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- LITO EPUMER (g)
- PEDRO AZNAR (b)
- JUAN CARLOS "MONO" FONTANA (d)
This superb progressive trio played lot of gigs during the mid 70s but could not release a recording in time.
21-year old Epumer and the younger Fontana and Aznar were all virtuosos -on virtually any instrument, as they proved later- who played complex instrumental progressive music. Songs like "Monorítmico" or "Déborah y el picaflor" were trully great.
When Epumer left, Mono and Pedro attempted to carry on with other guitar players without any luck.
By mid 80s, a Madre Atómica LP was in fact released but with a different line-up and totally different music. Epumer, Fontana (now on keyboards), bass player Guillermo Vadalá and drummer José "Jota" Morelli (ex-Spinetta) recorded an average jazz-rock record.
After the original break-up, Pedro Aznar joined Alas, Porchetto, Serú Girán and The Pat Metheny Group. He is currently a solo performer and movie composer. For many years Mono Fontana arranged and played keyboards with Luis Alberto Spinetta. Epumer played with Spinetta, Lito Vitale and released solo albums.
The inclusion of Madre Atómica in this book is a small tribute to those bands (like OM, which only managed to release an independent cassette) that played great progressive music but that unfortunately could not release any records.
Formed in Paraná (Capital City of Province Entre Ríos- 500 Km North from Buenos Aires) Magma is included in this book because their first album is highly collectable among symphonic rock collectors.
Canto para una consagración was released thought the private label Wormo (managed by Lito Vitale [ex-MIA]) in 1982.
After several line-up changes (leader Alberto Felici remained) a second album -La transformación- hit stores in 1985. At this point the group began to get into Latin-American folklore music as their 3 next LPs proved.
The first two albums are very rare. A collection from both records is available on CD (under the title Krónicas) through an independent progressive label from Brazil.
- JAVIER MARTINEZ (d,v)
- CLAUDIO GABIS (g)
- ALEJANDRO MEDINA (b,v)
Javier Martínez -one of the founders of 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 called 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 (by 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 very 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 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.
El León -a more rock oriented LP- was not as good as its processor. 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").
A very rare Uruguayan edition of the first album (with a different cover) exists.
All Manal recordings are available on two CDs.
- ENRIQUE "AVELLANEDA" DÍAZ (b,v)
- RAÚL FERNÁNDEZ (g,v)
- TITO MILANESA (g)
- CARLOS KOELLN (d)
La Máquina is a mythical blues and hard-rock group that released only an excellent very hard to get single. They can be seen playing with Pappo in the movie Rock Hasta que se ponga el Sol.
The single's b-side is an extraordinary blues -one of the best recorded in South America-, with great vocals and superb guitar. It is recommended but currently not available on any format.
Willy Pedemonte (Piel de Pueblo) was one of their best-remembered occasional members. Fernández and Avellaneda would play with Vox Dei on Ciego de Siglos (CBS 119605). Avellaneda also played with Pappo. La Máquina should not be confused with Charly García's La Máquina de Hacer Pájaros.
- CHARLY GARCÍA (k,v)
- GUSTAVO BAZTERRICA (g)
- CARLOS CUTAIA (k)
- JOSE LUIS FERNÁNDEZ (b)
- OSCAR MORO (d)
After the break-up of the widely successful Sui Generis, Charly García formed a band to develop the sound he started with the album Instituciones. He recruited Oscar Moro (ex-LosGatos, Huinca & Color Humano) on drums, José Luis Fernández (ex- early Crucis) on bass & Gustavo Bazterrica (ex-PorSuiGieco) on guitar. Soon afterwards, to enhance the symphonic style, keyboard player Carlos Cutaia (ex-Pescado Rabioso) joined the outfit.
The debut album was basically a follow-up of the last Sui Generis' LP, with longer and more complex instrumentals. The original cover featured an over-cover cartoon.
The second album, Películas, was more consistent. While on the first record all songs were written by García, this time all band members contributed. The style is remarkably symphonic with a latin touch.
La Máquina played live a lot and enjoyed good acceptance, until Bazterrica was forced to leave the band. Then García left, and the rest planned to keep going... without any success at all.
On November 11th, 1977 a Charly García Tribute titled El Festival del Amor was held with the return of Sui Generis, La Máquina de Hacer Pájaros, PorSuiGieco and other guests. The event was recorded live for a 2-LP set released in 1980 called Música del Alma (Shazam 14518/9) which is now very hard to get.
García then travelled to Brazil to form his most popular group to date -Seru Giran- with David Lebón, Oscar Moro and Pedro Aznar.
Both La Máquina's albums were reissued on CD and vinyl.
- JULIO A. PRESAS ( g,v)
- OMAR CONSTANZO (b,v)
- EDUARDO RAPETTI (lg,v)
- CARLOS RIGANTI (d)
After getting a Second Position Award at the Festival Beat the Mar del Plata (which Arco Iris won), Materia Gris released a single with the nice ballads "Quiero ser ave y poder volar" b/w "Carta para un amigo".
