In 1984 guitarist Juan Tambussi, together with drummer Sergio Moscatelli, both fans of RUSH, decided to form a complex heavy metal band called FAHRENHEIT. Soon after, the band broke up, and that's when the two got in contact with Lucho Paseri, who came from a symphonic band similar to YES. They decided to have a common project, mixing RUSH, YES and heavy rock in a power trio format: it was 1986 when this project got officially formed and baptized as 2112. After years spent in gigging continuously, they managed to make their debut album in 1990, with original composition and songs in Spanish - it was "Alterando las Divisiones", produced by Sergio's brother.Throughout the following years, the trio focused on playing live in gigs and festivals (mostly, heavy metal festivals), while recording demos for an intended second album. Due to some problems with the record company as well, as some inner conflicts, such material was not released. But in 1994, as an independent band, and with the added presence of Adrian Katz on keyboards, 2112 recorded their second record, again with Spanish-language material, called "Intro". This album turned out to be quite successful outside the country, since it was distributed by an European company (which even proposed them to re-record it in an English version), and via catalog in the USA. A new crisis reduced them to a "power trio" again when keyboardist Katz left the group. However, stronger than ever, they started playing live again, even supporting American neo band ILUVATAR in an Argentinean gig in September 1997. In 1999, Lucho Paseri left the group, being replaced by Daniel Bazán, an old bandmate of Tambussi's. With this line up they took part in their first international prog rock festival: it was the "Buenos Aires Prog '99", with Swedish band ANEKDOTEN as special guests - it was on Friday, December 3rd of 1999."Glory Lies Ahead", their third album and first sung in English, is, by far, 2112's most impressive effort to date. Released in 2000, it has been highly praised in several prog and metal prog e-zines. For the last years, the band's activities decreased in number, but they managed to keep themselves active in the music business. In the latter half of 2005, Bazán left the band; fortunately, the vacant position was taken by an experienced Uruguayan bassist Gabriel Costa Ferraro (a long-time resident in Argentina). During 2007 the band made several shows, standing out festivals as Conceptuarg (with Clive Nolan's Caamora), Master Prog Fest (with Baja Prog's host Cast) and a gig in the legendary stage Obras Sanitarias (with Logos) in december.March 2008 was the time for a dream coming true: 2112 was at the 13º edition of Baja Prog festival in Mexicali, Baja California, aside with historical bands such as New Trolls, Le Orme, Circa, Riverside, Cast, Rocket Scientists and excellent bands of all over the world (Mexico, Ecuador, Chile, Switzerland, Spain and Japan). After this, singer Sebastian Hipólito, who was in the band since december 2006, decided to leave.With the arriving of singer Germán Ivaldi, the band devoted itself in the recording of the new album, which took a couple of years to be finished, and ultimately, released - "El Maravilloso Circo De Los Hermanos Lombardi", May of 2012. More than a decade had passed by since the release of the band's previous album, yet the one revealed that 2112 remains a most powerful item in the context of Argentina's rock scene. Other 2112 activites in recent years were: the shows for the 20th anniversary of "Alterando las Divisiones" in October of 2010; being part of the "Ciclo de Rock Progresivo" festival in Tucumán, alongside REDD, ÜNDER LINDEN and other bands. Line-up / Musicians Sergio Moscatelli/drums Juan Tambussi/guitars Gabriel Costa/bass,vocals Germán Ivaldi/vocals Discography(Album) El Maravilloso Circo De Los Hermanos Lombardi 2012
1.Los Hermanos Lombardi 2.Doble Tiempo Alternado 3.Marea Sepia 4.Capitán Beatty 5.Mi Río 6.Mi Desierto 7.El Montañes 8.Ingeniero Marconi 9.Caída Atmosférica 10.Canción Del Espacio Para Cantar Con Amigos 11.La Amenaza De La Estrellita Negra 12.Christine Watkins
