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30 Jun 2017

V.A. "Rock Hasta Que Se Ponga El Sol" 1973 Argentina Psych Prog






 V.A. "Rock Hasta Que Se Ponga El Sol" 1973 Argentina Psych Prog 

Filmada en el Festival BARock III, organizado por Daniel Ripoll

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In order to be able to publish his first album, he had to access a concession, participate in a film with artists of the record label. This is how The Stranger of Long Hair is born, a film that was built to promote a number of RCA artists such as The Young Guard, Fresh Painting, New Connection No. 5, Narrow Gauge and to Litto Nebbia himself, among others. The film, well, that can be counted, beat beat music at a time when the beat was already past. Litto interprets the songs "Rosemary" (thanks to the film will be his great success in the beginning of his solo career) "Woman of the thousand days" and "Let him know the world today". We could call it a great approach, but little rock and nothing. We must keep in mind that there were already groups such as Almond, Manal, Vox Dei, Arco Iris, Pedro and Pablo, etc ...
To finish the raconto of films that contained rock in its content we have to mention Tire of Grace (1968) [See in this same Web] in which the soundtrack is interpreted by Manal and With Soul and Life (1970), of the Director Jose Kohn, which contains soundtrack and a small participation of La Barra de Chocolate. These are two films that only used rock as a complement. In the matter of short films, two Los Shakers, (1966) directed by Rodolfo Corral and Bs. As. Beat (1970) directed by Néstor Cosentino, should be mentioned.
On an idea by Anibal Uset, who ended up being the director and co-author, along with Jorge Álvarez, of the script of the film, begin to take the first steps towards realizing a dream for many: to make a film about Argentine rock.

Uset was neither an improvised nor a person outside of rock. "It is one of my hidden passions."  Back in 1965-66 he was fortunate to live in London at the height of the British Invation and Swinging London. " There he had the luxury of filming groups like The Animals, Herman Hermitis, Peter & Gordon, among others. These images would later be used in the film "El Rey en Londres", which in Argentina version starred Palito Ortega and Graciela Borges.

In the minds of the producers Jorge Álvarez (former Mandioca) and Daniel Ripoll (Director of the magazine Pelo) begins to prowl the idea of generating the Argentine Woodstock and for this they organize the B.A. Rock.
"The film started a little by lying to them and another one telling them the truth, I convinced producers Olivera and Ayala, who came from making commercial music films, that there was a new music that was going to move. The owner of Microfón, who had been warning of a growth in the sales of some rock albums.This is how rock came into the cinema,

The B.A.Rock III Progressive Music Festival, were organized in the year 1972, took place in the field of Club Argentinos juniors and in the Theater Olimpia. These performances were immortalized only with two chambers, one by Marcelo País and the other by Lionel Lobótrico, and without the synchro system, something basic if you want to do things as God commands. "The film I made with equipment that was obsolete by the time, but what was important was the idea, to show all the music that was emerging in Buenos Aires at that time"

"I worked without the synchro, you know how complicated it is to work without that element, so instead of merging the images of one camera and another, it seems as if the image was cut. The one that worked that was very good "
But the film did not only stay with what happened in those Festivals, they prepared skechs, whose authorships must be awarded to the musicians themselves and images that could well become video clips. There was also space to not forget the beginnings and make a review on Los Gatos, Almond, Moris, Manal, etc ....

"The idea was to show what was going on in the musical scene of the time. Do you know why Pappo and Pescado Rabioso appear in the film? Because I believed they had to be, not only those who acted in BA Rock, but others who I thought they had to be and they had not participated in the festival.There were people that I could not put, like Moris, that I would have loved to participate or the great absent Aquelarre, but things were like that and can not be changed "
We can say that one of the star groups of the film, without demeaning anyone - was Vox Dei in his interpretation of the theme "The Wars" of the album La Biblia. Aníbal and his small group of assistants filmed the trio in the Methodist Church, which still exists today and is located on Av Corrientes to 600.

