Traffic Sound - Lux (1971)

Artista: Traffic Sound

Álbum: Lux
Año: 1971 / 1997
Género: rock progresivo / rock psicodélico
Duración: 44:50
Nacionalidad: Peru

Lista de Temas:
01. Solos
02. Suavecito
03. La camita
04. Lux
05. El gusano
06. White deal, poco, big deal
07. Inca snow
08. Marabunta
09. Survival
10. The revolution
11. A beautiful day

Alineación:
- Manuel Sanguineti / voces, percusión
- Willy Barclay / guitarra
- Freddy Rizo Patron / bajo, guitarra rítmica, guitarra acústica
- Zulu / teclados, bajo, voces
- Luis Nevares / tambores, percusión, vibráfono
- Jean Pierre Magnet / saxophone, clarinet, flute, congas

Vino Bob con otro álbum de Traffic Sound para que disfrutemos todos...

Having enjoyed an all too brief existence, Traffic Sound's final album "Lux" was released in 1971. Prior to recording, Willy Thorne (bass and keyboards) left the band, to be replaced by the wonderfully named Zulu.

Esto es lo que nos comentó nuestro polaco más querido, yo (yo soy moe, aclaro) les copio alguna cosa en castellano:

Durante la segunda mitad del año 1968 aparece en el circuito rockero de Lima, un nuevo grupo llamado Traffic Sound. El grupo empezó tocando covers de conocidos grupos psycodélicos de la época. Para luego empezar a crear temas propios con un estilo muy propio y con sabor latino, desarrollando de esta manera una fusión de la música psychodélica, latina y andina.
Editaron en 1968 su primer álbum "A Bailar Go Go" con el sello discográfico MAG Records, en 1969 su segundo album titulado "Virgin", en 1970 su album eponino "Traffic Sound" tambien conocido como "Tibet's Suzettes", y su ultimo album titulado "Lux" salio el año de 1971.
Se convirtieron en uno de los grupos más importantes del rock peruano y llegaron incluso a realizar una gira por Brasil, Argentina y Chile. Entre sus canciones destaca "Meshkalina", en la cual se puede ver el estilo que desarrollaron combinando el rock psicodélico con diversos ritmos latinos.
En 1971, la banda se disolvió porque algunos de sus integrantes tenían otros proyectos en mente, coincidiendo con la dictadura de Juan Velasco Alvarado. Jean Pierre Magnet siguió tocando el saxo en otras agrupaciones musicales y también se ha desempeñado como músico de acompañamiento con varios artistas nacionales; Manuel Sanguineti fundaría Radio Doble Nueve en 1978, la que sigue operando hasta la actualidad.
En 1993 hicieron su primera reunión para un exitoso concierto en Miraflores y lanzaron nuevas versiones de sus viejos éxitos. Actualmente se reúnen ocasionalmente para realizar distintos conciertos en la ciudad de Lima.

Atakemasivo

Este es su ultimo disco oficial, una placa distinta a las anteriores, con un sonido mas influenciado por ritmos tipo Santana, donde destacan temas como "Suavecito". Asi como la mayoria de las grabaciones de las bandas peruanas de esta epoca la produccion de sonido es de primera, Sanguinetti y compañia logran una conjugacion casi perfecta entre la psicodelia y el rock tradicional, los sonidos afrolatinos y vocalizaciones en castellano. Posterior a este disco la banda se disuelve y sus musicos se integran a otros proyectos o se radican fuera del Peru. Un disco fundamental en la historia del rock del Rimac. Un imperdible.

En Busca del Tiempo Perdido

Y alguna cosita en inglés:

The album is understandably influenced by the political turmoil which affected the band's homeland of Peru at the time, the music displaying stronger local styles and sounds than previous offerings. Those ethnic influences are muted though on the opening title track, which mixes The Doors with other late 60's pop. As the album develops, the sax and flute which distinguished previous outings increase their presence. Tracks such as "Inca snow" are interesting and for their time adventurous, but they do end up sounding a little clumsy now. The feature track is the 10 minute "Marabunta" a piece which melds several variants of prog (and non-prog) and also features some laid back sax improvisation. "Survival" and "A beautiful day" are the lightest tracks on the album, and were presumably intended as potential singles. As such, they are very much of their time and pleasantly inoffensive. They do though sound rather out of place in the context of the album. In all, a good album for the band to close on. While never likely to start a revolution in music terms, the band is to be admired for producing fine music at a turbulent time in their country's history.

Progarchives

Born a few months before the Junta took over Peru's control and declared many occidental novelties enemies of the "Peruvian heritage", Traffic Sound managed some four albums in a difficult context between censorship and the underground life. By the time of Lux, the group had become quite an accomplished one, especially with their previous album, Tibet's Suzettes; but here with this stunning solar & planetary gatefold artwork, TS grows another dimension and dares to become Peruvian.
Although the album starts on the 60s-ish title track (can't deny their garage roots), the mood is exploratory, progressive and Andean as Gusano can attest,. Although badly recorded (the vocals are really bad), the track is enlightened with a sweet flute and some Latino percussions, and there is a slight bossa nova feel in the rhythm. Up next are White Deal and its badly recorded sax intervention and the very percussive Poco, then almost a reprise with Big deal. Ending the album's first side, Inca Snow is a bluesy manner.
Opening the flipside is the album's centrepiece is the 10-mins+ Marabunta with tons of flutes and saxes (Magnet is clearly the better musician in the band) , then almost dies to lead into an organ solo and some Machiavelic folk to cap it all off. Past the unremarkable Survival track, Beautiful Day is quite an enthralling piece and features some fuzz guitars. The closing Revolution is probably why this was their last album, and a good way to close up.
Well my South American adventures had not strayed this far up north, if you'll except Brazil's Bacamarte, as like most progheads, I stuck to the Southern tip if Latin America, which were more Occidentalised during the 70's than was the more-Amerindian countries. Despite its horrible sound, Lux is a worthy album, but it's nothing all that exceptional either and I suggest trying their previous effort first

Sean Trane

Having enjoyed an all too brief existence, Traffic Sound's final album "Lux" was released in 1971. Prior to recording, Willy Thorne (bass and keyboards) left the band, to be replaced by the wonderfully named Zulu.
The album is understandably influenced by the political turmoil which affected the band's homeland of Peru at the time, the music displaying stronger local styles and sounds than previous offerings. Those ethnic influences are muted though on the opening title track, which mixes The Doors with other late 60's pop.
As the album develops, the sax and flute which distinguished previous outings increase their presence. Tracks such as "Inca snow" are interesting and for their time adventurous, but they do end up sounding a little clumsy now. The feature track is the 10 minute "Marabunta" a piece which melds several variants of prog (and non-prog) and also features some laid back sax improvisation.
"Survival" and "A beautiful day" are the lightest tracks on the album, and were presumably intended as potential singles. As such, they are very much of their time and pleasantly inoffensive. They do though sound rather out of place in the context of the album.
In all, a good album for the band to close on. While never likely to start a revolution in music terms, the band is to be admired for producing fine music at a turbulent time in their country's history.

Bob McBeath

Que lo disfruten, y gracias Bob nuevamente!