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Area - Crac! (1975)

Entre tantos videos de los viernes vamos a dejar un disquito, o mejor dicho un discazo de puro jazz rock y progresivo italiano, otro disco de Area que nos trae el Mago Alberto y éste es uno de sus mejores discos, completamente imperdible. Por favor, lean los comentarios de yentes de todo el mundo y verán que éste disco es realmente excelente. No se lo pierdan!!! Una verdadera maravilla sonora, y si no me creen escúchenlos.

Artista: Area
Álbum: ---
Año: 1975
Género: Progresivo italiano / Jazz rock
Duración: 37:50
Nacionalidad: Italia

Lista de Temas:
1. L'elefante Bianco
2. La Mela Di Odessa
3. Megalopoli
4. Nervi Scoperti
5. Gioia E Rivoluzione
6. Implosion
7. Area 5

- Demetrio Stratos / vocals, organ, harpsichord, percussion, steel drums
- Giampaolo Tofani / electric guitar, EMS synth, flute
- Patrizio Fariselli / electric & acoustic pianos, ARP synth, bass clarinet, percussion
- Ares Tavolazzi / electric & acoustic basses, trombone
- Giulio Capiozzo / drums, percussion

No tengo mucho tiempo y quiero publicar esta belleza, así que me centraré en comentarios de terceros, empezamos con el que vale que es el del Mago Alberto que es quien comparte el disco:

Otro trabajo de los Area que los encuentra más sincopados y con sonidos más modernos y experimentales, muy Canterbury, y con un Stratos que le da ese toque inconfundible a los Area, un toque de locura y soltura vocal con muchísimo estilo y personalidad (ahora sabemos a quien el Negro Rada le choreo el HU HU HU) uno de los mejores trabajos de los tanos, y de los cuales seguiremos presentando sus discos.
Esta semana sin querer queriendo volvimos a Italia como vuelo sin rumbo por la stratosfera musical, y le dimos un pequeño empujón a los ateridos cabezones, como para no olvidarnos que los itálicos teíian y tienen una movida rockera muy fructífera y que siempre que la Escuelita de Moe este abierta, Italia será una materia obligada.
Elián lo pidió por el chat y aprovecho para compartirlo con las cabezonas/es, un proyecto que muestra a un grupo sin prejuicios a coquetear con cuanto estilo musical anduviera dando vueltas por ahi.
Mago Alberto

Y ahora sigo con comentarios que encontré por aquí y por allá:

Crac!, el tercer disco de Area, me resulta uno de los mejores álbumes de rock progresivo italiano. Con una creatividad desbordante, el quinteto juega un rato a ser avant-garde, a los pocos minutos se convierte en un gran grupo de jazz-rock instrumental y, de vez en cuando, entrega canciones hermosas -tal es el caso de Gioia e Rivoluzione. Area tiene mucha fuerza, un dramatismo agradable y nada forzado y sus intrumentos tienen miles de efectos. El teclado es esquizofrénico, la batería produce combinaciones increíbles, la voz a veces acompaña con incoherencias a los instrumentos. No hay ni un género que el grupo no roce en su aventura, y de esta mezcla perfecta surge algo incomparable, novedoso.
Josef Gaishun

Oh! los tanos siempre con sus locuras y sus genialidades, tal como este disco que es una obra maestra subvalorada del prog.
Con una ensalada terrible de sonidos e ideas, encontramos a "La Mela di Odessa", como un tema "proto-Mars-Volta" mezclado con Miles Davis, o "Megalopoli", una obra "jazz fusion de vanguardia" que te vuela el cerebro instantaneamente. Ni un segundo que no sea interesante en "Crac!".
Tiene una riqueza tremenda este disco, aunque a priori a alguno puede costarle asimilarlo. Pero no tengan dudas que es una de las grandes joyas que Italia nos regala y que no hay que desperdiciar.

Y no podían faltar los comentarios en inglés, igual les cuento que todos dicen que el disco es excelente, pero igual se los copio:

Well!!!.... Somehow, I will try to review this album; which by the way IMHO is the most spectacular GEM found in the fusion-rock-experimental genre!!..

I would try to direct my review, not to the savvy proghead but instead, to the newcomer prog fan that wants to check out AREA for the first time... First, let me tell you a couple of things in general. I do not have any problems in recommending any of Area albums where Demetrio Stratos was involved. Second, when you talk about Fusion in general, you should understand that is basically an acquired taste. And, once you dig into it and surpass this phase this music becomes very rich and uplifting for the spirit!!! You will need several spins and bands to get a grip of Fusion; for me, that was the case.... when I hear AREA for the first time. Just blow me away, did not get it and I even put away the album for a while, until I got more taste for fusion and listen to more accessible bands...I may recommend Deus Ex-Machina (Cinque) first!!! So, do not give up with your first spin...or, with the first album, because by the way all of them sound different in a way...but, this is the album to own if you are new to AREA. Band Instrumentation is provided by guitar, bass, drums and keys with also the use of bass clarinet, trombone and flute. Two words define AREA: Complex and Wild!!!!...Demetrio Stratos has one of the most interesting, to say the least, voices in progressive rock...He die many years ago, but we are fortunate enough to still enjoy his stunning vocals! I quote this from other sources (Gibraltar Encyclopedia...) Demetrio overlap voice is very intercate..He howls, whines, growls, laughs, moans, and yodels and sometimes-even sing!!!! I agree 100%.
I have to say also, that IMO AREA placed Demetrio's voice as other Instrument rather than just the vocal itself.... Magnificent!!! You cannot compare these guys with anybody else, because, really nobody was making music like them...Superb!!! In conclusion... five guys making a high-energetic and very complex, wild Jazz-Fusion-Rock-Experimental type of music. Recommended also for all those symphonic prognuts that will like to have a little bit of spice in their music!!!
This album is a Classic in its Genre, and should be part of every serious progressive music collection! And, coming from somebody like me (not a hard core fan of fusion) will not be consider an overstatement...5 Stars! Highly Recommended.
Jose Gabriel

Do not be afraid of the title under their name where they describe themselves as "International POPular group", they meant this in a leftist view. Area could not be further away from pop music. This second effort is in the line of the debut masterpiece and is just as influential! We are still talking in a strange mix of jazz-rock-fusion laced with Canterbury influences and slightly RIO although this will be much more evident in the following Caution Radiation Area album. Traces of Gentle Giant influences are also evident.
Elephante Bianco reminds me of a cross between Mahavishnu and Soft Machine, while the second and third tracks are more in the line of funky jazz-rock much because of the bass lines. IMHO the most interesting track is Nervi Scoperti that plays with the boundaries of dissonant music between harmony and dissonance like a tightrope walker (much the way John Coltrane did with Meditations and First Meditations albums).
A short but very joyfull and very vocal track before Implosion (my fave on this album) and an excursion into RIO-free jazz round-up an other well-worth-seeking-for album!
Sean Trane

It seems to be a theme in the music I have listened to tonight: bad vocals set to amazing music. First Catapilla, now Area. I love fusion, don't get me wrong, but sometimes the vocals are bad, or just plain goofy sounding. Its not that its in a different language, "Itoiz" and "A barca do sol" among many others blow me away in there beauty. But than you hear vocals like on this cd that bring down the rest of the music and it stinks, because it could so easily be a gem had it been instrumental or had a different vocalist.

