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Argentine Groups - C
- ANTONIO JUAN SÁNCHEZ (v)
- JUAN CARLOS TORRES (g,v)
- LUIS CORZO (b)
- JOSÉ A. TORRES ( d, v)
- ALDO "CONEJO" MONTILLA (alt sax)
- EDUARDO KOHAN (ten sax)
- FRANCISCO NISIVOCCIA (trumpet)
This outfit was formed by singer Antonio Juan Sánchez with session musicians. (Sánchez later enjoyed success in the dancing music circuits as Johnny Allon).
They released a mediocre rock
& blues brass album, with a good guitar job by Juan Carlos Torres in songs like
"Ánimo muchacho", "Valeria ahora ríe" or "Vuelvo a mi hogar
hecho de nieblas" -all written by his drummer brother!
The LP also includes a disappointing version of the super classic Los Gatos hit "La Balsa" --so bad that they even apologise at the end of it! (?).
The following year they released two very rare singles that went unnoticed, and then split. (The b-side of the first single is included on the LP).
The album is hard to get and was never reissued ...and it seems it will never be!
- ALBERTO ARBIZÚ (b, v)
- MARCELO REQUENA (lg)
- JUAN CARLOS TÚBARO (g)
- JOSÉ LUIS COLZANI (d)
- OSVALDO VITALE (g)
Unfortunately, this hard rock group only release an excellent single (more noteworthy the b-side) in the style of Led Zeppelin/Black Sabbath.
Due to lack of success they changed their name, recruited a keyboard player and changed drummer... to play dancing gigs and parties!
The single is extremely rare.
- MIGUEL CANTILO (ac g, v)
- WILLY PEDEMONTE (lg)
- ALEJANDRO MARASSI (b, v)
- DIEGO VILLANUEVA (d, v)
Shortly after recording Conesa with Pedro y Pablo,
Miguel Cantilo (Pedro) moved to El Bolsón with Kubero 
Díaz
(ex-La Cofradía de la Flor Solar). El Bolsón is a town sited at the bottom of The
Andes, at La Patagonia, the Southern part of Argentina. In those days El Bolsón was the
paradise of hippies, musicians, craftsmen and young people disappointed with city life.
Surrounded by such an inspiring environment, Cantilo and Díaz wrote several
songs before forming a group.
A year later, el Grupo Sur recorded these songs in a 26-hour session that also featured Jorge Pinchevsky on violin, Harotium on kemanchá (an Armenian instrument), Gastón Cubillas on sax and Isa Portughéis on tabla as guests. This brilliant album was not released, however, until 1975.
This is probably Miguel Cantilo’s best ever record. A truly
fine piece of hippie art, the LP features a beautiful,
mystic, psychedelic cover drawn by Rafael Safleur. Several songs are worthy
of note. "Sur alabanzas" -with great guitar work; "Musi" -with a great
Pedemonte solo; the psycho-folky "Una manera de llegar" -with Pinchevsky’s
fiddle and good backing vocals; "La leyenda del retorno" -with the full blown
band; and "Algo está por suceder" -previously recorded by Kubero on his
solo album. Overall, the LP is enhanced by Willy Pedemonte’s
guitar work (he was formerly bass player for Piel de Pueblo).
Cantilo went back to El Bolsón and later on moved to Europe. He returned to Argentina in the late 70s with a new-wave group (Punch). He alternates his solo work with Pedro y Pablo reunions.
The highly recommended Cantilo y Grupo Sur LP is extremely rare to get, since it went unnoticed, and has not been reissued so far.
Carola (born Carolina María Fasulo) was the first female singer to release a solo blues album. (The other female rock singer, Gabriela, was into folk-rock).
Carola‘s very first recording was actually a very rare single for Harvest label. Afterwards, with the help of her ever-present husband Carlos Cutaia (Pescado Rabioso) on piano, she wrote and cut the 8-song LP Damas Negras with Bocón Frascino (ex-Pescado Rabioso) on guitar, Ricardo Jelicié (ex-Sacramento) and Emilio del Güercio (Aquelarre) on bass, and Oscar Moro (Color Humano) on drums.
