 19th, 1970, Almendra (a.k.a. Almendra Double Album) was released, along with a new single taken from it. The 2-LP set included only traces of the unfinished opera but was full of songs that previewed what the members of the group (noteworthy Emilio and Edelmiro) would do next. Although Luis Alberto Spinetta was the main composer of the first album and most of the singles, it was clear that his fellow musicians had their own ideas as well.

The brilliant double album is, thus, pretty heterogeneous. The music is more complex and has much organ and guitar playing. Side A begins with "Toma el tren hacia el sur" featuring a great Edelmiro guitar solo. Next to the short and simple "Jingle", a powerful Molinari guitar composition ("No tengo idea") follows. "Camino difícil", written by Emilio, would fit in any Aquelarre album. The steady rock of "Rutas argentinas" (a very popular song on live shows), the dark "Vete de mí, cuervo negro", and another two Molinari compositions: "Aire de amor" (advancing the Color Humano style) and the excellent "Mestizo" completes this side.

Side B features the chirping hard-psycho 14-minute-long "Agnus Dei" and the cute "Para ir".

Side C includes the powerful "Parvas", "Cometa azul", my favourite "Florecen los nardos", –all with great guitar work– and Del Güercio's rhythm ballad "Carmen".

Side D begins with "Obertura" (obviously the ill-fated opera's overture), followed by the country-folk "Amor de aire" and "Verde llano" (both written by Edelmiro). This last side continues with "Leves instrucciones", a nice tune sung by Emilio and Luis Alberto and the outstanding "Los elefantes". "Un pájaro te sostiene" –a rock number written by Del Güercio– and the great Spinetta's guitar-oriented "En las cúpulas" close this highly recommended album.

Almendra's split produced these wonderful outcomes: The famous groups Aquelarre, Color Humano, and Pescado Rabioso.

Years later, on December 7th and 8th, 1979, Almendra reunited to play live at the Obras Sanitarias Stadium in Buenos Aires. These highly successful shows led to a big tour including various cities of Argentina and Uruguay. A 2-set live album –Almendra en Obras (Almendra ML 712 & 713)–, and a studio album of new material –El valle interior (Almendra ML 135)– were also released, this time on their own independent label. My advice: forget these and stick to the old stuff!
 Some interesting compilations are 1972's Almendra (serie Rock Progresivo) (RCA Vik LZ-1227) and 1977's Muchacha, ojos de papel (RCA AVS-4765). Both include singles.

A rare 4-song EP with picture sleeve (RCA Vik 3ZE-3704) also exists.

Also, a now-impossible-to-get book (already guessed it's name? bet: Almendra!!!) featuring poems and drawings was published in 1970.

Almendra - 1969 - Almendra


01. Muchacha (Ojos de papel) 3:07
02. Color humano 9:12
03. Figuración 3:32
04. Ana no duerme 2:46
05. Fermín 3:20
06. Plegaria para un niño dormido 4:03
07. A estos hombres tristes 6:00
08. Que el viento borró tus manos 2:38
09. Laura va 2:52

Bass, Flute, Vocals – Emilio Del Guercio
Drums, Piano, Vocals – Rodolfo Garcia
Guitar, Organ, Vocals – Edelmiro Molinari
Vocals, Guitar, Harmonica – Luis Alberto Spinetta

Organ – Santiago Giacobbe (tracks: 4)
Guitar – Rodolfo Alchourron (tracks: 9)
Bandoneon - Rodolfo Mederos

Along with Manal, Vox Dei and Los Gatos, Almendra was one of the pioneer groups of the Argentine rock (in Spanish) and with a proper concept and personality, this first eponymous album (1969), it's an exercise that mixes the psychedelia, with some acoustic and peculiar element, and a pretty personal style in general.
The Beatles influences are there probably, as a ground to develop something different, which seen closely, does defer from the British bands, in mood and in spirit, especially in certain subtle localisms, which sealed it unavoidably with its mark and flavor.
In the Buenos Aires of 1969, all these young rock groups were seen like a bunch of aliens (in those times the usual term over there was "pop music", "beat" or simply "hippies"), they were usually deemed revolting and junkies, since the normal people didn't listen to this, but to the correct starettes who appeared on TV, singing normal love songs, with neat hairdos, and correctly shaved...this "Almendra", which for these times sounds extremely innocent and ingenuous, for the Buenos Aires of 1969 was something considerably strange, too irregular, and close to marginal circles, I guess.
The production of this album is as low-budget as it can be imagined, the sound is technically deficient, not exactly bad, just old, though all the bands of the time and the place sounded this way, or worse.

I also find in "Almendra" certain cadences that remind me of the first Yes' album, which was released in those months, the spirit is pretty similar, imbibed with a dreamy, suave psychedelia, and a very 60s' sound yet. The album is graced with creativity, and fine tunes galore, like "Que el viento borró tus manos", "Fermín", "Ana no duerme", "Figuración", the very long and psychedelic "Color humano", or the folk-ish ballad "Muchacha (ojos de papel)", tune which, for some reason, stayed like the best song of the disc, though "Almendra" features more interesting tracks than that imo.
I suppose that part of the attractiveness of this album is in its oldness, and in its enchanted, fragile, almost surreal atmosphere, and of course: in its gorgeous songs...another folky ballad, similar to "Muchacha" is the angelical "Plegaria para un niño dormido", while the psychedelic pop beauty of "A estos hombres tristes", is probably my favorite track here.