I'll be honest, I'm a lover of Italian Symphonic prog, it being my top favorite genre with Canterbury right behind it. When I saw such high regards for this album on the website 'Gnosis', the experimental side of my musically nature was scratched. So I plunked down some hard-earned cash and bought it home. Man-oh-man, was I blown away. Now mind you, fusion or jazz/experimantal music is NOT my cup of tea. But this album was SO highly rated it had to have something else going for it. And believe me, it does and his name is Demetrio Stratos. The man has a voice like no other. The only comparision I can possible make with another human being is the dude from Deus Ex Machina. There's times during the album where you'd think it was some kind of synthesizer making the noise, but no, it's Demetrio. Hot damn it's weird but wonderful at the same time. Musically, they're the tightest bunch of Italians I've heard so far. Just flat out AWESOME musicians. Up and down, guitar to bass to drum to keyboards, they're as professional as any English/American, etc. band you can possible compare them to. Be it jazzy, fusion, or even Canterbury, they do it with flair Italian-style. If not for the last song, "Area 5" which is the freakin weirdest Itailan song I've heard yet, it would be an unequivicial five-star disc, but in all honesty I'll round it 4.75. If you have exhausted all the Italian symphonic bands and want to branch out further in the country musically, start with Area and this album. Like a doctor, you'll thank me in the morning.
Ray Rappisi jr

This is a very good band from Italy. This album most frequently sounds like an Italian Magma playing Mahavishnu style songs painted with Zappa humor textures. The vocalist has very Vander-like inflections, strong operetic vibratos sung in Italian. Keyboards are very strong with overdriven Rhodes and B3 with occasional grand piano and Moog breaks. The guitar is a lightly distorted mix of electric tones. Occasional violin smacks of Goodman and Ponty. This band is not afraid to put up the funk other. The percussionist is very versed in differing styles.
Very raw and entertaining progressive jazz/rock fusion. Highly recommended. 4.1/5 Stars.

This is such an amazing band and "Crac !" is clearly one of their best albums. I still prefer their debut but both are essential. I do think this record is more accessible and easier to digest than the debut. I just love to listen to these guys play, and then you have the added dimension of Demetrio on vocals singing and experimenting with his voice.
"L'Elefante Bianco" hits the ground running with vocals and piano. The vocals stop as an uptempo melody takes over before a minute. Vocals are back 2 1/2 minutes in with vocal melodies to follow. "La Mela Di Odessa (1920)" has this crazy intro before drums come in and take over. The bass and keys sound great as drums continue. Vocal melodies come and go. Guitar 3 minutes in and then it calms down before a funky melody arrives with horns. Spoken vocals come in around 4 minutes. The vocals start to get a little insane and there's laughing as well.
"Megalopoli" has some atmosphere to begin with as it's almost spacey. The drumming 1 1/2 minutes in signals a change. The vocals after 2 minutes remind me of Vander for some reason (psychotic). Love the soundscape that follows as the bass, drums and organ rip it up. It settles somewhat as synths come in. Check out the bass after 5 minutes. Filthy organ as drums and bass are relentless. Vocals are back after 7 minutes. "Nervi Scoporti" opens with bass as drums join in and then synths? Chunky bass and piano take over. Piano is all over this one and it's absolutely incredible. The guitar makes some noise 3 1/2 minutes in. "Gioia E Rivoluzione" opens with vocals and piano. Strummed guitar comes in on this catchy and melodic track. Vocals are back but are normal. Some clapping 3 1/2 minutes in as we're all having fun. "Implosion" opens with experimental sounds. A melody arrives a minute in with some great drumming eventually coming in. The tempo picks up 4 minutes in. Great sound. "Area 5" is a 2 minute experimental track with vocal sounds and other sounds coming and going throughout.
Highly enjoyable Italian Avant-Jazz. A must have.
John Davie

"Crac!" is the third studio effort by that glorious avant-garde ensemble from Italy named Area.This work not only follows in the robust, challenging vein of its masterful predecessor "Caution Radiation Area", but it also replicates its intensity and modernistic inventiveness. On the other hand, it is fair to note down that the level of extravagant madness is not as pronounced as on the aforesaid album (or the next one "Maledetti", another Área masterpiece that we are not reviewing at this moment). One detail we can notice is that the ever bizarre Demetrio Stratos actually "bothers" to sing, that is, use his voice to elaborate defined melodic lines through a song's development. The first case is the opener 'L'Elefante Bianco', in which the lead vocal and piano enter at unison and display an exciting, playful motif full of Southern Mediterranean and Turkish nuances (some relatedness with the previous album's opener 'Cometa Rossa' can be traced as well). The second case is 'Gioia e Rivoluzione', which portrays a gentle, acoustic sonic architecture very much akin to the standardized hippy protest song: the subject of freedom regained after the demise of a dictatorship is worked on with a calculated folkish naivety. Curiously, the Tarzan-like vocal interventions are used subtly as to add colour (as apposed to disturbance) to the repeated final chorus. But hey, this is an Area album, and as such, it is mandatory that it contains a large amount of jazz-rock and psychedelically driven elements of experimentation in a prog context. 'La Mela di Odessa (1920)' and 'Megalopoli' are two intricate sonic journeys equally nurtured by energy and insolence, influenced by Mahavishnu Orchestra and aiming for a delirious refurbishment of the usual concepts of jazz-fusion. Actually, I have the impression that the rhythmic duo bears a more powerful feel than on the previous album (the bassist that debuted in the "Caution" album feels evidently at home here). Guitarists Tofani is more deeply involved than ever before in the exploration of synthesized enhancements for his lead guitar - the guitar phrases that he throws in on 'Megalopoli' are weird beyond words. Tofani uses his ARP synthesizer sensibly in order to preserve a creative tension in the sounds delivered over the complex rhythmic structures. Stratos' Hammond chops settle in freely, augmenting the band's global power. Being less aggressive than the two aforesaid pieces, 'Nervi Scorpeti' finds Fariselli initially assuming the leading role with an amazing electric piano solo, in this way preparing the stage for the moment in which Tofani will make his McLaguhlin-meets-Fripp flourishes, using effectively his guitar as a provider of tension combined with eeriness. Less aggressive, indeed, but equally brilliant. Let me reiterate how effective the rhythm duo is - a special mention has to go to Capiozzo, whose rolls and other sundry drumming tricks are almost humanly impossible, especially in those passages of tracks 2 and 3 where things get flashy and flaming. Some of these racks feel actually short: sometimes I surprise myself mentally cursing the moment in which the fade-out arrives to interrupt what could have been a magical expansion. 'Area 5' is the album's brief epilogue, an exercise on musique concrete based on craftily calculated alternations of vocal, guitar, piano, bass and drum - a Dadaistic thing, Area-style purely. General balance: "Crac!" is a typically Area-esque effort, not as radically evolving as the preceding album or the follow-up, but essential for the prog collector and convenient for the Area neophyte (either this one or the debut album "Arbeit Macht Frei").
Cesar Inca