With slow ("Blues una vez más", "Oh, gran lago" -with the great Jorge Cutello on flute and ex-Los In Osvaldo López on drums) and uptempo ("Avenida Libertador") numbers, the album is fairly good and recommended only to blues lovers (no brilliant guitar solos here!). The most famous track is the bold "María Corazón", that has been included on several compilations.
Some time later, Carola, Cutaia, and David Lebón formed a devotianal band called Lila (El Juego Cósmico), which released an extremely rare single dedicated to their espiritual gurú ("Amenece la verdad" b/w "Ah, MaharaJi" (Carmusic CM 3061)].
Carola devoted herself to her acting and dancing career. By the end of the 70s, once again with Carlos, released a duo album called C.C. Cutaia. But that’s a different story...
Damas negras is very hard to get, but has been reissued on CD.
- DICKY CAMPILONGO (g, v)
- TITO LARREGUI (g, k)
- CARLOS PAN (b)
- PABLO USUNA (d)
With some line-up changes, Avalancha turned into Cisco Kid and repeated the rhythm & blues formula. Unfortunately, they too released only one single, with a rock on the a-side and an excellent blues (written by Pan & Dicky) on the b-side.
Since their music style was not hot at that moment, they soon split.
The single is very rare. The b-side was included on a compilation CD.
- KUBERO DÍAZ (g, v)
- MORCY REQUENA (b, v)
- MANIJA PAZ (d)
In the city of La Plata -50 Km south of Buenos Aires City- some former students at the University of Fine Arts lived in a community called La Cofradía de la Flor Solar ("The Brotherhood of the Solar Flower"). Among them were artists, craftsmen ...and musicians! As a musical group they first performed live on September 21st 1968 with this line-up: Hugo "Pascua" García on guitar, Morcy Requena on bass and Manija Paz on drums.
By the end of the year, they cut a demo tape with the help of journalist Miguel Grinberg, who uncessesfully visited record labels.
In 1969, they performed a rock opera titled "La mezcladora de cemento" ("The Concrete Mixer") at the Instituto Di Tella (the Buenos Aires avant-garde cultural centre of the 60's). Slides in the background provided the visual accompaniment. The opera told the story of a Martian invasion to Planet Earth and how the Martians eventually ended up victims of the consumer’s society.
Soon, with new member Juán F. "Kubero" Díaz, La Cofradía managed to release a single on RCA that went unnoticed.
Word has it that shortly afterwards they recorded a whole album for label Mandioca, but only one song ("Juana") was eventually released from these sessions; first on the now famous Pidamos peras a Mandioca (Mandioca MLP 335) and then on other compilations.
Finally, in 1971, their only (and wonderful) self-titled LP hit the stores.
The album was recorded in 20 hours at the Phonal Studios. Kubero Díaz and Néstor
Paul wrote all the songs. Quique Gornatti and Skay Beilinson joined on guitars, Jorge
Álvarez (ex-Mandioca
owner) got them a deal with Microfón label, and Billy Bond
took the production-supervising job.
This masterpiece is the most psychedelic album ever released in Argentina. The distorted guitars as well as the lyrics take the listener to a magic trip.
Side A opens with the crossed harmonies of acoustic and electric guitars in "Quiero ser una luciérnaga". The psycho acid guitar distortions of "Fiesta de amor en el cielo" and the intimate soft beauty of "Todo mi mal" follow. The side ends with a psycho blues: "Paz de panza".
Side B begins with the versatile guitar of Kubero on "Se ama o no se ama", followed by the nice and quiet "En la siesta", and then "Nos encontraremos en alguna parte". "Rock alrededor del país" closes this highly recommended album!!! A must!!!
The wonderful fold out cover was drawn and designed by Kubero and El Mono Cohen (a.k.a. "Rocambole").
The LP was followed by live shows, but the Community broke apart and the band -after some minor changes- soon split.
Some musicians went on to live with Pedro y Pablo at their house on Conesa Street (with whom they recorded the album of the same name). Kubero joined La Pesada del Rock and later released a solo album with them.
