Sacros - Sacros (1973)

Artista: Sacros
Álbum: Sacros
Año: 1973
Género: Rock folk psicodélico
Duración: 32:34
Nacionalidad: Chile

Lista de Temas:
1. Aum
2. En Primavera
3. Manos Duras
4. Le Realidad
5. Paloma de Plumas Blancas
6. Diosa del Mar
7. Quetzalcoatl
8. Cobre, Pobres, Viejos
9. Su Herencia
10. Iluso Que Sueñas

Alineación:
- Patricio Panussis / guitar, vocals
- Hernan Valdovinos / bass, vocals
- Tomas R. Herrera / percussion
Musicos invitados:
Alejandro Rivera - quena
J. Carlos Carmona - coros
Freddy Anriquez - coros
Julio Numhauser - coros

Otro álbum que refleja un momento y un lugar, esta vez en Chile en la década del '70. Y es que éste fue el único álbum de un grupo de rock folklórico de Santiago. Se realizaron 450 copias del álbum, pero al salir a la venta sólo se vendieron algunas piezas ya que la tirada fue confiscada por el régimen de Pinochet... Luego el grupo se separó y nunca se volvió a realizar una nueva re-edición, por lo que este álbum es una verdadera rareza de verdad.
Some spirits cannot be "disappeared."
Son muy interesantes los comentarios que copio a continuación:

Banda integrada por Patricio Panussis, Andres Gana y Hernan Valdovinos, estos dos ultimos afamadisimos pintores chilenos, eran una banda unica en su estilo.
Panussis era quiza el unico musico chileno que tocaba en ese estilo con su guitarra electrica de 12 cuerdas, un sonido cercano a la banda que admiraron siempre The Byrds. Basicamente siempre cantaron en ingles y participaban en cuanto festival o encuentro de musica contemporanea se efectuaba en la epoca, ganando la mayoria de los festivales. Se enrolan en el sello Machitun y graban este, su unico disco el que saldria a la venta el 18 de Septiembre de 1973... es decir jamas vio la luz publica. Los temas son todos en castellano y tienen una vision universal, una tematica propia de la epoca con un sonido exquisito.
Si bien su compromiso politico no era militante y el disco en si no tenia tampoco un perfil ideologico, fue retirado por las autoridades militares y sufrio el destino de casi toda la musica chilena producida en esa epoca, la destruccion. Dias posteriores al golpe, Panussis se armo de valor y partio a entrevistarse con las nuevas autoridades de IRT y se encontro con el nuevo gerente artistico, un musico de la antigua banda Los Rockets, quien conciente del perfil de los Sacros le entrego unas copias del disco recien editado con el compromiso de silencio, puesto que la orden era destruirlo. Gracias a eso este disco ha sido puesto a disposicion de los que lo conocen. Los Sacros firman nuevamente por el sello, pero esta vez no pueden utilizar el nombre vetado por las nuevas autoridades por lo que cambian a Miel, un grupo que no tuvo una discografia extensa, pero que calo hondo en la historia del rock de nuestro pais, pronto les tendre novedades increibles de Miel. Posteriormente Valdovinos y Gana se van del pais y se dedican a lo que les traeria una fama impresionante hasta el dia de hoy, la pintura. Se han vuelto a juntar nuevamente, dando conciertos con miembros originales de la banda a excepcion de Gana, quien se retiro definitivamente de la musica. Disfruten este disco, una obra especial, no calificable dentro de ningun parametro conocido.