A creative high for music. And honestly, that's where I'd like to stop. But.
Imagine the power of an explosion, the brewing frustration and uncertainty of a generation, the freedom and joy of happiness, facing difficulties, overcoming the same difficulties - all presented and packaged in an uncensored form of expression that grabs you, stuns you, turns you inside out and leaves you alone on the ground, bleeding.and still asking for more! Behind these words there is an elusive truth in hiding, because even if much of Crac! is harsh, uncompromising, virtuosic and provocative music to the bone, it's not those qualities that makes me so very fond and attached to the album, but rather the pulsating emotional whirlwind and escapism you're invited to for the all too short thirty-eight minutes the ride lasts.
And still there really aren't any proper attempts at reaching that goal, with aggression, confrontation and downright collision feeling like a lot more descriptive words of the music, making it notably harder to reflect on the emotional ingredients of the music, and even harder finding the peace of mind required for that when listening to Area. Instead, you have to accept that you can do nothing else than open up your mind, and just let the music surge and stream through you. Believe me, you'll find it cleansing, rejuvenating, absorbing and ultimately relaxing. Think of Crac! as a musical adrenalin rush, and you might start to get the idea.
Compared to Arbeit Macht Frei it's an album that feels more distinctly like Area, and with Area being Area, that tells us that it's an album that is even more nothing at all, or rather a lot of things at the same time. Revolving around a core of fiery and restless jazz-tinged fusion with avant overtones, it snatches ideas and trademarks from many directions, broadening the scope of the music, both digging itself deeper down into indefinable experimentations with instrumentation, effects and vocals as well as opening up for smoother, more mainstream structures. Gioia E Rivoluzione is surprisingly cheerful, down-to-earth and enjoyable with its rollicking guitar and playful piano and keys sound. Placing a fairly simple mid-tempo rocker in the midst of the dominating chaos makes it stand out, but not in a bad way. Instead it enhances the pros of its own inherent qualities, and forms an island of refuge where you can lean back and drop the guard for a short while.
Otherwise the bulk of the music shows quite a lot of similarities with Canterbury Scene's better moments; restlessly wandering keys, psyched-out moments and the same approach towards jazz-rock, with a floating ill-defined structure that is dynamic in a smooth, transitional way while remaining exciting due to stunning individual performances and a natural curvature and change in the underlying rhythm. Yes, that, but on speed. It's tighter, faster, grittier and a whole lot more room for passion and extrovert punching power. Volatile, but infectiously so. On the other hand, it may be more leaning towards the lawless territories that make up avant prog. Sparse atonal instrumentation, impulsive and catatonic in a weird but functional combination or just spastically mischievous, not only marked by typical manifestations of avant tendencies, but also skilfully masked, or rather integrated, into more 'familiar' structures and motifs; squealing, creaking or whispering string harassment, totally fearless and pleasantly nonsensical piano runs (given a lot of space on some of the tracks - lovely!) or built-in fragments of other melodies, so terribly out of place you just have to melt. The spirited, warm and stompy jazz-rock rhythms that should be familiar if you've ever heard Arbeit Mach Frei are still around of course, and the fact that they feel concise says a lot about the rest of the album, and I guess they are one of the few features that honestly anchors Area to their Jazz-Rock/Fusion home. A personal favourite in the candy store of sounds found here are the 'conversations' between bass guitar, drums and keys that are strewn out on Crac!. Incredibly fast, complex phrases taking turns and joining each other in a somewhat chaotic, but very enjoyable manner.
Another similarity with the excellent debut is that the first song is also the best one. L'Elefante Bianco's dramatic, condensed and highly captivating piano motif accompanied by Demetrio Stratos impeccable vocal qualities (the man is a phenomenon - emotion, tone, using his voice as just another instrument, experimentation - flawless performance regardless of what the challenge may be) sucks you in and surprises you with its honest, dominating and charged appeal. A veritable ear-opener, and the busy Middle-East melody that follows is equally good. It moves with blinding speed, delicacy and ferocity and the images of a surreal chaotic bazaar it evokes somehow describe the album perfectly: teeming with life, full of an at first overwhelming amount of flavours that appeal to, excite and question your previous experiences.and above all the pleasant feeling that you could lose yourself forever in its exotic magic.
An absolute masterpiece and a personal favourite on all levels. Concluding word: unstoppable.
5 / 5 stars.
Linus W.

Area's third is another impressive collection of wild jazz and avant rock material. There won't be many surprises for people that have been with the band since the debut but Area sure confirms their continued inspiration and drive on what is probably their second best album after the debut.
Right from the opening track, both the theatrical vocals and the familiar Arabian melodies are present in all their glory. Synths have become more prominent in the sound but they are handled with care and integrate very well into Area's sound. Not everything's as easy on the ears as this track though. La Mela Di Odessa offers challenging jazz rock that doesn't offer anything catchy till halfway in. But the tension is high throughout and the music demonstrates Area's exceptional ability to turn something that is likely not to accessible at all into an irresistible melting pot of groove and pleasurable craziness.
The album is upbeat throughout and avoids the weirder explorations of the preceding Caution Radiation Area. With Gioia E Rivoluzione they even have a charming pop tune with acoustic guitars and easy melodies to hum along with. It all makes for a varied album that is slightly more accessible then their other albums without sacrificing any of their identity. A highly recommended album from an exceptional band.
Karl Bonnek

After the explosive debut album "Arbeit macht frei" and the experimental and controversial second one "Caution Radiation Area", in 1974 Area released "Crac!", probably their best known and accessible work. It was recorded by the classic line up featuring Giulio Capiozzo (drums, percussion), Patrizio Fariselli (electric and acoustic piano, synthesizers, clarinet), Ares Tavolazzi (bass, trombone), Paolo Tofani (electric guitar, synthesizer, flute) and Demetrio Stratos (vocals, organ, harpsichord, percussion). Gianni Sassi, Area's producer and "ideologist", wrote the lyrics and took care of the art cover. In the liner notes there are some words by Spanish "guerrillero" and anarchist Bueneaventura Durruti that should help the comprehension of this work... "We don't fear the ruins. We'll inherit the Earth. The bourgeoisie will have to smash its world into pieces before go out from the scene of history. We bring a new world into us and this world is growing, every moment passing by. It's growing, right now that I'm talking to you...".
The opener "L'elefante bianco" (The white elephant) is full of rebellious energy and blends rock with Oriental influences. It invites you to search for the obsolete rules that do not work anymore and to break them in a radical way... "Run fast boy, keep on running / People say it's your fault / White shadows, old powers are shamelessly buying the world / Old images, stupid saints are leaving everything as it is / Look foreword boy, don't think about it / History is running along with you / Run fast boy, keep on running / People say it's your fault / Take everything, don't stop / Fire is burning your virtue / Lift up your fist boy, do not tremble / Look at reality straight in the face...".
Next comes "La mela di Odessa" (The Apple from Odessa), a complex track that begins with experimental sounds and a drum solo... It tells in an allegoric way the story of a dadaist artist, a certain Apple, that in 1920 hijacked a German ship and led it to the seaport of Odessa, in the communist world. The people celebrated Aplle's heroic action blowing up the ship... Demetrio Stratos' exuberant and theatrical recitative vocals soar from a fiery rhythm pattern narrating this terrorist act like a fairy tale..."Once upon a time, there was an apple riding a leaf..."...
"Megalopoli" (Megalopolis) is an instrumental track that begins with synthesizers and vocals used as an instrument, then, after a drum roll, rhythm takes off blending modernity and tribal rhythms. According to some interviews with the band this piece was inspired by the construction of Brasilia, the capital city of Brazil, and by the blind megalomania of some governments that waste money building modern and useless cathedrals in the desert instead to think to the primary needs of their people...
"Nervi scoperti" (On edge) is a vibrant and tense jazz rock piece that leads to "Gioia e rivoluzione" (Joy and revolution), that after a peculiar introduction, features strummed acoustic guitars and powerful melodic lines... "I sing for you who come to listen to me / I play for you who don't want to understand me / I laugh for you, who can't dream... We fight our battle / With the sound of our fingers... My machine-gun is a counter-bass / Shooting into your face what I think about life...". It's one of the best known Area's songs.
"Implosion" is an instrumental track that begins calmly and then develops with sudden changes of mood and rhythm allowing the musicians to showcase their great musicianship while the last track "Area 5" is a short piece of "contemporary classical music" composed for the band by Juan Hidalgo and Walter Marchetti, two followers of John Cage. A bizarre way to conclude a great album!
Well, you can like or dislike Area's committed approach to music and share or not their revolutionary point of views about art and life but this is for sure one of the most influential album of the Italian prog scene of the early seventies and a must for every prog lover...
Andrea Parentin