It was not until 1972 that they released their only LP: Ohperra
vida de Beto (a game of words between "Opera" and "oh, perra!"
-how bitchin´!- "life of Beto"). This sort of rock opera dealt with the life of
a guy named Beto from his birth to his adulthood in the style of S.F.Sorrow by The
Pretty Things.
It was a very good effort, with a progressive melodic soft-psycho sound and great guitar work. Omar Constanzo wrote the lyrics and Julio Presas composed the music. Side A -called Sweet Opera- was more calm, and side B -Bitter Opera- more intense, although the whole disc was rich in styles.
Litto Nebbia (ex-Los Gatos and Huinca) played piano as guest, along with (allegedly) Bernardo Baraj (Alma y Vida) on saxophones and an anonymous orchestra.
The record was a failure and after some live shows (presenting another conceptual work) the group split.
Carlos Riganti later joined Alas, Omar Constanzo went to Naranja Mecánica, and Julio Presas later formed La Ley (in the 80s).
The LP is recommended, though extremely rare. It was not reissued on vinyl (beware of counterfeits), but is available on CD through a progressive Brazilian label.
Bebe Muñoz was a fairly successful singer-songwriter during the 60s (playing music of no interest for this book) that recorded an album of folk songs under the name Maximiliano. He was helped by members of La Pesada and orchestral arrangements by Gustavo Beytelman.
This LP is mentioned in this book merely because Billy Bond arranged and performed with La Pesada musicians on side two and also due to the excellent cover drawing by Juan Orestes Gatti (main designer of Talent and Microfón labels editions). The only interesting track is actually ‘’Memorias de un ser humano’’.
Maximiliano then moved to Spain and returned in the 80s as B.B. Muñoz. On the other hand, he also produced other artists and was responsible for the successful comeback of Vox Dei in 1986.
Forget the album... except for the cover!
Born on October 1st, 1949, this excellent singer and bass player formed his first beat group, The Seasons, while still a teenager. (The Seasons released two singles and an LP -Liverpool at B.A. [Microfón IP100] sung in English. Medina was credited as... "Rodney"!).
After playing with Manal (the extremely important pioneer group of Argentine rock) he joined Billy Bond y Pesada.
Like his mates, he released his own solo album with them as guests: Claudio Gabis & Kubero Díaz (guitars), Jorge Pinchevsky (violin), Isa Portugheis, Juan Rodríguez, Pomo & Zurdo Roiztner (drums), along with the ever present Bond producing.
This great album features the hard rock "Yo sé que a
veces pierdo la cabeza", the blues "Un estado natural", the acoustic
full-of-effects blues "Tiempo de reflexión", and "Blues en mi menor para
cantar al amanecer", with great guitar work, among other songs. Even the cover, drawn
once again by Juan O. Gatti, was great. A highly recommended album, especially for those
fans of La Pesada's and Pappo's Blues records.
Medina later played with Pappo in Aeroblues and Pappo's Blues. In the 80s he participated on Manal's comeback and in the 90s he released a solo CD.
His debut album was not reissued on any format and is very rare.
- JORGE DURIETZ (g,v)
- DANIEL RUSSO (b,g,pia)
- EDUARDO FIGUEROA (g,v)
- FERNANDO GONZÁLEZ (fl)
- MICKY MITCHELL (d)
After Pedro y Pablo broke-up, Jorge Durietz (Pablo) formed this short-lived but interesting folk rock group.
Durietz composed all the songs on the LP, which featured very nice relaxing songs with guitars (acoustic and electric) and flutes. The naïf drawing of the cover was a good sample of what was inside.
Afterwards Durietz retired from music until the early 80s for Pedro y Pablo's successful comeback.
Melimelum sold very few copies and is scarce. It is available on CD.
- DANIEL IRIGOYEN (v)
- RUBÉN BISCIONE (g)
- QUIQUE ALVARADO (org)
- FERMÍN (b)
- JUAN RODRIGUEZ (d)
This group, which played at the Festival Pinap (the first massive Argentine rock event), only released a single sponsored by Litto Nebbia (author of both tracks) and produced by Ciro Fogliatta (also from Los Gatos).
The single was a good effort, with a good beat guitar sound and Irigoyen's voice.
Biscione and Alvarado later played in Fe. Rodríguez later played in Sui Generis and Polifemo.
The single A-side was released on a various artists CD.
Juan Carlos Bellía -an original member of Sui Generis- formed this folk duo that only released a single with the help of Charly García.
The nice b-side enjoyed some airplay due to its inclusion on the compilation LP Rock Para mis Amigos, Vol 3 (Talent I-458).
- LITO VITALE (k,d) ABC
- LILIANA VITALE (v,d) ABC
- DANIEL CURTO (g) AC
- NONO BELVIS (b) ABC
- JUAN DEL BARRIO (k,d) A
- ALBERTO MUÑOZ (g,b) BC
Formed in the mid 70s, Independent Musicians Associated (MIA - Músicos Independientes Asociados) was a group of musicians, technicians and drawers gathered together by Lito and Liliana Vitale's parents. They produced their own records and concerts in an independent way.\
They were highly influenced by symphonic music, more noteably by ELP, Gentle Giant and Focus, as you can hear on their debut LP: Transparencias. Besides Lito & his mates trying to play all instruments, the album included excerpts from Elgar's ''Pomp & Circumstance" and Bach's "Prelude No 1''.
