jueves, 9 de abril de 2009

· "Artaud" - Pescado Rabioso (Spinetta)

After Almendra broke up, Luis Alberto Spinetta (main composer of the group) released a lo-fi solo album called "Spinettalandia y sus amigos" and then visited Europe, where he saw first hand groups like Led Zeppelin and Deep Purple. Back in Buenos Aires, he decided to form a group where he could recreate the heavy rock sound he had seen and liked so much. And so, Pescado Rabioso was born. The group was originally a trio: Spinetta (vocals and guitars), David Lebón (vocals and bass guitar) and Black Amaya (drums). While recording their first album ("Desatormentándonos", released in 1971) they were joined by Carlos Cutaia (organ). In 1972 they released a double LP (simply called "2"), and then they disbanded. Spinetta recorded and released in 1973 another album under the Pescado Rabioso moniker, but in fact it was a solo album: "Artaud". Although "Artaud" was officially billed as the third Pescado Rabioso album, the Argentinean group had actually broken up by the time it was recorded. It's essentially a solo effort by singer-guitarist-songwriter Luis Alberto Spinetta, with contributions from his brother, drummer Carlos Gustavo Spinetta, bassist Emilio Del Guercio, and drummer Rodolfo García, the latter two of whom had played with Spinetta back in the pre-Pescado Rabioso band called Almendra. "Artaud", dedicated to the french surrealist poet Antonin Artaud, is a milestone in argentine rock. It’s considered by many not only Spinetta's masterpiece, but also the best album ever released in Argentina. If it's something of a progressive/psychedelic record, it has more to do with the juxtaposition of late-'60s and early-'70s styles on display than it has to do with the music itself. On various different tracks, Spinetta offers accomplished, sentimental acoustic-based folk-rock balladry ("Todas las Hojas Son del Viento"); languid jazzy San Francisco-styled mild psych ("Cementerio Club," "Bajan") with quavering guitar; folk-rock with a touch of late-'60s Lennon-McCartney at their most romantic ("La Sed Verdadera"); a piano-backed piece that recalls early Todd Rundgren at his softest ("A Starosta, El Idiota"); and a taut Latin-flavored rocker vaguely reminiscent of early Santana ("Las Habladurias del Mundo"). There's a little weirdness here, but it's limited to just a few spots, like the gradual submersion of "La Sed Verdadera" under ambient restaurant-like white noise and howling wind, and the sudden detour of "A Starosta, El Idiota" into gloomy dissonant piano rumbles, weeping, along with a far-off snatch of the Beatles' "She Loves You" single. The incredible intimacy of the accoustic pieces have earned comparisons to Nick Drake, though I’m not entirely convinced: Spinetta’s performances hint instead at dark neuroses and strange obsessive urges lurking just beneath the deceptively calm surface of the songs. The argentine edition of Rolling Stone magazine voted this album as no. 1 in the "Top 100 best argentine rock albums".



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

No hay comentarios:

Publicar un comentario