Saturday, February 28, 2015

Manal - 1971 - El Leon

El Leon

01. No hay tiempo de más
02. Blues de la amenaza nocturna
03. Soy del sol
04. Paula (quiero ver dónde estás)
05. Si no hablo de mí
06. Hoy todo anda bien
07. (Te quiero) mujer sin nombre
08. El león (despierta un león)
09. Doña Laura [Bonus Track]
10. Elena (vas mal así) [Bonus Track]
11. Vamos a la vida [Bonus Track]
12. Libre como ayer [Bonus Track]

Alejandro Medina (bass, vocals)
Claudio Gabis (guitar)
Javier Martínez (drums, vocals)

El león –a more rock oriented LP– was not as good as its predecessor. Anyway, it features great songs like "Blues de la amenaza nocturna", "Paula" or "Si no hablo de mí". A single with two non-album tracks was also released.

Shortly afterwards, Manal split. Medina and Gabis went to La Pesada and released solo albums. Martínez left Argentina, until in 1981 (due to Almendra's successful comeback) he returned for Manal's own comeback! They toured and released two new forgettable albums (one recorded live). Despite the lack of artistic success, they actually insisted on reuniting again in 1995 for yet another live comeback and another live album! (No comment).

In 1972, El león was reissued with extra tracks as Manal (RCA Vik LZ-1225). In 1973 an excellent double LP set was released featuring the first Mandioca album, all Mandioca singles, and unreleased tracks. It was given the innovative title Manal (Talent SE 386/7) (better known as "Manal double album").

Manal - 1970 - Manal


01. Jugo de tomate
02. Porque hoy nací
03. Avenida Rivadavia
04. Todo el día me pregunto
05. Avellaneda Blues
06. Una casa con diez pinos
07. Informe de un día

Alejandro Medina (bass, vocals)
Claudio Gabis (guitar)
Javier Martínez (drums, vocals)

Javier Martínez –one of the founders of the Argentine rock movement– was a regular at club La Cueva, the legendary cradle of many rock artists. There he met bass player Alejandro Medina (ex-The Seasons) and guitarist Claudio Gabis. They formed a trio named Ricota (a type of soft cheese) after the famous British band Cream. Martinez's main ambition was to sing the blues in Spanish (something unheard of at that time).

Manal was the first act to sign to Mandioca, the pioneer label created by producers Jorge Álvarez and Pedro Pujó. The label debuted by releasing three singles (Manal, Miguel Abuelo and Cristina Plate) on November 12th, 1968. These 7"s featured unique luxury fold-out picture sleeves. Manal's a-side featured a 6 (six!) minute song ("Qué pena me das!") and the b-side included "Para ser un hombre más", with an excellent fuzz guitar. Though extremely rare, this single is hardly recommended.

In the summertime, a venue called Mandioca opened at the Beach City of Mar del Plata. Pappo used to play piano with the trio, promoted as "blues and psychedelic-soul"! (This venue closed at the end of the summer, due to economic reasons).

In the middle of 1969, a second brilliant single was released –"No pibe" b/w "Necesito un amor"– and by the end of the year their first album hit the stores.

The LP is now a classic. The lyrics have a lot of urban references, almost a modern tango. The music –mostly rock and blues– is superb as well. The most remarkable moments are "Jugo de tomate" (Manal's most popular song), "Avenida Rivadavia" (about the longest avenue in Buenos Aires), "Una casa con diez pinos", "Informe de un día" and "Avellaneda blues" (a tango-blues about the suburbs). The trio sounds great and Gabis' performance is brilliant. A must have album, although original copies are extremely hard to get in good condition. (Two songs from the album were released on a single).

Also in 1970, Mandioca released a various artists album called Pidamos peras a Mandioca (Mandioca MLP 335) featuring the original version of "Elena", a song that Manal re-recorded for their second album.

