Spinettalandia y Sus Amigos (Spinettaland & His Friends) it's Luis Alberto Spinetta's first solo album, released in 1971 after leaving Almendra and before forming Pescado Rabioso, his second group. An LP 100% "hippie", as for the recording regarding the sound and general conception, and simultaneously Luis' break up with RCA record company. After his group Almendra disbanded, - and after his short experience living in France as a hippy- Spinetta passed through this transition period, something which he denotes on this album assuming the dualities and risks that were clearly implied. The record features hard rock numbers, as "Castillo de Piedra" composed by Pappo and announcing what Pescado Rabioso will be, but at the same time intimate and surprising compositions as " La Búsqueda de la Estrella." Made with the collaboration of several friends actually present at the studio, this is a transitory but fundamental recording for the bases of the skills and style Spinetta would show as an artist in the future. The LP when it was first released was titled Almendra, something which made the artist take the record company to court. Then in 1978, a reissue of the LP was titled La Búsqueda de la Estrella. Finally in 1995 under the Sony Music label, its first issue on CD, the disc was titled as Spinetta had originally wanted back in 1971: Spinettalandia y Sus Amigos, including also the original cover also desigend by Spinetta.
01- Castillo de Piedra 02- Ni Cuenta Te Das 03- Tema de Pedro 04- Dame, Dame Pan 05- Estrella 06- La búsqueda de la Estrella 07- Vamos al Bosque 08- Era de Tontos 09- Alteración del Tiempo 10- Descalza Camina 11- Lulú [Toma el Taxi]
After the ending of Pescado Rabioso, Luis Alberto Spinetta founded Invisible together with Héctor "Pomo" Lorenzo in drums and Carlos Alberto "Machi" Rufino in bass and vocals. The first public gig of Invisible was at the Astral Theater, in Buenos Aires, on November 23, 1973 and on the following year they edited their first single plus their first album. The group was working hard during rehearsals and only was appearing at big theaters or stadiums, but never in festivals or small places. After a long silence, they change record company (they went from Talent - Microfón to CBS), and presented Durazno Sangrando, their second LP released in 1975, at the Coliseo Theater on November 21 and on 22 of that same year. El Jardín de Los Presentes, their third and last LP, saw the light in 1976 and it was when Tomás Gubitsch joined to the band, as second guitarist. The album would become in one of the best of the Argentine Rock in his "third cycle" (1976 - 1982) and it was characterized by the merger of rhythms and genres. The album also obtained an immediate massive success and began to show of entry as a classic album, full of songs featuring an unusual beauty. If any Spinetta disc always hoards at least one beautiful song, in the case of "El Jardín..." almost all the topics approach the perfection. The album would be presented on August 6 at the Luna Park Stadium. This material has a clear influence of rock mixed with modern tango, which was in heyday in Buenos Aires during that time frame. Such it is like that, that for his live presentation (which would be the last one of the band), summoned the virtuoso bandoneonista Rodolfo Mederos. Invisible gave their last live show on December 12, 1976 at the Luna Parl. At the beginning of 1977, the group broke up.
01- El Anillo del Capitán Beto 02- Dios de la Adoescencia 03- Doscientos Años 04- Durazno Sangrando 05- Las Golondrinas de Plaza de Mayo 06- Jugo de Lúcuma 07- La Llave del Mandala 08- Los Libros de la Buena Memoria 09- Oso del Sueño 10- Lo Que Nos Ocupa es la Conciencia, Esa Abuela Que Regula el Mundo 11- Que Ves El Cielo 12- Suspensión 13- Viejos Ratones del Tiempo 14- Niño Condenado 15- La Azafata del Tren Fantasma
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