The history of Contraluz started in 1969 in Buenos Aires, initially playing Beat Music with brothers Carlos (guitars) and Nestor Barrios (drums) along with bassist Diego Prochnik.After abandoning the names ''Lemon'' and ''Celofan'', they chose the Contraluz moniker and played in a Jethro Tull style by the beginning of the 70's.The unstoppable presence at several concerts, festivals and competitions earned them a wider recognition and in 1973 the band recorded the debut ''Americanos'' for EMI Records with Alvaro Canada on vocals and early member Alejandro Barzi on flutes.Contraluz'es music mixed the raw power of Rock music with the delicacy of Spanish vocals and the flute-based drives to come up with an album very close to the sound of early JETHRO TULL or even better JUMBO and OSANNA.Most of the tracks combined the psych-tinged flavor of Latin-American Rock bands with warm vocals and sensitive guitar work with the sharp edge of powerful flute solos, Hard Rockin' guitars and a strong rhythm section and the result is an album dangerously balancing between the softness of a singer/songwriter album with the extreme forces of in-your-face Hard Rock.The great energetic grooves with plenty of edgy guitar solos and dynamic flute work will leave you wanting for more. The more mellow vocal parts appearing in between are also nice with Cavada having a lovely style of singing, while the flute passages have a welcome and very attractive folky flavor. Line-up / Musicians Carlos Barrio/guitars Nestor Barrio/drums Alvaro Canada/vocals Alejandro Barzi/flute,keyboards Freddy Prochnik/bass Discography(Album) Americanos 1973
1.Indios Sin Prisión 2.Sin Trabajo 3.No Sea que Caigas Mendigando 4.Clave de Sol 5.La Sarna del Viento 6.El Charco 7.Abrir el Día 8.Seamos
Argentinian band CANTURBE was formed towards the end of the 1970's, with Jorge Garacotche (guitars, vocals) as the main and founding member. The first stable line-up of the band saw him joined by Luis Blanco (bass), Alejandro Fiori (guitars) and Gabriel Pelizzari (drums), and the foursoume issued their debut album El Vuelo de los Olvidados towards the end of 1980. For the next few years the band would build themselves a steady following in their home town of Bueons Aires, both due to extensive live activity but also due to their lyrics, most of which were centered around persons and events placed in that city. A second album, Bonpland, followed in 1983, while Clandestine was released in 1986. Fernando Bellini replaced Blanco on 1989's Del Magico Munde, while Litto Nebbia and Maria Jose Cantilo joined their ranks for the following years En Venta.Canturbe broke up in 1992, but just over a decade after the band had called it quits they reformed again. This has so far resulted in an additional chapter in their discography, issued in 2008 as Sociedad Secreta de Melancólicos. Line-up / Musicians Jorge Garacotche/vocals,guitars,percussion,harmonica Alejandro Fiori/guitars Gerardo Antonel/drums Luis Blanco/bass Discography(Album) El Vuelo de los Olvidados 1980
1.Leccion de Sangre 2.Amurado en tu Puerta 3.Suenos de Ayer 4.En Virtuo del Obsecado 5.De Toros los Inventos 6.Medidas de Sol 7.Los Perros de Villa Gesell 8.Linyera de Alcoba 9.El Vuelo de los Olvidados
AVE ROCK is a classic example of Art Rock in the form of a progressive band that demonstrates a variety of genre sounds without any one of them being dominant. The guitar on “Dejenme Seguir” is definitely blues-inspired, and would not have been out-of-place on any number of early 70’s ‘heavy rock’ bands like Wishbone Ash, Babe Ruth, maybe even Deep Purple. The vocals are Spanish, and not particularly strong, and also very much an early 70’s sound. Great guitar driven heavy prog psych drenched in tons of Hammond organ. Songs are very well developed with some nice mood variations and dynamic arrangements. Although there are some vocals they play a minor role as the album is mostly instrumental. The entire album is pretty trippy and spacey really with tons of great guitar, bass, drum and Hammond interplay. Line-up / Musicians Luis Borda/guitar,vocals Oscar Glavic/bass,vocals Osvaldo Calo/keyboards Federico Sainz/guitar,vocals Daddy Antogna/percussion Discography(Album) Ave Rock 1974