Manal, along with Almendra, represented the first great moment of Rock and Blues in Argentina. Of course there were some important precedents like Los Gatos and Moris, among others, but Manal was different. They claimed Blues as an Argentinian experience, and made Buenos Aires, for some of us very young then, our city.
Manal, an invented word in Spanish that can be translated as "a lot of hands," reached all their fingers to the gray sky of a city catching up with the new music of the world (The Who's Tommy was just coming out, and the Stones were still bad boys) and offer their take on being young and angry and sad.
This CD contains some of their best stuff from their original recording for the independent label Mandioca, first and only of its kind in those days. You can hear songs that became hymns to us down there, like Jugo de Tomate ("If you want to be a big shot / cold tomato juice / in your veins /you will have to have" the chorus went), or Avenida Rivadavia and Casa con Diez Pinos. There are too some tunes from their second album, although this one never matched the raw energy and lovely poor production of the first.
I think that you don't need to have been born in Buenos Aires nor understand what Latin America was up to, to appreciate these songs. They are forefathers to the lo-fi / indie movement that has spawn so many great bands in the States. I have no proof but I'm sure that Vic Chesnutt would approve.

Aquelarre - 1975 - Siesta


01. Pájaro De La Locura
02. Árboles Caídos Para Siempre
03. Canto Cetrino
04. Siesta Cambiada
05. Cacería En El Bosque
06. Savia De Los Aromos
07. El Hombre Cercano

- Emilio del Güercio / bass, vocals
- Héctor Stark / guitar, vocals
- Hugo González Neira / keyboards, vocals
- Rodolfo Garcia / drums, vocals

 In October 1975, Siesta was released, along with a 7" featuring a non-LP b-side. The album had a stronger symphonic style, with heavier use of keyboards and synthesizers.

click to enlargeSiesta has its great moments, like "Pájaro de la locura", "Canto cetrino" or "Cacería en el bosque", but falls short when compared to their the previous releases.

Once settled in Spain, Aquelarre played intensively in Barcelona, Ibiza and Madrid, but they only cut one instrumental track ("Mágico y natural") for a compilation album of Spanish groups in 1977 (Ni lo uno ni lo otro, sino todo lo contrario - Beverly Records L30017).

Disappointed, the group decided to split. They planned a farewell concert in Buenos Aires, but González Neira refused to return to Argentina. The concert was held anyway, with former Pescado Rabioso Carlos Cutaia on keyboards, at the huge Luna Park Stadium. (Actually, their very last performance took place a few days later –on March 16th 1977– at the Nueva Estela Theatre in Montevideo, Uruguay).

Héctor Starc and Rodolfo García later joined bass player Machi Rufino (ex-Invisible) to form Tantor, a jazz-rock oriented group which released two LPs (Tantor and Mágico y natural). Emilio del Güercio recorded a good intimate local-flavoured solo album in 1983 (Pintada - Microfón SUPS 80236).

Aquelarre - 1974 - Brumas


01. Parte del día (6:09)
02. Silencio marginal (3:29)
03. Aniñada (3:53)
04. Brumas en la bruma (3:52)
05. Milagro de pueblo (8:07)
06. Aves rapaces (3:41)
07. Mirando adentro (5:56)

- Emilio del Güercio / bass, vocals
- Héctor Stark / guitar, vocals
- Hugo González Neira / keyboards, vocals
- Rodolfo Garcia / drums, vocals

In 1974 they released Brumas, their most popular LP. The album was previewed at the Coliseo Theatre in Buenos Aires, a concert I fondly remember.

Brumas is another great record. The most inspired moments are the beautiful "Brumas en la bruma" (with superb orchestral arrangements by Rodolfo Alchourrón), the complex "Milagro de pueblo", the alluring "Aves rapaces" and "Parte del día".

At this point, Aquelarre toured feverishly through the country, motivating young musicians to form their own new bands!

With great enthusiasm, Aquelarre recorded a fourth album and announced their desire to move to Spain in search of new boundaries. They said goodbye to the Argentine audience by playing three great farewell concerts at the Coliseo Theatre. In October 1975, Siesta was released, along with a 7" featuring a non-LP b-side. The album had a stronger symphonic style, with heavier use of keyboards and synthesizers.