En Busca del Tiempo Perdido

Sacros won the 1968 Chilean schools contest for "beat" groups. Five years later they recorded their only record: this Latin American country rock hymn cycle inspired in part by ancient Mayan and Andean Gods. Released September 18, 1973, seven days after a military coup installed the dictator General Augusto Pinochet, most copies were destroyed in the subsequent crackdown.
Shadoks:
40 years ago, Sacros looked set for success, at least in their native land. They had won the national schools competition in their "carefully chosen look, dressing in black trousers with white lace shirts" and at the time of recording their debut (after numerous changes of personnel) they were a well-honed trio, having practised at the Divina Providence Church in exchange for "making an electric mass". Tomas Herrera was drumming, and Hernan Valdovinas was on bass sharing vocals with Patricio Panussis, one of the first 12-string guitarists in Chile.
This self-titled disc is a lovely cross-pollination. On one hand Sacros were friends with many priests and exposed to religious music; hence their name, "Sacred," on the other, they were hearing US electric folk influences such as The Byrds. Ironically, other US influences were at work in Chile, too. At the behest of Nixon and Kissinger, the CIA
were busy training the Chilean miltary, and funding anti-government strikes. Kissinger stated that "the issues are much too important for the Chilean voters to be left to decide for themselves" and "I don't see why we need to stand by and watch a country go Communist due to the irresponsibility of its people." On September 11, 1973, the Chilean airforce bombed Santiago using British-made planes, and decades of murder, torture and other human rights abuses were set in motion. On the day of the coup, Salvador Allende took his own life. Poet and singer Victor Jara was held with thousands of others in the Chile Stadium where he was repeatedly beaten before being machine gunned. Before his death, Jara wrote a poem about the conditions in the stadium which was smuggled out in the shoe of a friend. And let me take this opportunity to point you to Robert Wyatt's version of Jara's "Te Recuerdo Amanda" ("I remember Amanda"). An estimated 200,000 people left Chile for exile. Two members of Sacros fled to Spain. Herrera quit music. Valdavinos became a renowned painter and only returned to his homeland post-Pinochet to play music again with his old friend Panussis. The latter had remained in Chile and subsequently formed the band Miel and also Musica Universal (unfortunately, a "new age" act). Henry Kissinger won the 1973 Nobel Peace prize.
So, for very good reason, then, this is an ultra-rare album. I listened to it with bated breath, as the early 1970s combination of spiritual and country rock styles might have come out sounding as dodgy as Spinal Tap meets the Gypsy Kings. Yet, with light production, restrained playing and gentle experimentation, Sacros has an integrity which modern attempts to create the analog sound can't match, and it always steers clear of the worst turgid excesses of the psychedlic rock era. The short opening piece "Aum" welcomes us to Chile in muted fashion, reverential voices to the fore. After that, in innocent contrast to the political events which would unfold, it is consistently breezy. As a non-Spanish speaker, I find the lyrics pleasantly mysterious but for all I know it's trite nonsense. No matter, this is a record I'll be enjoying for a while. Patricio Panussis's guitar playing at the start of "Iluso Que Suenos" has a hypnotic propulsive quality predicting Johnny Marr by about 25 years. A psychedelic ode to the Plumed Serpent "Quetzalcoatl," God of the Mayas, is also a highlight, but the truly transcendental track is "La Realidad" ("The Reality"). This piece is a perfect crescenso of infectious vocal melodies, thumping bass, and jangling guitar; from one West Coast to another. Chile Stadium is now named Estadio Victor Jara and (in musical terms) Sacros is a worthy reissue.
Some spirits cannot be "disappeared."

Brainwashed

From Chile, 1973. LP in an edition of 450 numbered copies, with glossy heavy sleeve, 180 gram pressing, insert. "Sacros ('The Sacred') was a Chilean rock band inspired by the spiritual passion and veneration for the great gods of South America, such as Quetzalcoatl, the Plumed Serpent, god of the ancient Mayas and Viracocha, Lord of Tiahuanaku in the Andes mountains. Sacros recorded the debut LP on the state label IRT and the production was destroyed by the militaries. Only very few copies survived from destruction. The music goes in the same direction as Los Jaivas, Los Blops and El Congreso (all from Chile) and Lula Cortez from Brazil. It has a great 12 string Rickenbacker sounds, effects, great vocals and rhythms with an experimental touch. You can call this easy one of the rarest albums from Latin America since only a handful of copies survived. Patricio Panussis (guitar & vocals) Hernan Valdovinos (bass & vocals) and Tomas R. Herrera (percussion). The band recorded only this one album in 1973."
Sacros ("The Sacred") was a Chilean rock band inspired by the spiritual passion and veneration for the great gods of South America, such as Quetzalcoatl, the Plumed Serpent, god of the ancient Mayas and Viracocha, Lord of Tiahuanaku in the Andes mountains. Sacros identified with these gods from around the planet, with the energy of love and devotion for creativity. Sacros recorded this 1973 debut (their only record) on the state label IRT, and the production was destroyed by the military. Only a very few copies survived the destruction. The music goes in the same direction as Los Jaivas, Los Blops and El Congreso (all from Chile) and Lula Cortez from Brazil. It has great 12-string Rickenbacker sounds, effects, compelling vocals and rhythms with an experimental touch. You could easily call this one of the rarest albums from Latin America, since only a handful of copies survived. Sacros were a strange musical combination of country-rock mixed with Latin American flavor. They were loved by many. May the gods bless you all.

Forcedexposure

Este disco lo consegué gracias al usuario Barin99 desde esta dirección. Lo aclaro para que sepan de donde viene, porque es un álbum realmente raro.