1.Dejenme Seguir 2.Viva Belgica 3.Gritos 4.Ausencia 5.El Absurdo Y La Melodia
ALAS was one of the most exquisite progressive bands in Argentina. The effective way in which they infused airs of Creole Argentinean folklore into their main prog sound - influenced by the massive energy of ELP (30 %) and the exuberant magic of WEATHER REPORT and RETURN TO FOREVER (70 %) - made ALAS a world of their own.Keyboardist/wind player/vocalist/main writer Gustavo Moretto had been a prominent figure in his country's musical scene. With the idea of forging a new musical direction leaning towards art-rock, he founded the band in 1975 in allegiance with bassist Alex Zucker and drummer/percussionist Carlos Riganti. Their recording debut took place later that same year, with a single comprising the tracks 'Aire' and 'Rincón, Mi Viejo Rincón'. It wasn't until 1976 that they released their eponymous debut album, which gained critical acclaim instantly. Even though the band felt happy with the album's artistic results, Zucker had plans of his own (mostly regarding the enhancement of his academic formation), so he left the ALAS before the band set plans for their following release. Young virtuoso Pedro Aznar replaced Zucker (long before his PAT METHENY days), and with this altered line-up the band started the recording process for "Pinta tu Aldea" in the latter half of 1977. The artistic goal was now focused on the increase of tango colours and a decrease of the ELP influence, as well as in becoming an exclusively instrumental ensemble. Halfway of this recording process, Riganti quit the band: him not being replaced, the two tracks of side 2 were left without a proper rhythm section! A few days after the second album had been completed, in January '78, the band split up for good. Line-up / Musicians Gustavo Moretto/keyboards,synthesizers,flute,trumpet,vocals Alex Zucker/bass,guitar Carlos Riganti/drums,percussion Discography(Album) Alas 1976
1.Buenos Aires Solo es Piedra 2.La Muerte Contó el Dinero 3.Aire 4.Rincon, Mi Viejo Rincon
Bubu are an outstanding representative of Argentinian Progressive Rock. Anabelas consists of three long epic compositions, and features mostly instrumental music that sounds like a cross of early King Crimson, Magma and Anglagard. Bubu was quite a large band and actually with a wide range of talent and instrumentation. Along with the traditional rock set-up (guitar, bass, and drums), the band featured a violinist, flutist, saxophonist, and pianist. Each composition is filled with intense interaction between the musicians, dozens of melodic surprises, and unexpected tempo changes. Their music is complex, energetic, and diabolical in a King Crimson-ish sort of way. Very surprising is that there is no noodling and very little soling to be found here and although does offer a pretty trippy and wild musical experience, never gets too out of control or becoming un-accessible for the listener. Without a question this is an awesome recording and a necessity in anyone’s progressive rock collection. Absolutely brilliant progressive rock. Line-up / Musicians Sergio Polizzi/violin Cecilia Tenconi/flute Win Fortsman/sax Petty Guelache/vocals Eduardo Rogatti/guitar Eduardo "Fleke" Folino/bass Eduardo "Polo" Corbella/drums,percussion Daniel Andreoli/composition,arrangement Discography Anabelas 1978
1.El Cortejo de un Dia Amarillo 2.El Viaje de Anabelas 3.Suenos de Maniqui