Aquelarre - 1973 - Candiles


01. Cruzando La Calle
02. Soplo Nuestro
03. Hermana Vereda
04. Cuentos Tristes
05. Miren A Este Imbécil
06. Patos Trastornados
07. Iluminen La Tierra

- Emilio del Güercio / bass, vocals
- Héctor Stark / guitar, vocals
- Hugo González Neira / keyboards, vocals
- Rodolfo Garcia / drums, vocals

Just four months after the first album, the group began the recording sessions for their second album: Candiles. The cover reproduced the painting "Aquelarre" by famed Spanish painter Francisco de Goya (1746-1828). It was another way to reflect the current political situation.

This great LP includes the energetic "Cruzando la calle", the soft melody of "Soplo nuestro", the rhythmic and changing "Hermana vereda" and the ballad "Cuentos tristes" (with Emilio on flute) on side A. Side B features the keyboard led with the guitar riff "Miren a este imbécil", the frantic instrumental "Patos trastornados" (with a great guitar performance) and the album's most inspired track: "Iluminen la tierra".

The music of Aquelarre was becoming much more progressive and melodic, moving somewhat away from rock. This sound would stabilise in their next album (for a new label), recorded with better production and instrumental resources.

Aquelarre - 1972 - Aquelarre


01. Canto
02. Yo Seré El Animal, Vos Serás Mi Dueño
03. Aventura En El Árbol
04. Jugador, Campos Para Luchar
05. Cantemos Tu Nombre
06. Movimiento

- Emilio del Güercio / bass, vocals
- Héctor Stark / guitar, vocals
- Hugo González Neira / keyboards, vocals
- Rodolfo Garcia / drums, vocals

After Almendra's break-up, three new extremely important groups were formed. Luis Alberto Spinetta formed Pescado Rabioso, Edelmiro Molinari formed Color Humano, whilst Emilio del Güercio and Rodolfo García formed Aquelarre.

For this project, Del Güercio and García were joined by González Neira (a keyboard player from the jazz scene), and the great guitarist Starc (formerly with the beat combo Alta Tensión and a regular at every endless guitar rock jam). The group played highly rehearsed progressive music, with surrealistic lyrics, led by the peculiar and melodic sound of the electric harpsichord.

Aquelarre officially made their debut on March 17th, 1972, at the Lorange Theatre on Corrientes Avenue in Buenos Aires. Soon afterwards, they released their outstanding first LP, recorded in two months at ION Studios (sharing dates and studio with Huinca).

The album starts with the powerful "Canto" (featuring another characteristic of the group: the fast wild guitar). The soft and beautiful "Yo seré el animal, tú serás mi dueño" is followed by the best track of the LP: "Aventura en el árbol". Listen to that brilliant wah-wah echo guitar!

Side B begins with "Jugador, campos para luchar", led by the guitar riff and powerful harpsichord, and the pretty "Cantemos tu nombre" (sung by Hugo with his peculiar voice). The album closes with the sturdy "Movimiento". A highly recommended record.

The cover was drawn by Emilio del Güercio (years later he quit music to become a graphic designer), and both the cover artwork and the lyrics subtly reflected the dark period just about to arise in the country (the military coup).

A pretty good album, it picks up s from where Almendra II left off; anyways this sounds much more like Pappo's Blues than Almendra. Of course, Spinetta's absence explains the sharp drop in the quality of the lyrics when comparing this album to Almendra. I don't know if I would call it psychedelic or space rock, but it is in the same vein as most stoner rock bands. The album features a great cover, which is pretty psychedelic, and was drawn by the band's bass player.

In retrospect this is truly charming music, which lost nothing of its beauty and appeal over the years and is definitely worthy of an honorable place in any serious Prog collection.