The feel of the record is always melancholic, with fine poetry, guitar signature and vocals by an extremely young Luis Alberto Spinetta, well supplemented by Rodolfo García on drums, Edelmiro Molinari on guitar and Emilio del Güercio on the bass, listened today, 40 years later, Almendra leaves a sour-sweet aftertaste in the listener, talking about a Buenos Aires in distant past tense which I never lived, too distant, unreal, enigmatic.

Though nobody thought about it when the whole thing started, nowadays everybody agrees that the Argentine rock movement was established by three groups: Los Gatos, Manal, and Almendra.

While Los Gatos played beat-pop, and Manal played urban blues, Almendra (Almond) played something completely creative, innovative and... different. None of the other groups had sounded that way before! Almendra played beautiful melodies and magnificent lyrics, sometimes mixed with extremely moody sounds and sometimes mixed with extremely furious –but always melodic– lines.

Almendra was formed in 1968 after the break up of three teenage school groups: Los Sbirros, Los Mods, and Los Larkins. The initial rehearsals were held at the Spinetta's house in Belgrano (an upper-middle class neighbourhood of Buenos Aires). By mid-1968, they met producer Ricardo Kleiman, who signed them for a single. (Kleiman was the owner of an important clothing shop –Modart– and ran a radio show –Modart en la Noche [Modart at Night]– that aired the latest editions of beat and rock music of the world).

On September 20th, 1968, "Tema de Pototo" (a.k.a. "Para saber cómo es la soledad") b/w "El mundo entre las manos" was released. "Tema de Pototo" is a beautiful beat ballad about a friend they thought was dead. Both sides feature orchestral arrangements by Rodolfo Alchourrón (a producer's request). This was the starting point of the brief career of one of the most wonderful groups in the world!

By the end of the year, "Hoy todo el hielo en la ciudad" with a great fuzz guitar work by Edelmiro hit the stores. The b-side features "Campos verdes," from which a promotional film was made.

Due to their performance at the Festival of Aucán in Peru (something completely unusual at that time), the single became a huge success in that country. They even appeared on a TV show in Lima.

Back in Argentina, Almendra played during the summertime –that is, beginning of 1969– in Mar del Plata (a beach city 400 km south of Buenos Aires). Their debut in Buenos Aires was on March 24th, at the DiTella Institute (the avant-garde cultural centre of the 60s). Almendra spent the rest of the year performing at different venues, until September 21st (the first day of Spring –also Student's Day) when they played at the Pinap Festival. Pinap was the name of a beat magazine, and this festival was the first major event of Argentine rock.

Meanwhile, the group was recording their debut album. An odd event marked the completion of the album. Spinetta had drawn an original enigmatic face character for the cover. Days afterward, the record company told the boys that the drawing had been lost, so they were planning to use a photo of the group instead. Obviously upset, the musicians looked for the lost drawing and eventually found it discarded in the garbage! Spinetta stayed up all night reproducing his original artwork and took it to the record company the following day. They offered no excuses the second time!

The extraordinary debut album was finally released on November 29th, 1969. Along with the infamous drawing, it included an insert with the lyrics and technical information. The black and white back cover pictured the group live at the Pinap Festival.

This LP is astonishingly beautiful. All the songs are excellent. It is really hard to try to explain them!

The opening track is an Argentine rock hymn: "Muchacha (ojos de papel)", an acoustic Spinetta song devoted to an old girlfriend that still thrills the listener. Next comes the superb 9-minute long "Color humano", written by Edelmiro, featuring his now famous long fuzz guitar solo. Molinari would name his next group after this song.

"Figuración" is a soft tune brilliantly sung by Spinetta with Pappo on backing vocals and Emilio del Güercio on flute. The energy and fuzz guitar returns with the superb "Ana no duerme", one of the best tracks of the album. Santiago Giacobbe guests on organ.

Side two begins with the sweet "Fermín", another beautiful song where everything is well done: the guitar, the organ (played by Edelmiro), the vocals... followed by a lullaby tune "Plegaria para un niño dormido" with yet another inspired Spinetta lyric.

I am personally fond of "A estos hombres tristes", a song with changing rhythmic and melodies. Emilio wrote and sung lead in the next one, the pleasant "Que el viento borró tus manos".

The LP ends with the slow and beautiful "Laura va", yet another great Spinetta song full of urban moods. Rodolfo Alchourrón was called on again for his fruitful orchestral arrangements and Rodolfo Mederos played the bandoneón to complete the sound of Buenos Aires.

This indisputable masterpiece is one of the best albums ever recorded in South America and a must to anybody interested in the music of these latitudes.

By the end of 1969 the record company released a new single featuring "Tema de Pototo" and "Final". The latter was originally scheduled to end their debut album, but could not make it due to time length limitations. The group wanted "Gabinetes espaciales" to be the a-side of this next single, but RCA wished to promote "Pototo" instead. "Gabinetes espaciales" was eventually included in the compilation LP Mis conjuntos preferidos (RCA Vik 3836).

In early 1970, another single was released with two songs from the album. Meanwhile, Spinetta was working on a highly ambitious –though not original at that time– project: a rock opera about mankind's inner search. But while they were working on this new album, the group split.