To emphasize, if you look closely Vox Dei interprets two songs, the first "Presente", which has the particularity of presenting a camera with color film, and the other in black and white. "It was not easy to obtain color film at that time, nowadays it is more expensive the black and white, but in those days there were few and very expensive"  There you can see some very bearded Vox Dei and with super hair long. For the next song they are seen (will be because they entered a church?) With short hair, well adjusted and shaved.

For the initial number of the semi documentary, images of a sunrise in the Rio de la Plata, with the music of Color Human, were filmed live at the festival. Later the same trio is seen interpreting another one of the subjects, but this time they are filmed in the funds of the cinematographic studies Baires.
In "Hasta ..." they make their debut the then successful duo Sui Generis, "I included them in the film by the insistence of Gordo Pierre Bayona, who was his producer"  Sui Generis had already entered the staff that Alvarez had and Were about to enter to record their first album. They initially were not going to participate in the festival, but that weekend it rained and had to be suspended, during the week it was arranged that Sui act and this is how the other Saturday the duo was filmed. "That day, do not ask me how or why, one of the cameras was broken, so some parts of Sui Generis had to be filmed again." (3) Of course I just explained how it was possible that the drummer in Some shots appear with white shirt and in others with blue shirt. Nito Mestre remembers that event in this way: "What happened was that on the day of the Festival we went to play with Paco Pratti, who was our drummer, the one who recorded on the first record, like a camera had broken, we had to Filming again and that day Paco could not go, so someone replaced him, I do not know who, some assistant "
Something that must be taken into account and that few people know is that much of the success that Sui Generis achieved with his album Vida, was thanks to the inclusion they had in this film. They had participated of the film and they had edited the disc, and they had gone to Mar del Plata to play during the summer. "We went to Mar del Plata so that nothing happened" (4) On the return of that excursion Marplatense and before the first recitals that the group offered in the Capital, and before its astonishment, the public asked Rock for the death.

Pappo's Blues was another one of those that were filmed them apart, in the Theater Olimpia that was located in Sarmiento and Viamonte. In his passage he can be seen accompanied by the members of the group La Máquina, a grouping of the west of Greater Buenos Aires, that could only record a simple (not even in a with Pappo). In that presentation Pappo advanced the song "Working in the Railroad, "which he would later include in Volume 3, and played" Train of 16 ". "The part of Pappo was propitious so that I could incorporate in the film Josefina Robirosa and Juan Oreste Gatti, if it did not place them there, where it did it?
Juan Oreste Gatti, is not only the dancer of the film, but is a spectacular draftsman. He owes him all the cover art of the albums edited in Microfon.

The most memorable participation of the film, may be the Pescado Rabioso. Originally they did not participate of the Festival and were proposed by Anibal to appear in the film. "Fish could not stop missing. They just played in a theater and everything was arranged so that I would go with my film crew and work"

The Rabies are the ones who have the most participation in the film with the two themes of their first simple live "Post Crusificación" and "Despiertate Nena" a skech and something like a primitive video clip.

With regard to live performance there are two things to highlight: First the skinny Spinetta scene coming out on stage with a police siren stuck behind his back. That was a direct reference to the repression that was lived, for the mere fact of being a rocker and having long hair (One knew that he was going to a recital, but not if he came back). The other touch was given by David Lebón when he appeared dressed as a woman.
"A lot of my film crew was working alongside the filming of one of Porcel's films at the Baires filming studios. There, at a lunch break, they lent me the studio, gave me a camera and told me I had an hour To work.What could I do in an hour ?, besides I only had a movie for two minutes.I installed the camera and told them to do what they wanted, I put the subject "After the Bomb" and recorded what you see in the movie  The subject to which Anibal refers was later published on the album Pescado 2, entitled "Corto".