Luis Alberto Spinetta - 1977 - A 18' Del Sol

Luis Alberto Spinetta 
A 18' Del Sol

01. Viento del azur
02. Telgopor
03. Viejas mascarillas
04. A dieciocho minutos del sol
05. Canción para los días de la vida
06. Toda la vida tiene música hoy
07. ¿Dónde está el topacio?
08. La eternidad imaginaria

Drums – Carlos Gustavo Spinetta (tracks: 1), Osvaldo López
Electric Bass – Machi Rufino
Keyboards – Diego Rapoport
Electric Bass – Marcelo Vidal
Guitars, Vocals: Luis Alberto Spinetta

Luis returns to fusion on this album, much like his work with Invisible around Durazno sangrando. The difference is that this is less disjointed and discordy, and everyone of these jams flows beautifully thanks to pianist Diego Rapoport, and of course Spinetta's guitar (it's not an instrument, it's an extension of his soul!). I'm usually not a great fan of fusion, but a lot of the stuff here is quite booty-full! His voice is also so gentle, and they carry these songs with such a feeling of comfort. It's crazy! Especially on "Viejas Mascarillas". The instrumentation is so subtle, yet so tastefully done. "Canción para los días de la vida" is another beautiful song, and it's entirely acoustic.

Invisible - 1976 - El Jardin de Los Presentes

El Jardin de Los Presentes

01. El anillo del Capitán Beto
02. Los libros de la buena memoria
03. Alarma entre los ángeles
04. Que ves el cielo
05. Ruido de magia
06. Doscientos años
07. Niño condenado
08. Las golondrinas de la Plaza de Mayo

- Luis Alberto Spinetta / guitar and vocals
- Hector Lorenzo / drums
- Carlos Rufino / bass and backing vocals
- Tommy Gubitsch / lead guitar

In 1975, young virtuoso electric guitarist Tommy Gubitsch joined the group. Now a quartet, Invisible released their third and very popular final album: El jardín de los presentes. This LP had a lot of tango-influenced music and lyrics. There is some bandoneón playing; and the opening song, the still remembered "El anillo del capitán Beto", tells the story of a sort of space city bus driver with the same nickname as a popular soccer player.

This attempt to fuse tango with rock music was a trend in those days due to the fact that revolutionary tango composer Astor Piazzolla was getting involved with rock musicians. (He later regretted this, claiming that rock performers did not like to practice to improve their playing!). Anyway, let us admit that Spinetta had already used a bandoneón in a song years before that: "Laura va", from Almendra's debut album.

Another song to remark is "Niño condenado (Perdonado)", with a powerful King Crimson-influenced interlude.

El jardín de los presentes –a very good album in the end– was promoted with a big sell-out concert. However, by the end of the year (1976) the group split.

Luis Alberto Spinetta pursued a solo career (sometimes under the name Spinetta-Jade) mostly influenced in jazz-rock and fusion. Pomo and Machi would play with different artists.

First of all I would like to say that I don't agree with the fact that Invisible is labeled as Symphonic Prog.The term Jazz fusion would suite them much better.I think that this is important because this may confuse newcomers to the band (especially not spanish speakers)
This is the third and last album by this trio , who has now become a quartet due to the inclusion of guitar virtuoso Tomas Gubitsch.When listening to Spinetta's albums lyrics are a very important aspect so probably non spanish speakers won't be able to appreciate this at first , specially with this album that manages to build a very prominent porteño feel (by the way porteños are the citizens of Buenos Aires).

That being said , the album is mainly a blend of rock , jazz and tango. You can appreciate that due to the work of guest mucisians like bandeonists Juan Jose Mosalini and Rodolfo Mederos.If I were asked about the album's standout tracks I would say that they are the opener El anillo del Capitan Beto , whose lyrics are about the loliness a common man who was a bus driver feels when he is put on a space voyage , reminding his relatives and little every day stuff that he misses so much.

The other standout tracks are Los libros de la buena memoria and the instrumental Alarma entre los Angeles.Lastly I'll add that this album is a landmark in argentinian and latin american progressive music and deserves to be listened by every fan.