Quinteplus, the Argentine jazz quintet represented on this killer reissue of material dating back to 1972, had their roots in the country's New Jazz Collective, which was founded in the early '60s. Gato Barbieri, his brother Reuben, Jorge "Negro" Gonzalez, and Santiago Giaccobe were all members of the collective. The latter two, on bass and keyboards respectively, went on to form Quinteplus with saxophonist Jorge Anders, trumpeter Gustavo Bergalli, and drummer Noberto "Pocho" Lapouble. The group recorded one studio album in 1971; it was released on EMI in 1972 and makes up the first six tracks of this set. The latter four tunes here were recorded live in late 1972 with a lineup that subbed Jorge Cutello on reeds and added electric guitarist Rolando Lew. These final four tracks went unreleased until Melopea issued them in 1980. Spain's great reissue label Vampisoul -- being the imprint of all things strange, exotic, and wonderful -- assembled all ten cuts for this self-titled release on CD and vinyl. The sound of Quinteplus was deeply rooted in the late-'60s funky soul-jazz of Blue Note and Prestige. Rhodes piano is used almost exclusively here, and electric bass as much as the upright. Rhythmically, though, Quinteplus were superior to a lot of what Blue Note issued at the time. Check the rhythm section on some of these cuts -- "El Marques" comes immediately to mind -- and you'd swear it was some date assembled by Lee Morgan or Horace Silver. Latin rhythms and polyrhythms from Argentine folk music and Afro-Cuban rhumba as well as hard bop and soul abound in uptempo grooves like "Loberman, el Hombre Loco" or shimmer and dance with subtly textured melodic ideas on the folkish ballad "Zamba de Mis Pagos." Three of the latter four tunes are extended workouts; they are much more invested in laying out funky rhythms, vamps, and snaky grooves, and the horn players are both tough soloists. The larger rhythm section -- with additional coloration by wah-wah guitar and choppy snare-popping turnarounds -- is especially effective: check out the 14-minute reading of Bobbie Gentry's"Ode to Billie Joe." Truth be told, the sound on some of this leaves something to be desired, and more than likely these selections were mastered from existing vinyl copies rather than master tapes. But whatever, it's still plenty listenable and it's the only chance you're likely to have to take in these now legendary sounds. Line-up / Musicians Gustavo Bergalli/trumpet Carlos Pocho Lapouble/drums Jorge Anders/saxophone Jorge Gonzalez/bass Santiago Giacobbe/keyboards Discography Quinteplus 1971
1.Loberman, el hombre lobo 2.Los ejes de mi carreta 3.Blackman, el justiciero 4.El Marques 5.El pasito de mano 6.Zamba de mis pagos 7.La vuelta del elefantor 8.Oda a Billy Joe
PASTORAL was a handsome Argentinian folk duo that played simple strummed light protest songs with progressive touches. Both ALEJANDRO DE MICHELE and MIGUEL ANGEL ERAUSQUIN played guitars and sang.Formed in 1971, PASTORAL hit the big time with their second album "En El Hospicio" in 1975. This attracted the attention of some heavyweights including Jorge Alvarez, members of SUI GENERIS and future members of LA MAQINA DE HACER PAJAROS Charly Garcia and Oscar Moro, who were involved in the following release "Humanos". The pair split at the end of the 70s but reformed in 1982 with the successful Generacions. There is no telling where they may have gone from there had not Alejandro been the victim of a fatal car accident, effectively spelling an end to their saga. Line-up / Musicians Alejandro de Michele/guitar,vocals Miguel Angel Erausquin/guitar,vocals with: Charly Garcia/keyboards Oscar Moro/drums Pino Marrone/guitar Gustavo Beytelman/orchestra Discography(Album) Humanos 1976
1.Humanos (quieren llamarse) 2.Me desprendo de tu vientre (1er. mov.) 3.De regreso a tus entranas (2do. mov.) 4.Mujercita yo se esperar 5.Prorroga de la tierra 6.Lustrabotas 7.Deseo del lucido suicida preso 8.Solo con silencio 9.El mago
Vox Dei (Latin: God’s Voice) is an Argentine rock band. Its most prolific years were the 1970s, having recorded 10 albums. The band’s original members were Juan Carlos “Yody” Godoy (guitar and vocals), Ricardo Soulé (guitar and vocals), Rubén Basoalto (drums) and Willy Quiroga (bass and vocals). In 1968 they recorded a version of Percy Sledge’s “When a Man Loves a Woman”, and the company Mandioca organized an audition for them in the Payró theatre. The members of Manal and Almendra were also present, and a few hours later they played together. In 1970 they recorded for Mandioca their first album Caliente. In the B.A. Rock Festival Vox Dei played the first part of the theme “Genesis”, which had no lyrics yet. In February 