Demetrio Stratos, with his acrobatic yodelling vocals always lifted Area to a higher level than the other members of the band could have achieved without him.
'Crac' is one of their more accessible albums - which still means it's not very accessible at all. In fact, you could seriously fall out with your neighbours if you play this with any volume.
When Area got going, the whole band seemed to lock into a high speed, big fat funky groove in which they all remained as tight as hell despite the chaos flying all around them at all angles. Probably the most original and talented of all the Italian prog bands I've heard.
Tarzan tonsils, as I call him, could reportedly reach 7000hz with his voice. I bet you there weren't any beer bottles lying around when he did so! Such a shame he died so young, aged just 34 in 1979.
An excellent album which has elements of fusion jazz, prog, experimental vocals and very odd snappy tunes.
Lewis Graham

One of "difficult" prog's must-hear titles
Area are one of the seminal Italian progressive rock bands of the 1970s incorporating jazz-fusion, avant-garde, and occasionally even touches of funkiness or folk into their music. They also employ the experimental Italian vocals of Demetrio Stratos and a hearty dose of the wilder side of Italian rock. They were outspoken political leftists who were a stalwart of the classic RPI scene, as important to Italian prog as PFM or Banco but without the beautiful symphonic grandeur of many of their countrymen. Instead Area pushed the boundaries in different directions, with aggression and a rebellious experimental nature, but also with a sense of humor and joy. This 3rd album continued the adventure with the classic lineup that included Stratos, Tofani, Tavolazzi, Fariselli, and Capiozzo. Crac! is an absolute roller-coaster of energy and is challenging progressive rock not for the faint of heart. Beloved by many avant and fusion fans in addition to stock RPI nuts, the album explodes from the start and never lets up. Hot, jamming drumming and monster bass anchor the show, while piano and guitar leads shred their way through. Sharing the tracks are Stratos bizarre vocals yelps, grunts, and other assorted madman noises. The playing is as technically formidable as a great jazz group, but Area take things so much farther that many fusion bands. With the various musical influences, the cultural and political narrative, and the obvious Italian vibe they are a must-hear band for RPI aficionados who want the whole picture of the 70s scene. They are not a band I play often as I find them more cerebrally intoxicating than emotionally satisfying, so my comments are brief. But there is no question Area's Crac! is excellent progressive rock.
Jim Finnforest

Area was one of the more unique Italian bands of the 1970s. Their sound is a cross between Fusion and Avant-Prog. Although there is some folky, funky and electronic elements as well. Demetrio Stratos is the band's most well known member. His background is Greek and he was born in Egypt. He plays keyboards and percussion but what he is most famous for is his vocals. His vocals are like a mix of Elvis and Tarzan. Very unique and talented singer.
Crac! is the band's third album and it is slightly more accesible than the first two. But it's still crazier than a lot of prog albums at the time. "Area 5" is a short avant piece that consists mostly of dissonant piano with some weird vocals, bass, drums and guitar. It was a wise decision to put it at the end of the album. "Gioia e Rivoluzione", on the other hand, is almost radio-friendly. Only some of the vocals are weird and uncommercial. The music itself is upbeat and folky, almost with a poppy country flavour to it.
"L'elefante Bianco" starts off with piano and vocals. The synth and guitar playing has a Middle- Eastern influence. "La Mela di Odessa" has tuned percussion at the beginning. It then goes into a very fusion-y part. Some wordless vocals. After 3 1/2 minutes it gets funky with some horns and stays that way for the rest of the song. "Implosion" is another highlight. Nice organ solo. I don't like the way it fades out too soon. "Megalopoli" begins with synthesizer noises with double-tracked vocals from Demetrio. Overdubbed drum rolls appear. It goes into a part with crazy drumming and some cool bass and electric piano. Some gibberish vocals. After 3 minutes there is a nice synth solo. After 5 minutes there is a long bass solo. Around 7 minutes the gibberish vocals come back.
This does not sound like your typical RPI stuff. At the same time it's too avant to be fusion and too jazzy to be Avant-Prog. Area are a group that can't be pigeonholed. This may or may not be their best album but it is a great place to start. 4/5 stars.

Area's Crac! finds the band integrating the experimental approach of some tracks on Caution Radiation Area with their established fusion style, creating an interesting clash with Patrizio Fariselli's synths intruding on the band's fusion workouts. The result is a more compelling and successful blend than the preceding album, where the experimental tracks and the fusion tracks were carefully partitioned off from each other and the avant-garde experiments were significantly less listenable. Fast, furious, and with a hint of funk on the side, Crac! is definitely not a typical RPI album so you may want to tread carefully if you're expecting pastoral prog in the style of PFM or Banco, but fusion fans will find a lot to like here.
W. Arthur

Whatever this is jazz-fusion, free-jazz, italian prog or eclectic it's certainly very good, although I do sometimes find myself wishing Demetrio Stratos did more singing. Whatever it is, it's certainly atypical and very recommended.
The music is dramatically colourful, wild, energetic, experimental and technically impressive, not at all cheesy or dated. It is an acquired taste that not everyone will be able to enjoy or understand, but if you're inclined towards adventurous prog, then you're going to love it.
Vocals are dramatic and avant-garde but, for the most part, this remains an instrumental record where even vocals loses their usual leading role and assume the likeness of an instrument, as you can hear by the many gurglings here and there (e.g. in "Area 5"). Has to be mentioned that Stratos was able to perform diplophony, triplophony, and also quadrophony and has been described as the person who decimated monody by the demultiplication of the acoustic spectrum.
Andrea Cortese

After the bleak (but brilliant) CAUTION RADIATION album, AREA return to an even more accessible sound started on their debut album. Well, accessible AREA style. Still not the easiest of listening but at least they have a template of musical scales that you can get into including the signature Macedonian scales and even some progressive funk on "L'elefante Bianco."
This album is more about crafting cohesive songs and less about lurking into the free-jazz-fusion experimentation although some of the experiments from CAUTION are incorporated. This album is another winner for me. It's as tight as ever and Demetrio Stratos' vocal skills are still incredible (which we get more of this time.)
This is the album that made them popular in Italy and this is also the album that extended their music into France. This was also the first part of their existence where they benefited from a stable lineup (considered the classic period) that allowed them to tour. This is by far their easiest album to like on the first spin so if you are totally new to this band, CRAC! may be a better entry to this band's discography than even the impressive debut album.
siLLy puPPy