Invisible - 1975 - Durazno Sangrando

Durazno Sangrando

01. Encadenado al ánima
02. Durazno Sangrando
03. Pleamar de águilas
04. En una lejana playa del animus
05. Dios de adolescencia

- Luis Alberto Spinetta / guitars and vocals
- Hector Lorenzo / drums
- Carlos Rufino / bass and backing vocals

For the next album, they signed with a major company (CBS), which garnered more production and promotional support. Durazno sangrando is a good more relaxed and progressive album. The title song was very popular and should have been released as a single. The lyrics, based on a book by Carl Jung, were very important as well.

After their majestic debut album Invisible had to confirm to the public if they were one of those one album wonder bands ( pretty usual in Argentina) or a serious project. And personally speaking , I think they made an improvement over their debut release which was really hard to top anyway. Durazno Sangrando is an album based on a book by Carl Jung and Richard Wilhem called The Secret of the golden Flower. Spinetta was really fond of reading and he got some inspirations for his lyrics from autors like Rimbaud , Artaud ( he dedicated one release to him) , Nietzche , Freud and Michel Foucault among others.
This record is a bit more accesible and less darker than his debut album. It opens with an amazing epic called Encadenado al Anima and then features shorter songs all of them with a jazzy approach. Encadenado.. opens with a spacey section driven by Spinetta's guitar and Pomo's subtle drumming. Luis's vocals share a lot in common with Jon Anderson and some of the greatest RPI singers of the 70's. Suddenly the song breaks into a faster section to become subtle once more this time with some smooth synthetizers on the back. This song is a memorable epic since it has several mood changes and is really well composed. Also I want to add that the lyrics for this song were inspired on a poem written by Luis's father.

The title track is an absolute classic of argentinian rock and one of Spinetta's most popular song. It's just 3 minutes long but holds an undescriptable beauty. If I were to describe this one , I would say it's a cross between some of the early KC ballads like Lady of the dancing water or Cadence and Cascade and some of the most gentle PFM or Celeste moments. The third song Pleamar de Aguilas is not sung by Spinetta but bassist Machi. And altough his voice is a lot different from Luis the result ain't bad. Some may say this song is a little whimsical but it features very good guitarwork from Luis and nice vocal harmonies as well. En una lejana playa del Animus is probably the most laid back song on this record. Being 9 minutes long it starts with some jazzy improvisation and then features some spacey guitars. Luckily the mood of the song changes with a powerful chorus and from that moment on turns on a rocker driven by Spinetta's fantastic guitar solos and Machi's bass groove . Lastly , the record closes with another 3 minute acoustic song with jazzy chord progressions called Dios de Adolesencia. It's a really simple , yet beautiful song which happens to be my favourite on this record.

For those looking for Argentinian prog , Durazno Sangrando is the place to go.It's an essential record from both my country and South American prog.

Invisible - 1974 - Invisible


01. Jugo de lúcuma
02. El diluvio y la pasajera
03. Suspensión
04. Tema de Elmo Lesto
05. Azafata del tren fantasma
06. Irregular

Bonus Tracks:
07. La llave del mandala
08. Lo que nos ocupa es esa abuela, la conciencia que regula el mundo
09. Elementales leches
10. Estado de coma
11. Oso del sueño
12. Viejos ratones del tiempo

Luis Alberto Spinetta (guitar, vocals)
Carlos Alberto Machi Rufino (bass)
Héctor "Pomo" Lorenzo (drums)

After Pescado Rabioso's break up, Luis Alberto Spinetta formed a new trio together with two former Pappo's Blues members: Héctor Lorenzo (a.k.a. Pomo) on drums and Carlos Rufino (a.k.a. Machi) on bass.

Invisible debuted with a series of shows at the Astral Theatre in Buenos Aires by the end of 1973. Spinetta's music at this time was turning more progressive and challenging.

Those concerts were terrific. While the trio played an instrumental piece called "Tema de Elmo Lesto" (something like "Theme from Thean Noying"), a big cube-faced figured appeared onstage and "annoyed" the musicians. While they played "Azafata del tren fantasma" ("The Stewardess of the Ghost Train"), the surrealistic 1928 film Un chien Andalou (by Luis Buñuel and Salvador Dalí) would be projected. Once again, Luis Alberto knew how to thrill his audience!