Their second album was vocal oriented. Lead by Alberto Muñoz -author of the lyrics- this effort was a different approach, though still kept the symphonic mood in the form of songs.
On Cornostipicum, MIA returned to the instrumental-symphonic rock with elaborated pieces such as "Crifana y Tamílstenes’’ or the long suite of side b.
It is important to note the high quality of all their album covers: they all included the lyrics and detailed information about the songs and players, and were hand glued one by one.
MIA's final release was a big project called Conciertos, a 3-LP set comprised of live recordings from the group's last shows.
MIA, as a "union" group, shortly split. Almost all their members are still involved in musical activities in one way or another. Lito Vitale recorded several solo albums (covering new age, fusion, folklore, etc.) and currently is a successful movie and TV composer.
All MIA records have been released on CD with the treble live album as bonus.
- MIGUEL PÉREZ (org,elec.g, flu,v)
- EUGENIO PÉREZ (acus g.,v)
Another act who participated in the Acusticazo event, in June 1972. The Pérez brothers can be heard singing ''Cuando'' on the self-titled album (Trova TL 54).
After collaborating with Gabriela and León Gieco on their albums, Miguel y Eugenio recorded their own with the help of Litto Nebbia on piano, Horacio Isoca Fumero on bass, Oscar Moro on drums and Domingo Cura on percussion. This was a good folk rock debut, with nice lyrics very well sung.
Despite the lack of promotion, Miguel y Eugenio played lots of small shows until recruiting younger brothers Pablo and Diego to form Aucán. (Aucán released a single and 2 LPs highly influenced by local folklore).
Their debut album has not been reissued on any format.
- JORGE MONTES (lg)
- JUAN CARLOS POLICASTRO (v)
- ALBERTO ONETO (b)
- CARLOS SALAZAR (d)
After playing with the beat group Séptima Brigada, guitarist Jorge Montes formed Montes (originally called Montes Mahatma). He released an extremely rare and excellent single, with a superb b-side (''Un viaje al mar'').
Jorge and Luis Miguel Montes (author of the cover) wrote all the songs of Cuando brille el tiempo, the debut album, a sort of tribute to Jimi Hendrix. With guests Sergio Goffar on electric piano, Eduardo Pipman on drums and Alejandro Zucker on bass, this record goes from psycho to progressive hard rock with a tremendous killer guitar!
''En el camino de Dios hacia el sol'' opens this
remarkable LP, followed by the crazy wah-wah hard rock ''Arde Roma'', ''El ascensor'' and
the melodic ''Hoy (cuando brille el tiempo)'' with a guitar full of effects and skills.
Side b opens with ''Arco Iris'' that switches from the calm to the fury in minutes,
followed by "Fuera del sol" (on a Pappo's Blues style). ''Epílogo de
Crossville'' and ''Días después'' closes the album with lots of effects that remind the
glorious Electric Ladyland.
In short: a highly recommended guitar album, with excellent vocal work and solid rhythm section.
Despite the good reviews, the record went unnoticed and sold poorly. The group toured South America (something unusual at that time) and split. Jorge Montes played briefly with Pappo and later disappeared. It is said that he was killed in Ecuador in a drug-related event in the 80s.
The LP is extremely rare and was never reissued on any format. Beware of counterfeits!
Born Mauricio Birabent, Moris is one of Argentine rock´s pioneers.
In the beginning of the 60s he became interested in rock and roll, jazz, bossa nova and tango. During the middle of the decade, he formed Los Beatniks with fellow mates from the now legendary club La Cueva.
When Los Beatniks split, Moris began to perform live as a solo artist. His first album (for Mandioca label) included new and old recordings (taped at T.N.T. studios). This was an eclectic album that blended the music he loved best: tango, rock, blues and jazz.
A preview single ''El oso" b/w a non-LP track ''Escúchame'' was also released. ''El oso'', which tells the story of a bear who used to live free in the forest until some evil human put him in a circus, is now a classic. The album also features "Ayer nomás'', the b-side of Los Gatos' debut single, with the original lyrics by Pipo Lernoud.
Another non-LP track, ''Muchacho'', was included on the compilation Pidamos Peras a Mandioca (MLP 335).
By the end of 1973, Moris published a book of photos, poems and lyrics called Ahora mismo (Editores de Hoy). Talent label reissued his LP with an extra cut (''Juan, el noble caballero'') and a different fold-out cover (Talent SE-416).
Ciudad de guitarras callejeras, his second more tango oriented album, was released the following year.
By mid 70s, Moris moved to Spain and achieved a lot of success starting with the album Fiebre de vivir. Later on he returned to Argentina.
As he is not a prolific artist, Moris reputation is mostly based on his participation in the early days of the Argentine rock movement.
His Mandioca debut album is very hard to get. All his recordings have been reissued on vinyl and CD.