In my humble opinion, Area is with Banco Del Mutuo Soccorso, Premiata Forneria Marconi and Le Orme, the four best bands from Rock Progressivo Italiano, in the 70's. Area was the first group, with whom I had contact, on this genre of music. "Crac!" is their third studio album and was released in 1975 and it represents my first contact with the group. With this album, the group gained more popularity all over the world and confirmed finally the great value of them.
I was very surprised when I listened to this album for the first time. Its strong musical compositions, between Jazz Rock/Fusion and Rock Progressivo Italiano, with their left-wing lyrics and the unique and spectacular voice of Demetrio Stratos, something that I never heard before and which is completely inimitable, amazed me completely. The Demetrio's voice needs to be listened to be believed. His avant-garde vocal techniques and the agility with cuts between genres and motifs are absolutely astonishing. Sincerely, I can't compare Area with any other group. They are a completely different and truly original band. I strongly recommend this band to everyone who likes Jazz Rock/Fusion with Progressive Experimental Rock and likes to listen to something wild, new and different.
"Crac!" was one of my first vinyl albums. For me, "Crac!" is their best studio album, with theatrical vocals and an experimental, exotic and robust sound. The energy contained on this album is really and truly incredible, and it's full of abundant humour. "Crac!" is an avant-garde album and represented a breath of fresh air in the progressive rock scene.
"Crac!" has seven tracks. The first track "L'Elefante Bianco" is a song with ethnic sounds and is essentially an instrumental track with variations all over the same theme. It's a track full of energy with clearly Oriental musical influences and some nuances of the southern Mediterranean music. The second track "La Mela Di Odessa" is a song that starts with an instrumental part and continues with great musical works by the entire band, with Demetrio's vocals accompanying perfectly the music and giving a more melody to the song. This is a very complex track that begins with some experimental sounds and a drum solo. It's a typical jazz rock fusion track with symphonic tendencies. The third track "Megalopoli" is the longest song on the album. It's a superb instrumental track with Demetrio's vocals performed as a musical instrument. This is a very intricate song full of energy and clearly influenced by the usual concepts of the jazz rock fusion style. The fourth track "Nervi Scoperti" is another instrumental track with nice guitar and keyboard solos. It's a vibrant and tense piece of music where the drumming is the star here. It begins with Fariselli assuming the leading role with his truly amazing piano work, preparing the ground to Tofani flourish and complemented perfectly by the Capiozzo work. The fifth track "Gioia I Rivoluzione" is a song where stands out more the powerful voice of Demetrio. It's an acoustic and peaceful song. It has a very unusual introduction that features some acoustic guitars and powerful melodic lines. This is clearly a song that shows a tendency towards a more conventional tunes and a less intricate and complicated sound, in contrast with the more experimental forms, such as "Implosion" or "Area 5". It became as one of the best Area's songs. The sixth track "Implosion" is a free instrumental and experimental track where each member of the band plays an instrument improvising in their one way. It begins very calm and soon develops with some sudden musical changes of mood and rhythm. This is a track that contrasts perfectly well with everything else which was made before. The seventh track "Area 5" is a very weird experimental track full of improvisations and with some solos and noises. It's the smallest track on the album, a truly contemporary classical piece of music. This is a very bizarre track that originally concludes this great album.
Conclusion: "Crac!" is one of the best progressive albums from the group and represents a mark in the Italian progressive music. It has also some of the best popular and known songs from the band, like "L'Elefante Bianco", "La Mela Di Odessa" and "Gioia I Rivoluzione". They quickly became some of the songs most performed live by the band, keeping the long instrumental parts that have become as one of the mainly characteristics of the group. To finish my review, I must say one more thing. The band describes themselves as an International POPular group. Sincerely, they take it very seriously. Why? Because Area, defines them as a POPular group, which means that they are a band that creates music for the people and for the masses because they don't create music for the elites. Area is a very special band and "Crac!" is a very special album. It's definitely one of the most influential albums of the 70's in the Italian progressive scene. This is a classic album in its genre, and it's for those who love to listen to something different, fresh and new. Sincerely, this album should be part of every progressive musical collection.
Jaime Silva

Greece, Portugal, Vietnam, Angola, Moçambique, Green Cape... Rejoice: revolution is coming. Capitalism is at end. Another world, more just, more equal, with no exploitation is coming. Is it easy? No. We achieve withou losses? No. We need to be strong and built ourselves another possibility of social living.
Thats what Crac! is all about: possibilities and the comprehension that a new world can be built by ourselves second by second, while we're still here, talking, listening to this music.
AREA is probably the group I feel more closely related. As I said in the Arbeit Mach Frei review, they touch me with their quality and political message - one not interfering in the other, becoming complementary.
Crac! sang revolutions that, in the medium and long term, did not sustain themselves. As I have already said, Arbeit Macht Frei is more present than this album.
But let us arise our fists, lets fight and dream.
No analysis of music here: just feeling. Just emotion. Just the praise for AREA and their great commitment to to a land we're we can unite the human race.

On this third album by Area we have a good mix of Fusion and RPI, and it sounds very good. There is a song in the vein of "Settembre Nero" (L'Elefante Bianco) and a less proggy, more folkish song (Gioia e Rivoluzione). Nervi Scoperti and Megalopoli (the second one expecially) are two wonderful long jams while La Mela di Odessa starts as the best jam on the album, then goes into a very good but repetitive riff supported by awesome and metaphorical lyrics. There are also Implosion, another jam that wasn't really at the level of the other two, and Area 5, a short and violent avant-garde piece.

"Crac!" is Area's third album, released in 1974 and one of the strongest in their revolutionary canon of political artfulness. The previous album had received some mixed opinions after the explosive debut; Crac! is a departure in style from both of those two records-in a way, more compact and sleek if that is possible to think of with Area. In that aspect, this is the most "accessible" version of the band, and not surprisingly, they had gained their largest following with insightful lyrics set to a whirlwind of musical directions. Through 1974 and '75, Area were dedicated to a consistent live schedule (one that would produce the strong live album Are(A)zione ), which helped them become one of the most influential groups in the land, touching musicians, listeners (especially younger ones), and activists alike.
By now, the two musical "leaders" of the band were at the top of their game: Demetrio Stratos' powerful voice fully ingrained as another instrument as well as the messenger. He didn't even have to use actual words to be at the forefront ("Megalopoli"). Meanwhile, Patrizo Fariselli dialed in the tricky jazz and experimental parts: complex, but as I said, compact and often frantic. The twists and turns from Patrizio's relentless bag of tricks is nothing short of amazing. The newest member, Tovalazzi (bass) who joined after the debut, does a stunning job using electric, acoustic, and double bass. His background seems better suited for those frequent capricious excursions than the man he replaced, Patrik Dijvas (also an excellent musician, and a member of PFM at this point). The lyrics make use of metaphor and analogy to avoid sounding overtly political and aim largely at the day's youth. "Gioia e rivoluzione" is the most up-front; musically optimistic, but lyrically an earnest call to arms. A "battle" of love and passion.they compare their instruments to lethal weapons (ah, that old "change the world" ideal in music; reality seems to have squelched that out these days).
Much like Arbeit Macht Frei , Crac! jumps out of the gate with the two strongest tracks to my ears. "L'elefante bianco" is very intense and a favorite of mine, the addictive Arabian flavored instrumental sections scorch like the Egyptian sun and the interplay and vocals are out of this world. Quite far from some of the more jazz oriented pieces that often appear, such as the following track "La Mela di Odessa", which is similar to the title track from the debut, with another excellent soulful bass-line during the second half after a frenzied romp through free jazz territory. The first two tracks show what Area do best, while the rest of the album expands and explores, often taking very different routes, and serving testament to the eclecticism of their palette. They take Mediterranean folk bits and play them with guitar and synthesizer; they settle down and play upbeat rock, do a little RIO, space out a bit in places, and of course stretch out when they need to. This is perhaps what people often miss in labeling Area simply as "jazz-rock"; their style is really a fusion (that's a better term) of anything they felt like doing, sometimes taking them very far from rock and jazz. I've noticed a love/hate result from this; people often say that they don't normally like fusion, but that they do like Area.or vise versa. To me, this is because Area are beyond categorization, and they belong to a handful of bands that break every rule or possibility of such.
PA Rating: 4.49999/5
The Jimmy Row Factor: 8.75/10, A

Wow! I am not normally a fan of Italian Prog but this music really bit into me hard. And I am also a prude if the lyrics are not in my native English, I get turned off fast. However, I must thank a friend on another forum who has a weekly Prog Web Show (with corresponding chat). Goobs! You pulled a rabbit out of the hat here. This music is magic!
Now, I noticed the band is listed under Jazz Fusion but I am hearing more Prog than anything in overall writing. Sure the chops harken of jazz, and for that reason, the musicianship stands out. Upbeat, melodic, catchy. This music is fun to listen too. Mostly instrumental with keyboard leads, each song is not a casual jam session but forged ear candy.
The sample provide is just that. A small morsel of the talents of this band. I highly recommend Crac! It's like crack.