As a piece of trivia, we can mention that in 1969, a La Plata singer called Adán Quieto released a very rare single with PS -"El payaso"/ "¿Recuerdas? (Trova TS-747)- penned by La Cofradía. It is highly possible that La Cofradía members had played on it too. But please don’t sell your house to get these two nice ballads! The single is only for completists!!!
The extremely rare LP, counterfeited in Europe, is available on CD. The single and "Juana" are available on compilation CDs as well.
- EDELMIRO MOLINARI (lg,v) AB
- RINALDO RAFANELLI (b,v) AB
- DAVID LEBÓN (d) A
- OSCAR MORO (d) B
After Almendra broke up, three extremely important groups emerged: Pescado Rabioso, Aquelarre and Color Humano.
Color Humano was a power trio influenced by Cream and The Jimi Hendrix Experience, as well as groups like Groundhogs or May Blitz. The name was, of course, taken from the song penned by Molinari for the first Almendra LP.
Besides the extraordinary Edelmiro’s guitar (leader and author of almost all their repertoire), the first line-up included Rinaldo Rafanelli on bass and the versatile David Lebón on... drums!
The first LP begins with a nice melody sung by Gabriela (Edelmiro’s wife) backed up by acoustic guitar and vocals. This song could have been included on her solo album as well. Some more energetic stuff follows ("Silbame oh cabeza" -featuring ex-Almendra Rodolfo García on drums- and "Introducción polenta") together with quieter ones (the instrumental "El hachazo", the long "Larga vida al sol" and "Humberto"). All themes are lead by the ever-present guitar.
Soon after the album’s release, David Lebón left to join Pescado Rabioso and was replaced by Oscar Moro (ex-Los Gatos and Huinca). The band was much more solid with this new line-up.
Ay the end of 1972 Color Humano played at the Buenos Aires Rock Festival (B.A. Rock), where two songs were filmed for the movie Rock hasta que se ponga el sol: "Larga vida al sol" and "Coto de caza" (a studio version of this song was included on the third album as "Cosas rústicas"). The movie’s excellent performance can be heard on the OST LP (Talent I-382).
Between March and June 1973, Color Humano recorded enough songs for a double album. Due to business decisions the album was released as two separate LPs on the newly created Talent label (owned by Mandioca founder Jorge Álvarez). The cover of the first volume featured a drawing of the members of the group facing forward, while the second volume -that included a photo poster- showed a drawing of their backs. NOne of the albums had a title.
The new songs were richer and more elaborate, spanning different rhythms and styles.
The second LP (that is, the first record of the never released 2-LP set) is great. "Sangre del sol" (featuring female jazz singer Egle Martin on percussion) has an uptempo Latin rhythm. "La tierra del gitano" is a changing slow song. "Humanoides" (featuring Rinaldo on organ and Edelmiro on piano) is a potent effort. "Un blues para Adelina" is -no wonder- a blues. "Va a salir un lugar" is a long song that includes instrumental developments by all three members of the band.
The third LP (that is, the second record of the never released 2-LP set) is my favourite. "Hombre de las cumbres" is energetic and complex. "Mañana por la noche" is a simple blues-rock joyful ditty. "A través de los inviernos" is a hard answer to Gabriela’s "Haz tu mente al invierno del sur". "Hace casi 2000 años" begins softly with an angelic vocal interlude by Alicia Varady to end with the power trio at their best. "Cosas rústicas" (a.k.a. "Coto de caza") reminisces Hendrix’s "Little Wing". "Las historias que tengo" is a long guitar piece. "Vestidos de agua" is a beautiful melody (featuring Jorge Cutello on flute) that leaves us repeating the last verse "cada vez que te miro/ aumenta mi ilusión"("each time I look at you/ my illusion grows").
Unfortunately, Color Humano split soon afterwards. Edelmiro and his wife Gabriela moved to Los Angeles, USA. Rinaldo Rafanelli went to play with Sui Generis and Polifemo, among others. Moro later joined La Máquina de Hacer Pájaros and played in many other outfits.
In 1995 there was a Color Humano reunion. They released a forgettable CD.
All vinyl editions are highly recommended though very hard to get. Albums 1 and 3 were reissued on vinyl. (The first album was issued in Uruguay with a different cover). All records are available on CD (albums 2 and 3 as a 2-CD set!).