Finally is the film consecration of Pescado Rabioso in the cinema, the scene summit: A sunny afternoon, time of the siesta. A soft paneo shows desolate streets, which reflect the tranquility of the San Isidro neighborhood. Suddenly, the Fish appear on the scene, walking leisurely talking among themselves, as if abstracted from everything that may be happening around them. At the same time, they make their appearance a Ford Farline (model that denoted luxury for the time) and a Fiat 1500 blue, that park, each by its side. From the Farline the chauffeur leaves the door for a kind of count who walks in the street and will be a witness of what is about to happen. At the approach of the Rabid, the door of the Fiat opens and a bully comes out with a shotgun and waits for his prey to be right on target. When the four many are just in sight the shotgun is fired, striking right into David Lebón's stomach, to which the belly explodes him, keeping his guts in his hands. Immutable and without any signs of pain, he approaches the aggressor, balancing his damaged entrails and rebukes him, striking him with them. "I would get you in cana ...", the whole group greets and as if nothing had happened they continue their journey that leads to the live performance of the Teatro Olimpia. "It was an idea we had with Lebón.The mobster was a friend of the group, and the one who gets out of the car and shoots was the fat Rosino, a guitarist of the time"
The film had many peculiarities and one of them was that each set was free to select the theme (s) they wanted to include in the film

"With Arco Iris I had a problem, because the song they chose lasted like 17 minutes, it was all a zapada. I had two cameras with more than three minutes of tape in each one, that making them start first one and then the Another obtained no more than six minutes of filming in total.That is why the subject is cut, I think it was the right decision given the situation "

The Heavy of Rock and Roll, true to its style, used the film to continue with its mockery towards everything established. Already from the skech in which they mock the bourgeoisie by imitating people who drink pompous tea, or who bathes calmly while an entourage of women serve the grapes directly to the mouth. As a finishing touch they used the theme "Tontos" (clear allusion to power), which is filmed at the Festival, in a live version much earlier than the one that later came out on the disc.

"For that scene use an abandoned set that was in the Baires Studios and those of the Heavy were lent for the disguises"
In the film also the novels appear, next to Sui Generis, Leon Gieco that interprets "Men of Iron", Orion's Beethoven with the subject "Nirmanacaya" included in its debut disc Superángel and Gabriela singing "Peasant of the Sun", its first simple one. If we observe carefully we realize that just these four numbers are the only ones filmed entirely live and they interpret a single song, of course they just started and had to pay floor right. Anibal recalls: "When the time came for Orion's had a single camera and for the filming was not something quiet and monotonous I came up with that lens that gives a conical effect, the sound is the live sound of the group taken with a cable From the sound console to the camera, without any improvement process, that happens throughout the film, so the sound is so irregular. " Regarding the debut of the singer Gabriela, it must be said that better not Could have been accompanied, want to know how the support band was composed? Good with Edelmiro Molinari (Ex Almendra and at that time in Color Human) on guitar; Oscar Moro (Los Gatos, Huinca and then at Aquarium) on drums; In keyboards Litto Nebbia (I think that it is not necessary more), and in the low Emilio of the Guercio (Almond and Aquelarre). As a debut support group I think it's okay, right?

Claudio Gabis, gave not only the film but also the long play an additional value, since his interpretation of "Raga", became an exclusive. Hannibal to reflect on the film mixed images of Claudio Gabis live, with other guitarist plays playing at Phonalex studios, more photos of what the real world is (hunger and war).

For the end we have the performance of the pioneer interpreter of the national rock: Litto Nebbia, that by then his musical projects were far from being rock. As shown by the images Litto joined the folklorist Domingo Cura and between the two interpreted the songs "El Bohemio" and "Vamos Negro", both included in the album Awake in America. "With LiTto it happened the same as with others, it had a single camera with film and almost three minutes of film, that's why he appears live at the beginning and at the end. For the whole medium we recorded it in a studio where he played with whites And with the blacks.............

"Rock Hasta Que Se Ponga El Sol"  was released on Thursday, February 8, 1973 at the Cinema Sarmiento de Lavalle 852, in neighborhoods of Greater Buenos Aires and in the cinema América de Mar del Plata. All his promotional campaign for the big debut was this notice in the entertainment part of the newspapers: "The best program for youth, with the best sets of the moment, in color and suitable for all"....