1971 they released La Biblia (‘The Bible’) the second and best-known album. Being the first Argentine concept album, it became a turning point in the history of Argentine rock; Based (as the title suggests) on the Biblical story (similar to other concept albums on that subject) it presents an apocalyptic tale of the world. The music is truly exceptional as are the instrumental parts, especially the guitar solos. At the time of recording this album, which was a double vinyl LP, the group was a quartet, with lead guitarist / violinist / vocalists Ricardo Soule, bassist Willie Quiroga, drummer Ruben Basoalto and rhythm guitarist Juan Carlos Godoy, who left the group after this album was recorded, leaving them as a trio. Some of the tracks on the album include orchestral arrangements. This expanded edition adds to the original album a plethora of additional tracks from the album's sessions and some live performances. Line-up / Musicians Willy Quiroga/bass,guitar,piano,vocals Rubén Basoalto/drums Ricardo Soulé/guitar,bass,violin,piano,harmonica,vocals Juan Carlos "Yody" Godoy/guitar,vocals Ignacio "Nacho" Smilari/guitar,vocals Discography(Album) La Biblia 1971
1.Génesis 2.Moisés 3.Las guerras 4.Profecías 5.Libros sapienciales 6.Cristo y nacimiento 7.Cristo - Muerte y resurrección 8.Apocalipsis
Almendra was one of the most important rock and roll groups from Buenos Aires, Argentina in the late 1960s.Led by guitarist and lyricist Luis Alberto Spinetta, Almendra released between 1968 and 1971 a few singles and two albums that revolutionized the sound of Argentine rock for the remainder of the 20th century and almost single-handedly changed the way local rock music was perceived by critics and audiences. Almendra’s extraordinary debut album was released on November 29, 1969. It included an insert with lyrics and technical information. The black & white back cover pictured the group live at the Pinap Festival. By the end of 1969 the record company released a new single featuring "Tema de Pototo" and "Final". The latter was originally scheduled to end their debut album, but could not make it due to time length limitations. The group wanted "Gabinetes espaciales" to be the a-side of this single but RCA wished to promote "Pototo" instead. "Gabinetes..." was eventually included on the compilation LP Mis conjuntos preferidos (RCA Vik 3836).In early 1970 another single was released with two songs from the album. Meanwhile, Spinetta was working on a highly ambitious -though not original at that time- project: a rock opera about mankind’s inner search. But while they were working on this new album the group split. Widely compared to The Beatles by their local contemporaries, Almendra did not survive the 1960s and the making of the difficult second album, though all individual members went on to form the backbone of Argentine rock in the 1970s. Line-up / Musicians Luis Alberto Spinetta/guitar,vocals Edelmiro Molinari/guitar,vocals Emilio Del Güercio/bass,vocals,flute Rodolfo García/drums,vocals) Discography(Album) Almendra 1969
1.Muchacha (Ojos de papel) 2.Color humano 3.Figuración 4.Ana no duerme 5.Fermin 6.Plegaria para un niño dormido 7.A estos hombres tristes 8.Que el viento borro tus manos 9.Laura va
LA MAQUINA DE HACER PAJAROS was the band created by Charly García after dissolution of SUI GENERIS. It was a project which leave the folk genre of SUI GENERIS to achieve the symphonic rock. In the short life of this band, two LP's were recorded: "La Máquina de Hacer Pájaros" (1976) and "Películas" (1977). Inspired on the "elaborated" rock of STEELY DAN and the GENESIS "symphonism", Charly García formed the best of the Argentine bands in the progressive genre. «We are the YES of Third World», synthesizes García. But for that time, none of the LP's was successful, being recognized after. LA MAQUINA was the most deep and complex intent of the symphonic rock in Argentina, and García introduced in it the new of two simultaneous keyboardists (himself and Cutaia). Maybe this new style was the most significant barrier between the band and the people, habitued to most simple SUI