Area was weird political and experimental jazzrockfusion band from Italy in 1970s with very original Greek vocalist (and keyboard player) Demetrios Stratos who sadly passed away in 1978. Yes - I just completed my music collection with two albums of Area and "Crac!" is among them. In my oppinion about six albums of Area have quite equal musical level and "Crac" is among them. Crazy "rampant" and burning jazzrockfusion with hints to Middle- Eastern folklore themes and "elegant carelessness" sometimes. Richful "palette" of keyboards' sounds, electric bass' giving chance to acoustic "colleague", "transcendental" drum parts + charismatic vocals! My surely favourite composition is "Megalopoli" - instrumental "nirvana". Pleasant expressive listening!
Rainer Rein

The third work "Crac" released in 1975. One AREA hight period to which powerful performance explodes. It is a yborecedebted. This work is the highest masterpiece of AREA. It is a content outstanding also on a progressive rock history. All works overflow in energy. It is a work that was able to be the wonderful balance. Masterpiece which latin orient jazz-rock greatly becomes. It is "1978" and this as for the most important work of AREA though I said again.

Perhaps the best of the AREA catalog.....Stunningly original and vibrant, these guys dazzle with technique....But I cant help seeing a very Zappa-ish connection, being that they are both Italian, but this supercedes any Zappa album for its sheer electricity and constistancy.....The only problem Im finding with it, is that the lyrics are in Italian (?) and Im English speaking. I also hear echoes of National Health/Hatfield, Magma and touches of Henry Cow......truly a enjoyable time listening.
Abstract Poetic

This third work of Area demonstrate that after a extraordinery incipit with "Arbeit Macht Frei", a second album in the name of the free jazz and soun experimentation, the creativity river of Stratos and friends is still at the maximum. The musicianship is mostruosely good in each song, even the amazing voice of Demetrio Stratos, the best italian singer ever born. "L'Elefante Bianco" opens the album with energetic and etnic sounds of Patrizio Fariselli's keyboards ad Paolo Tofani's guitar. The second track is "La Mela di Odessa", a song divided in a first instrumental part with superb musicianship principally by Giulio Capiozzo, the best drumman I've ever heard, and a secon part with a constant riff and a speech of Stratos. The tracks 3 ("Megalopoli") and 4 ("Nervi Scoperti") are instrumental tracks. Very good music with electric bass and contrabass by the amazing Ares Tavolazzi, a kind of italian Jaco Pastorius. The fifth track is "Gioia e Rivoluzione", the typical comunist song of the seventies, very powerfull voice by Demetrio. "Implosion" is another experimental, free instrumental track, in wich every one plays his own instrument like no other one. "Area 5" closes the album. A real free song made by sounds apparently without any sense, but of great emotive impact. Highly recommended to every one, above all the musicians: everyone of us must learn by this group.

The energy in this album is incredible! Demetrio Stratos' voice is unreal...this man jumps back and forth between notes with 100% accuracy and sings like no other human being I've ever heard. It's really impossible to classify this band because they just seem to defy explanation. But if I HAD to try, I would say there's a bit of National Health (in terms of pure musicianship brilliance), a Magma-like energy, a small dash of Henry Cow for good measure.... But these guys really are undefinable. Crac! has quickly risen to become of my favorite albums right now.


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Ideario del arte y política cabezona

Ideario del arte y política cabezona

Autonautas de la Cosmoogpista...

Este espacio fue gestado con la intención de compartir sonidos, melodías que nos conmueven día a día, que nos reciben al abrir los ojos, quizás para muchos el primer contacto con la realidad, antes que un mate o un desayuno como la gente. Estos sonidos nos causan extremo placer y por eso queremos convidarles un poquito, para juntos escapar a la dominación del hemisferio izquierdo.
Pasen, vean, lleven lo que gusten. Pero si tienen la posibilidad de hacerse con el material tangible, no lo duden, es la forma que tenemos de colaborar con los artistas para que sigan creando.
Sí alguna persona o ente se siente ofendido por encontrar material en este sitio le rogamos nos lo haga saber, todavía creemos en las palabras.
Si por alguna razón no pueden leer estas lineas, usted ya no es, usted ya no existe, usted tiene un moog en la cabeza.


Este espacio se reserva el derecho de publicar sobre cualquier tema que parezca interesante a su staff, no solamente referidos a la cuestión musical sino también a lo político y social.
Si no estás de acuerdo con lo expresado podrás dejar tu comentario siempre que no sea ofensivo, discriminador o violento...

Y no te confundas, no nos interesa la piratería, lo nuestro es simplemente desobediencia civil y resistencia cultural a favor del libre acceso al conocimiento (nuestra música es, entre otras tantas cosas, conocimiento).

Información y estadísticas

Lo más visto de la semana pasada

Kansas - Song for America (1975)

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Artista: Kansas
Álbum: Song for America
Año: 1975
Género: Hard prog, prog sinfónico
Duración: 1:08:09
Nacionalidad: EUA

Para empezar, es un disco impecablemente producido. Una grabación límpida, un equilibrio perfecto entre los múltiples elementos que se integran en el sexteto multivocal. El violín de Robby Steinhardt por fin ha encontrado su sitio justo, sin excesos ni ausencia, y esto es válido para todos los instrumentos. Para seguir, los planteamientos líricos de la banda e incluso la factura de sus letras, han madurado. Hay posiciones políticas de gran claridad y una poesía mejor trabajada que anuncia ya lo que vendrá con las poderos…

Pedro Aznar y Ramiro Gallo - Utopía (2020)

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Artista: Pedro Aznar y Ramiro Gallo
Álbum: Utopía
Año: 2020
Género: Tango
Nacionalidad: Argentina

El nuevo disco pareciera en formato íntimo, como mucha de las cosas que desde hace rato viene haciendo Aznar, solo que ahora tiene acompañante. Sus shows en vivo, su afinación precisa, su versatilidad para abordar diferentes géneros, su prolijidad en …

Malvinas o No Malvinas. esa es la cuestión nacional

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Los niños-héroes fueron obligados a volver por la puerta de atrás: escondido…

Los Tábanos Experience - Atlantis Mirage (2019)

#Músicaparaelencierro. Tremendo grupo psicodélico de progresión instrumental, desconocido para muchos y ganando muchos corazones al otro lado del Atlántico. Otro gran aporte de Neckwringer sumergiéndose y presentándonos algo de los mejor de la movida under latinoamericana, esta vez de Chile. Psicodelia, jams, experimentación, potencia en un disco que es todo un viaje por las atmosferas más recónditas del extenso cosmos musical, un espléndido océano de reverberaciones para conquistarnos desde el minuto 1 con sus ecos instrumentales lisérgicos que nos llevan al trance espiritual en base al sonido. Si lo tuyo son las inclinaciones atmosféricas más caleidoscópicas pero con la suficiente potencia como para ser casi un stoner rock improvisado, aquí tenés un grupo que te va a sorprender con sus jams y su vuelo. Ojo que va a sorprender a más de uno!

Artista: Los Tábanos Experience
Álbum: Atlantis Mirage
Año: 2019
Género: Psychedelic Rock
Duración: 66:13
Nacionalidad: Chilena

Colectivo de improvisac…

Pedro Aznar - Fotos De Tokio (1986)

#Músicaparaelencierro. Nuestro amigo Carlos el Menduco nos revive el recuerdo de uno de los inconseguibles del rock nacional que viven en el blog cabezón. En sintonía con la publicación de su último disco, y teniendo en cuenta que ya hay 31 entradas con el tag "Pedro Aznar", aparece nuevamente en nuestro catálogo "Fotos de Tokio", presentado ya hace algún tiempo por el Mago Alberto. ¿Y saben porqué lo apodamos así?. Porque es el que consigue las maravillas perdidas de cualquier lado del mundo y sobretodo las gemas e incunables nacionales. Así que siguiendo nuestro deporte favorito, que es descubrir joyas perdidas y obras fundamentales que se pierden en el tiempo, reetomamos con este material descatalogado e inconseguible.