In March 1974, Invisible went to studios for their first LP. A single was released in advance: "Elementales leches" b/w the terrific wah wah guitar "Estado de coma", reminiscing Pescado Rabioso.

The first album surprised everybody. The cover showed drawings of genius Dutchman Mauritius Cornelius Escher (1898-1972). Although his drawings had already been used in the UK by Mott the Hoople and in the USA by Mandrake Memorial, this was something absolutely new for Argentina! Not only that, a bonus single was enclosed (in an envelope attached to the inner sleeve) with two new great songs: "La llave del Mandala " and "Lo que nos ocupa es esa abuela, la conciencia que regula el mundo".

All the album tracks are also wonderful and hard to describe. Spinetta's guitar sounds as clear and powerful as it ever will. The arrangements and rhythmic were complex and unheard from a rock trio. If I had to choose my favourite, I would pick the two part "El diluvio y la pasajera" for its beauty. A must-have album, one of my favourites of all time, and definitely one of the best of 1974. Absolutely recommended.

Still, by the end of the year, Invisible released another good single that would close this first production cycle.

Invisible was originally formed by Luis Alberto Spinetta (guitars and vocals) who was formerly from the band Pescado Robioso that recently broke up at the time. The bass and drums were played by two former Pappo's Blues members Hector Lorenzo (drums) and Carlos Rufino (bass.) During the beginning of the bands playing (1973) the music was more straightforward rock with influences of Hendrix and Zeppelin and touches of a Black Sabbath sound. Their first, self-titled album, reflected their influences and was very complex, especially for a three man rock group.

Their next album "Durazno Sangrando" was their debut on a major label and an all out progressive album. Spinetta's lyrics were very well written. The story to "Durazno Sangrando" was based on a book by Carl Jung. "Durazno Sangrando" is their most progressive album and is generally noted as the bands best material. In 1975, virtuoso guitarist Tommy Gubitsch joined the group. Their third and final album "El Jardín de los Presentes" turned out to be their most popular. This album has a lot of Tango influence and also some sounds that would remind us of early King Crimson. After the success of "El Jardín de los Presentes" the band split up at the end of 1976. Spinetta pursued a jazz-fusion esque solo career after the breakup.

Invisible was a bigger band in the Argentine prog scene and is definitely worth a good listen. If you are interested at all in Argentine prog they are essential. Their middle album "Durazno Sangrando" is their best and most interesting though "El Jardín de los Presentes" is also worth a good listen (mainly for it's fusion of rock, prog, and tango influence.)

Spinetta's spanish vocals may remind you of the greatest italian singers from the 70's , but in my opinion his voice is one of a kind. The music is really complex if we take into account that Invisible is just a trio and they didn't include any keyboards on this record. The opener Jugo de Lucuma features some really nice interplay between Pomo and Machi and Spinetta's surreal lyrics really go well with the mood of the song. El diluvio y la pasajera is one of the standout tracks on this release. Starts with some acoustic guitar and does not feature any drumming in the first four minutes , reminding me of Harmonium. It's incredible how they could create a song as good as this one with just bass and guitars! After that point , there comes some jazzy drumming and Spinetta delivers a killing psychedelic guitar solo. The next track Suspension opens with a Black Sabbath/ Led Zep riff and there is quite a contrast created by the majestic vocal work in the beggining. Tema de elmo lesto is a short instrumental and personally , I think is the worst song of the six included here. It sounds like a jam session and the drumming is not as inspired as it's on the rest of the record. However there are some outstanding Luis guitar solos that somewhat save this song. The next track is my second favourite here Asafata del Tren Fantasma has some of Luis best lyrics on his career ( and this guy has edited almost 40 albums including solo works so that's quite a compliment) The track is really tranquil but the band manages to build some tension around it with sudden breaks. Lastly , we have Irregular which is , alongside Jugo de Lucuma , the jazziest track of this release. I really like Pomo's and Machi's performance on this tune.