GENERIS. LA MAQUINA DE HACER PAJAROS dissolved by internal trouble, nearest 1977. El Festival del Amor was the last show of LA MAQUINA, at a full Luna Park, in november 11, 1977, where they played together with Nito Mestre, León Gieco, Raúl Porchetto, Gustavo Santaolalla, Markoff brothers, and other. Between the musicians that formed part of the band in the show were David Lebón, the SUI GENERIS acoustic basement (Rinaldo Rafanelli - Juan Rodríguez), and the CRUCIS musicians Aníbal Kerpel and Pino Marrone. The highlight of the show was the beautiful version of Violeta Parra's "Volver a los diecisiete", which wasn't succesful between the audience, not habitued to South American folk music.Charly García, after failed attempts to create la BANDA DEL AMOR (with David Lebón and other musicians), convinces David Lebón to go to Brasil and create the project of his new band, SERÚ GIRÁN. Line-up / Musicians Oscar Moro/drums,percussion Jose Luis Fernandez/bass,guitar,vocals Gustavo Bazterrica/guitar,vocals Carlos Cutaia/organ,Mellotron,piano, Charly Garcia/piano,synthesizer,guitar,vocals Discography(Album) La Máquina de Hacer Pájaros 1976
1.Bubulina 2.Como mata el viento norte 3.Boletos, pases y abonos 4.No puedo verme más 5.Rock and roll 6.Por probar el vino y el agua salada 7.Ah, te ví entre las luces
Orion's Beethoven is an Argentinean psych/symphonic-prog band founded in 1969 that released two albums, Superangel in 1973 and Tercer Milenio in 1977. The group started with a lineup of 3 musicians: Adrian Bar (guitar), Jose Luis Gonzalez (drums), Roman Bar (bass & vocals). Jorge Liechtenstein replaced drummer Gonzalez in 1973 with the release of the first album. 'Superangel' eventually came out in 1973, and was a good progressive effort, influenced in parts by The Nice and ELP with the inclusion of classical excerpts in the music. Guest musicians provide sax and percussion, and the sound is complex enough to please most progressive rock fans. The second track is a twelve minute suite which incorporates acoustic and hard rock sections, as well as a fine sax solo from Chachi Ferreyra. In 1981, the band's lineup expanded and they shortened their name to Orions. The music in the first album mixed psychedelic elements with symphonic prog and classical pieces. Their second album is a more rock oriented release. Line-up / Musicians Adrian Bar/guitar Román Bar/bass,keyboards,vocals José Luis Gonzalez/drums Jorge Liechtenstein/drums Petty Guelache/vocals Horacio Várbaro/keyboards "Chachi" Ferreyra/Saxophone José Corriale/Timbales Discography(Album) Superangel 1973
1.Superangel 2.Retrato de alguien 3.Hijo del relámpago 4.Sinfonía Nº 8 en SÍ menor
'Pablo el
enterrador' is one of those hidden gems of progressive rock,that was
digged up from the ashes of time and became widely known to the public.
Probably the most beautiful and sophisticated group from Argentina. The
band consisted of four members,two of them being keyboardists,so
obviously their style is quite keyboard-dominated. They combine a
refined classical influence with definite progressive sound and folk
with superb vocals and lyrics. Their music is enlightened by a very
important sense of melody. The arrangements are inspired by classical
music, and include violin and flute sounds that come just in time to
enhance excellent guitar parts or even the keyboards. Sometimes, they
might remind you of GALADRIEL.Their first recording "Pablo El
Enterrador" appear in 1983 becoming an immediate success. After a long
absence, in 1995-1997 they start working in new material that was
included in their second album "2" considered by many the best work of
the group. This is an Argentine band with a strong neo prog influence.
There is a good balance between vocals and instrumental playing. Line-up / Musicians Jorge Antun/synth,Hammond organ Marcelo Sali/drums Jose Maria Blanc/guitar,bass,vocals Omar Lopez/piano,Minimoog synth Discography Pablo "El Enterrador" 1983
1.Carrousell de La Vieja Idiotez 2.Elefantes de Papel 3.Quien Gira y Quien Suena 4.Ilusion En Siete Octavos 5.Accionista 6.Dentro del Corral 7.Espiritu Esfumado 8.La Herencia de Pablo