Artista: Pedro Aznar
Álbum: Fotos De Tokio
Año: 1986
Género: Rock
Duración: 44:39
Nacionalidad: Argentina

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Los Jaivas - En El Bar-Restaurant "Lo Que Nunca Se Supo" (2000)

#musicaparaelencierro. El Mago Alberto aporta la ayuda musical necesaria para pasar los tiempos de reclusión virósica obligatoria. Y con ello volvemos a Los Jaivas, en disco recopilatorio que según el Mago es "un refresco auditivo de la banda latinoamericana más importante de este lado del mundo". Según parece, la cueca chilena es la protagonista de este disco (aclaro que lo publico sin escucharlo, aunque próximamente ya repararé ese error). Y aprovecho ello para saludar a tanto amigo chileno que anda dando vueltas por nuestras vidas en general y por el blog cabezón en particular (participando o no) y en especial a mi querida Coloradita -y mención obligada porque esta tapa hace homenaje al autor de "Condorito"-. Y en materia "Chile", la escuelita de rock no solo se ocupa de lo musical, por algo últimamente nuestro querido Chile anda dando vueltas tan seguido por este espacio.

Artista: Los Jaivas
Álbum: En El Bar-Restaurant "Lo Que Nunca Se Supo"

Animal Logic - Animal Logic (1989)

#Músicaparaelencierro. (En el Perú, para bajar a la mitad el número de personas en la calle, se decretó que lunes, miércoles y viernes sólo salen hombres; martes, jueves y sábados, sólo mujeres, y domingos nadie). Así que para ir preparando el fin de semana cuarentenero, va un bello disco de new wave de fines de los 80, con nada menos que Stewart Copeland (The Police, Curved Air) y Stanley Clarke (Return to Forever y la escena fusión), que arreglan y producen las canciones de Deborah Holland; un power trio muy especial.

Artista: Animal Logic
Álbum: Animal Logic
Año: 1989
Género: New Wave, pop, fusión
Duración: 38:47
Nacionalidad: EUA

Siguiendo un comentario en el blog al post sobre Bewitched de Andy Summers y Robert Fripp, presentamos otra rareza del pop de los ochentas con participación de otro miembro de The Police. Ya conocemos a este personaje, por supuesto, pues ha sido protagonista importantísimo en uno de los renacimientos de una de las bandas más interesantes de la escena prog de …

David Lebón - Lebón & Co (2019)

#Músicaparaelencierro. Y el Mago Alberto nos trae lo último de David Lebón, un repaso por su inmensa carrera. David Lebón quiso volver a grabar muchos clásicos del rock nacional y a la vez invitar a músicos amigos. Por eso a mediados de 2018 (45 años después de su debut solista) se juntó con el productor Gabriel Pedernera (Eruca Sativa) para comenzar a grabar el material. Acompañado de Lisandro Aristimuño, Pedro Aznar, Ricardo Mollo, Andres Calamaro, Eruca Sativa, Polifemo, Fito Paez, Carlos Vives y otros músicos. Y pasan los años y el Ruso mantiene su poder de convocatoria intacto, se ve en cada recital y cada presentación, sus shows son verdaderas reuniones multigeneracionales donde se unen sus seguidores de siempre, muchos de ellos con sus hijos o piberío afin. La última producción de un grande del rock argento.

Artista: David Lebón
Álbum: Lebón & Co
Año: 2019
Género: Rock
Nacionalidad: Argentina

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Kansas - Kansas (1974)

#Músicaparaelencierro. Aprovechando que tenemos harto tiempo para escuchar buena música, y que hemos pasado esta semana por los discos de Kansas que ya se habían comentado en el blog, aquí traemos su primer trabajo, en el que se pueden ver ya casi completamente desarrollados tanto su lenguaje musical como sus intereses líricos. Para ser el primer disco del grupo, ¡es muy bueno! No se lo pierdan.

Artista: Kansas
Álbum: Kansas
Año: 1974
Género: Hard rock, progresivo
Duración: 54:42
Nacionalidad: EUA

En 1974, cuando por fin sale al mundo el primer disco de Kansas, los muchachos de Topeka ya tenían algunos años de experiencia. Habían iniciado como banda local de esa región estadounidense de la que tomaron su nombre, enclavada en el corazón de las planicies centrales y, aunque habían logrado reunir una pequeña fanaticada, el contrato de grabación simplemente no sucedía. Cuentan por ahí, como anécdota, que hasta sus familiares los veían con condescendencia cuando decían “¡Ya vamos a grabar el dis…

Rino Rafanelli & La Rimanbloom - TAO (2019)

#Músicaparaelencierro. Un ícono del rock nacional nos trae su nuevo disco: el histórico bajista, ícono del rock argentino, integrante de bandas fundacionales como Color Humano, Sui Generis, Polifemo, Seleste, Spinetta y muchas más, aparece en el blog cabezón con su álbum, "Tao", presntado por el infalible Mago Alberto. Aquí, Rafanelli encaró una propuesta propia que incluye un power trío que conjuga experiencia y juventud en torno a su propio talento al frente de las cuatro cuerdas.

Artista: Rinaldo Rafanelli
Álbum: TAO
Año: 2019
Género: Rock
Nacionalidad: Argentina

El legendario bajista, cantante, guitarrista, compositor, arreglador y productor argentino volvió a aparecer en el mundo musical,aunque no haya pasado gran cosa. Esta vez con su trabajo "Tao", una obra conceptual y artesanal, a la vieja usanza.
Aquí, las palabras del Mago presentando el disco...

Más de un cabezón se habra preguntado durante estos año; -¿qué será de Rinaldo Rafanelli? y he aquí la respuesta!!…

Unordered List

"La desobediencia civil es el derecho imprescriptible de todo ciudadano. No puede renunciar a ella sin dejar de ser un hombre".

Gandhi, Tous les hommes sont frères, Gallimard, 1969, p. 235.

Entradas populares de este blog

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NatGeo: Documental de Luis Alberto Spinetta

Para los que no pudieron ver este documental del Flaco, emitido por un canal de cable, aquí lo compartimos, una hermosa biografía de un gran artista. La biopic sobre el artista que falleció en 2012 tuvo varios momentos destacados, con Catarina Spinetta como conductora, la biografía, de casi dos horas, reconstruye la vida y obra de Luis a través del testimonio de los que más lo conocieron: sus familiares, amigos y compañeros de trabajo. Dante comentó: "Mi viejo es inmortal, porque te sigue hablando a través de las canciones y te sigue enseñando". Y como yapa, les damos las coordenadas del mural "Luis Alberto Spinetta" (Grand Bourg, Provincia de Buenos Aires). Y gracias al Mago Alberto por pasar el link...

Hawkwind - All Aboard The Skylark (2019)

Ya presentamos a Hawkwind en el blog cabezón, ese delirante y salvaje grupo del que saliera, entre otros, un jovencísimo Lemmy Kilmister. Incondicionales del rock espacial desde hace 50 años, mixturando punk, garage, rock espacial, rock psicodélico para crear sonidos de una fiesta interplanetaria con bastante adrenalina de a momentos, pero también con otros de inclinaciones acústicas.  Un disquito donde tendrán muchas cosas del viejo Hawkwind pero embebidas en el presente, detrás de esa vital energía multicolor que los hiciera conocidos. Los vibrantes sintetizadores y la atmósfera astral a veces reemplazados por suaves pasajes, pero todavía suenan como una especie de repertorio de sonidos asombrosos. Aquí, lo último de Hawkwind, y aclaro que con él volvemos a la sección de los discos que amas o que odias sin términos medios.

