Sunday, January 10, 2016

Anacrusa - 1973 - Anacrusa


01. Rio Limay (2:47)
02. Pobre mi tierra (3:42)
03. Elegia sobre un poema (3:10)
04. El baile del pajarillo (2:15)
05. Zamba de invierno (2:20)
06. Lo que mas quiero (3:01)
07. Viento de yavi (4:16)
08. La rosa y el clavel (1:35)
09. Galopa del mamboreta (2:41)
10. Marula Sanchez (1:44)
11. Piedra y madera (3:37)

* José Luis Castiñeira de Dios: guitar, charango, cuatro
* Susana Lago: keyboards, vocals
* Narciso Omar Espinoza: guitar
* Andrés Arpino: drums
* Jackye Tricore: guitar
* Tony Bonfyls: bass
* Pierre Gozzes: sax
* Patrice Mondon: violín

Born in the beginning of the 70's, this Latin fusion folk formation has delivered impressively original items in a rather discreet commercial success. The albums feature enchanting, warm female vocals, some prog arrangements and acoustic, classical training guitar style. Their first, published in 1973 and "III" represent fine examples of achieved, mythic, dancing and mysterious compositions in popular, South America music. In the absolute songs' structure is very closed to Peruvian, Bolivian, Argentinean ballads, boleros, milongas.Very refined and surely the best Latin folk vibe.

 Among the interesting bands of Argentinian Folk Rock, Anacrusa hailed from Buenos Aires and were formed in 1972 around the talents of female singer/keyboardist Susana Lago and guitarist Jose Luis Castineira De Dios.Their self-titled debut from 1973 included no less than six additional musicians: Guitarists Narciso Omar Espinoza and Jackye Tricore, bassist Tony Bonfyls, drummer Andres Arpino, sax player Pierre Gozzes and violin player Patrice Mondon.De Dios was also responsible for some of the traditional string instruments heard in the album such as the charango and the cuatro.
A very delicate and romantic Prog Folk album, Anacrusa's debut explores the roots of South-American Folk with more contemporary echoes, resulting series of short but interesting arrangements and intense, poetic tracks.One foot steps on the combination of archaic-styled Folk tunes with more jazzy stylings, offering a weird Folk/Fusion amalgam with smooth interplays and elegant passages.Guitars, bass and drums are the most dominant instruments in these plays.The other foot passes through more symphonic arrangements, a bit like the folky side of PREMIATA FORNERIA MARCONI, with excellent flute lines and peaceful piano textures leading the way into somekind of genuine Chamber Folk.These are executed in mostly instrumental offerings, of course always supported by acoustic guitars.There are still a few pieces that sound like Latin poems, led by Lagos' lyrical expressions and strongly grounded in Latin Folk with no further ambitions, yet these are also very nice and work well within the chosen atmosphere by the band.