- CARLOS BARRIO (g)
- NÉSTOR BARRIO (d)
- ALEJANDRO BARZI (flute)
- FREDDY PROCHNIK (b)
This group released
a very good album that mixes Jethro Tull’s progressive sound with
local folklore rhythms. The excellent flute job takes the leading role.
"Indios sin prisión" -a great song also released as a single-, the slow numbers "Sin trabajo" or "Abrir el día", and the uptempo rock "No sea que caigas mendigando", are the most remarkable moments of this recommended LP, although very difficult to get.
They released a very rare non-LP second single and split. (Note: some sources mention a non-existent second album). The group reunited in 2000, with minor lineup changes and a new album (El Pasaje).
- GUSTAVO MONTESANO (b, v)
- PINO MARRONE (g)
- ANÍBAL KERPEL (k)
- GONZALO FARRUGIA (d)
Crucis is very well known among symphonic rock collectors. They were influenced by groups like Genesis, Yes and Gentle Giant. Other Argentine groups used to envy their high tech gear which was unusual in those days.
At the very beginning Crucis was a quintet produced and managed by the legendary Jorge Álvarez, but soon bassist José Luis Fernández left to join La Máquina de Hacer Pájaros.
Their first LP -released in 1976- featured seven songs with great instrumental work but poor vocals. A single was also released. Charly García (ex- Sui Generis, La Máquina de Hacer Pájaros) was highly involved in the recording sessions.
At the beginning of 1977 their second album hit the stores. The 4-song Los delirios del Mariscal was a great improvement compared to the first LP: only one track (Montesano’s "No me separen de mí") featured vocals!
The climatic "Los delirios del mariscal", written by Kerpel, was the highest moment of the album. The spastic Marrone’s tune "Pollo frito" and "Abismo terrenal" (written by all four members) were both complex songs full of challenging rhythms changes.
The sound quality was astonishing for the time: the record was mixed and cut by Jack Adams at the Criteria Studios in Miami (USA) -every Argentine band's dream had finally come true!
In 1978, when a third record was under consideration, Gustavo Montesano released a pretty bad solo LP (Homenaje) featuring all Crucis members plus many other important musicians, like Pedro Aznar and Charly García. Crucis soon split.
In 1981 Gustavo formed a band called Montesano, that released yet another forgettable album. Later, he moved to Spain to join the cash-in techno pop group Olé Olé!
Marrone and Kerpel moved to Los Angeles, USA and got involved in the jazz-fusion movement and other projects not-related to this book.
For completists: a non-album track ("Exento de Dios") was included on a 1976 various artists compilation LP called Flecha Juventud Vol 3 (RCA APG-6053). Save your money! (The song was later included on a compilation CD).
Both albums were reissued on vinyl and are available together on one CD.
- NACHO SMILARI (lg,v) AB
- ENRIQUE MASLLORENS (b, v) A
- CARLOS CALABRÓ (d) A
After the break up of Piel de Pueblo, outstanding guitarist Nacho Smilari and drummer Carlos Calabró joined Masllorens (ex-La Joven Guardia) and formed Cuero,
The debut album was
a hard rock effort lead by Nacho’s brilliant guitar. The instrumental "Tiempo
después", "Nuevamente el momento", "No sé si voy a enloquecer",
the blues "Escucha mi voz", and the long psycho "Paula acurrucada en un
color" are the remarkable tunes. This is a recommended album for those who like
Piel de Pueblo, Montes, Rockal y la Cría and Pappo’s Blues.
Cuero soon split after Smilari’s departure to the USA. But later Nacho returned and the group recorded a very good album with the help of excellent musicians such as Bernardo Baraj (ex-Alma y Vida) on sax and flute, Osvaldo López (ex Los In) on drums, Adalberto Cevasco on bass, Raúl Parentella on electric piano and Joe Coco on percussion.
This second LP is almost Latin jazz-rock instrumental music with good guitar playing. It is obvious that his trip to the USA had influenced him quite a bit.
Both records went unnoticed (specially the second one) and had never been reissued on any format. The first one is harder to get.