At the same time the B.A.Rock III National Festival of Progressive Music was organized . It was promoted, but without dissemination or dates, or the place where it was to be developed. "We have grown, and we have the problems and inconveniences that this implies, now the progressive is a real force, a position more or less clear." When the groups were able to count on the fingers of the hand, when those who moved the thing - by virtue of a very expensive oxygen - were very few and when the public was little and the businessmen despised it the whole was translucent because the small power was in sight and the fences that were interposed knew what they were.

Now the thing is different. Any movement of the progressive is a serious thing: "thousands of people gathered, long plays sold by millions, ratings are television won, etc ..." (...) "This time everyone already deduce it will be more important than ever because we have Grown in quality, in public, in ideas, in importance at a musical level, in musicians. "

We are already talking about the film in these terms: "Under the direction of Hannibal Uset will be filmed a full-length film about everything that happens in B.A. Rock, music, the public the meaning. Provisionally the film is titled "Until the sun sets" which is the proposal of B.A. Rock for three years, to frame the duration of their journeys in time. The shoot will be made with live sound and there will be four cameras simultaneously filming the performance of the participating groups. It is essential for the progressive music that this film goes well: it will be seen throughout the country (possibly in the first week of 1973) and will be taken abroad in strong circuits of release. For this, the special collaboration of the public will be requested. The close understanding with the musicians who actively participate in the basic idea of ​​the film. "

Then in number 32 of the aforementioned magazine and before the coverage of what happened at the Festival it is said: "The feature film that is being made about the BARock festival, will be a kind of image of the time stopped to analyze the whole The current record will be the first important visual document of the evolution of rock in Argentina.This evolution that is taking the rock in Argentina will surely lead to a change of guidelines in the form of presentation The festival this year - in doing so in a field - has fundamentally varied "

. "Rock Hasta Que Se Ponga El Sol" is an Argentinean film directed by Aníbal Uset and produced by Aries Cinematográfica Argentina SA. It premiered on February 8, 1973 at Sarmiento Cinema, located at Lavalle Street 852 in the City of Buenos Aires. The script was made by director Uset and producer Jorge Álvarez.

It is the first documentary of the foundational stage of the Argentine rock movement. Most of its contents were recorded in the performances of the main groups of this musical genre in the third edition of the BA Rock Festival of 1972, performed at the Argentinos Juniors club in Buenos Aires, completed with filming at the Teatro Olimpia and in The film studios Argentina Sono Film and Phonalex.

In the film live performances in color of Pappo, Sui Generis, Leon Gieco, Claudio Gabis, Billy Bond and Pescado Rabioso, among other artists, as well as plot sequences interpreted by members of some of the groups that participated in the festival.

All the artists included in the disc belonged to the label Talent, the others were of other record labels and none of them allowed them to include their artists if they did not pay rights for it. No company took the risk that the record would be a sales success and that it would not be participated, even if it was not in a small portion.

In short, I think it's a long play with very good intentions, which I think is not the true reflection of Festival B.A. Rock, nor the one of the film of the same name, but that if serves as testimony of how they sounded these bands live in 1972.......................

01. Larga vida al sol (Color Humano)
02. Cosas rústicas (Color Humano)
03. Hombres de hierro (Leon Gieco)
04. Presente (Vox Dei)
05. Guerras (Vox Dei)
06. Jeremías pies de plomo (Vox Dei)
07. Campesina (Gabriela)
08. Tontos (Billy Bond y la Pesada del Rock'n Roll)
09. Raga (Claudio Gabis)
10. Nirmanakaya (Orion´s Beethoven)
11. Canción para mi muerte (Sui Generis)
12. Si no son más de las tres (Litto Nebbia y Domingo Cura)
13. Fuerza negro (Litto Nebbia y Domingo Cura)
14. Entrevistas (Litto Nebbia y Domingo Cura)
15. El tren de las 16 (Pappo´s Blues)
16. Despierta Nena (Pescado Rabioso)
17. Corto (Pescado Rabioso)
18. Post Crucifixion (Pescado Rabioso)
19. Hombre (Arco Iris) 

johnkatsmc5, welcome music..