Pescado Rabioso - 1973 - Artaud

Pescado Rabioso 

01. Todas Las Hojas Son Del Viento   
02. Cementerio Club
03. Por   
04. Superchería   
05. Las Sed Verdadera
06. Cantata De Puentes Amarillos
07. Bajan
08. A Starosta, El Idiota
09. Las Habladurías Del Mundo

Bass Guitar – Emilio Del Guercio
Drums – Carlos Gustavo Spinetta
Drums, Cowbell, Chorus – Rodolfo García
Electric Guitar, Acoustic Guitar, Vocals, Maracas, Cymbal – Luis Alberto Spinetta

Unfortunately, by mid-1973, Pescado Rabioso split due to musical differences and a fight between Spinetta and David Lebón. A rock and roll single with a non-LP track ("Me gusta ese tajo") was released, and then Luis Alberto recorded a wonderful solo album credited to Pescado Rabioso: Artaud.

With the help of his brother Carlos Gustavo Spinetta on drums and his former Almendra mates Emilio del Güercio (bass) and Rodolfo García (drums) on some tracks, Artaud (obviously dedicated to French poet and actor Antonin Artaud [1895-1948]) is yet another masterpiece.

The cover deserves a chapter on its own. Even on this ground Spinetta surpasses his own limits. Instead of being square, the original cover of Artaud had an odd oversized shape that made it impossible to rack in conventional LP bins. It is a serious competitor for The World's Most Original and Anti-Commercial LP Cover contest. It also included a small booklet with the lyrics and technical information.

With a different (mainly folk) musical style than Pescado 2, Artaud opens with the wonderful "Todas las hojas son del viento". "Cementerio Club" is a psycho blues. The strange "Por", the moody "Surperchería" and the beautiful "La sed veradera" come next. Side B opens with the long and climatic "Cantata de puentes amarillos", and is followed by the electric "Bajan", the psycho "A Starosta, el idiota" and the terrific "Las habladurías del mundo"(one of the best songs of the album). A difficult LP to describe, due to the nature of the music and the lyrics, but a must for Spinetta followers.

Despite its brief existence, Pescado Rabioso is still today the most influential group of Argentine progressive rock musicians.

Late in 1973 Spinetta formed Invisible. In 1976 a best-of LP Lo mejor de Pescado Rabioso (Talent SE-620) was released, featuring all the singles. All the albums have been widely reissued on vinyl and CD. (Note: reissues of Pescado 2 lack the booklet; Artaud's cover became regular square!).

Using Pescado 2 as a launching pad, Luis Alberto Spinetta completely reinvented the band's sound. While Pescado 2 was heavily rooted in hard rock, and psychedelic rock (maybe a bit of blues too, I dunno), Artaud took a much more stripped down singer-songwriter, and even jazzy approach (especially the drumming style). The perfect lounge rock record.

It's an improvement over Pescado 2 too. Instead of trying to come up with enough material to fill a double album, Luis just goes for a single album of all killer and no filler, and he pulls it off brilliantly. I've heard that the lyrics are fantastic, but being a first year Spanish student (and nothing is sticking), I can't tell. But the music alone is extremely evocative, and Spinetta's voice is amazing. Just to give you an idea of how emotional in tune he is with his music, he actually cries on "A Starota, el Idiota". Talk about awkward...It's a really good song, though. And it also samples "She Loves You" by The Beatles, and I wish I knew the reasoning behind that one.

But by golly, this is some amazing stuff! It's not all that jazzy rock stuff. "Supercheria" rocks some major cock! It out rocks everything Axl Rose could ever imagine doing (not that that's hard to do).  The other great songs on here are "Todas las Hojas Son del Viento", "Cantata de Puentes Amarillos", and "A Starota, el Idiota". What I love about this album is that a lot of songs focus on having a brilliant melody throughout, and then they end with fantastic guitar outros, that out awesome just about every guitarist out there.

This album is serious business. Get it.