Artista: Hawkwind
Álbum: All Aboard The Skylark
Año: 2019
Género: Rock psicodélico / Space rock
Nacionalidad: Inglaterra

Cincuenta años después, solo Dave Brock siga en…

Esbjorn Svensson Trio - Live In Hamburg (2007)

Artista: Esbjorn Svensson Trio Álbum: Live In Hamburg
Género: Jazz
Duración: 1:58
Nacionalidad: Suecia
Lista de Temas:
1. "Tuesday Wonderland"
2. "The Rube Thing"
3. "Where We Used To Live", 
4. "Eighthundred Streets By Feet"
5. "Definition Of A Dog"
6. "The Goldhearted Miner"
7. "Dolores In A Shoestand"
8. "Sipping On The Solid Ground"
9. "Goldwrap"
10."Behind The Yashmak"
Esbjörn Svensson / Piano
Dan Berglund / Contrabajo
Magnus Öström / Batería
Lino, nuestro cabezón venezolano, se pega una vuelta por el blog y resube este buen disco de jazz contemporáneo. Si te gusta el jazz, no dudes de escuchar este trabajo. Gracias Lino!

Las 100 Mejores Canciones del Prog

Aquí, las 100 mejores canciones de rock progresivo de todos los tiempos, según la revista "Prog". Y aunque habitualmente no le damos bola a la lista de mejores discos o canciones de rock progresivo de la historia ofrecida por algunos portales, webs y demás publicaciones, quizás está bueno darle importancia a la lista que ofrece ahora la revista "Prog" (esa misma que da los premios que mencionamos el otro día) ya que es armada según la opinión de gran parte de su público. En concreto, la revista "Prog" ofrece un total de 100 canciones y la lista la ha elaborado a partir de una encuesta muy trabajada donde han participado tanto lectores como expertoso, artistas y autores de música consultados por la publicación. Una recopilación de lo más compleja que creo merece la pena.

Aquí está la lista de las mejores canciones de rock progresivo del puesto 100 al 1:

100) Inca Roads - Frank Zappa & The Mothers Of Invention
99) The Life Auction - Strawbs
98) In The Ca…

Tool - Fear Inoculum (2019)

Lo presentamos como sorpresa incluso antes de que salga a la calle, gracias a los incomparables aportes del Mago Alberto. Recién salido, ya adelantamos un poco lo que se notaba, Tool aportaba un nuevo / viejo estilo, con los mismos elementos de siempre pero dispuestos de otra manera, lo que generó primero la incógnita, luego la patada en el culo y el desgarro de ropajes de sus seguidores más incondicionales, acérrimos y fanáticos. Pero con un resultado completamente diferentes para aquellos que lo escucharon con las mentes abiertas. En el momento de publicar el disco hablamos aquí de disrrupción. ¿Ocaso? ¿Renacimiento?. En todo caso más bien de alternativa y desafío. Oprobio y quizás nueva gloria. Quizás... Y ahora, más escuchado y con más idea de todo lo que se mueve aquí adentro, le damos una revisión a este disco, que no es ninguna continuación de "Lateralus" (que era lo que todos los fans esperaban). Todo ello igual a lo nuevo de Tool.

Artista: Tool
Álbum: Fear Inoculum

La Barranca - Eclipse de memoria (2013)

Artista: La Barranca
Álbum: Eclipse de memoria
Año: 2013
Género: Rock poético mexicano
Duración: 45:04
Nacionalidad: México

Lista de Temas:
01. El alma nunca deja de sentir
02. Ante la ley
03. Garzas
04. Flores de invierno
05. En cada movimiento
06. La tercera joya desde el sol
07. El futuro más distante
08. Campos de batalla
09. Sequía
10. Siempre joven
11. El tiempo es olvido

- Federico Fong / bajo, piano, percusión.
- José Manuel Aguilera / voz, guitarras, órgano, charango.
- Adolfo Romero / guitarras.
- Navi Naas / batería.
Enrique Castro / marimba, percusión, piano, kalimba.
Alfonso André / batería.
Cecilia Toussaint / coros.
Yamil Rezc / percusión, juno, batería.
Agustín Bernal / contrabajo.
Darío González / rhodes, mellotron, hammond.
Daniel Zlotnik / sax soprano, sax tenor, flauta, hulusi.
Erick Rodríguez / trombón.
César Barreiro / trompeta.
Magali / piano.
Mónica del Águila Cortés / cello.
Arturo González Viveros / violín.
Erika Ramírez Sánchez / viola.

Y ya p…

Egberto Gismonti & Naná Vasconcelos - Duas Vozes (1985)

Artista: Egberto Gismonti & Naná Vasconcelos Álbum: Duas Vozes
Año: 1985
Género: Jazz Fusión / Latin Jazz
Nacionalidad: Brasil

Lista de Temas:
1. Aquarela do Brasil
2. Rio de Janeiro
3. Tomarapeba
4. Dancando
5. Fogueira
6. Bianca
7. Don Quixote
8. O Dia, À Noite

- Egberto Gismonti / guitar, piano, dilruba, wood flutes, voice
- Naná Vasconcelos / percussion, berimbau, voice

Robert Dimery, Editor - 1001 Albums You Must Hear Before You Die (2006)

Libro de referencia de la música pop aparecida entre 1955 y 2005, abarcando los géneros desde el rock, blues, folk, jazz, pop, electrónica y world music. Las reseñas fueron realizadas por un equipo de unos 90 críticos de distintas latitudes y gustos. El trabajo se basa en discos originales, quedando así por fuera las recopilaciones de varios artistas, quedando excluido así, el mítico álbum de Woodstock. Sin embargo el panorama es muy amplio y uno siempre encontrará artistas que no ha oído.

Editor: Robert Dimery Prefacio: Michael Lydon
Primera Edición: 2005
Cubierta:Jon Wainwright
Género: Catálogo
Páginas: 960
Nacionalidad: EEUU Editorial:Universe Publishing
Reediciones:2008, 2011, 2013 Otros Idiomas: español, portugués, noruego, finés, sueco, y otros.

Presentación del Editor de libros de 

The ultimate compendium of a half century of the best music, now revised and updated.1001 Albums You Must Hear Before You Die is a highly readable list of the best, the most important, and the most in…

La Barranca - Denzura (2002)

Artista: La Barranca
Álbum: Denzura
Año: 2002
Género: Rock alternativo
Nacionalidad: México

Lista de Temas:
01. fascinacion
02. animal en extincion
03. hasta el fin del mundo
04. donde la demasiada luz forma paredes con el polvo
05. la vision
06. no mentalices
07. denzura
08. montana
09. la rosa
10. madreselva
11. minotauro
12. kalenda maya

bonus ep: cielo protector
13. cielo protector
14. rendicion
15. tsunami
16. el agua que cae
17. cielo protector (demo)

- José Manuel Aguilera / guitarra, voz, órgano
- Alejandro Otáloa / guitarra, piano, teclados
- José María Arréola / batería
- Alonso Arréola / bajo, guitarra acústica
Músicos Invitados:
Federico Fong - piano eléctrico (6)
Cecilia Toussaint - voces femenina (2,10)
Marco Antonio Campos - percusiones (2, 4, 9, 10)
Joe D'Etiene - trompeta (8 )
Cherokee Randalph - viola (3, 6, 7)
Mónica del Aguila - chelo (3, 7, 6)
José del Aguila - violín (3, 6, 7)
Arturo González - violín (3, 6, 7)
Eduardo del Aguila - platillo tibetano (1)