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1 Jun 2017

Zocalo "Que Te Aproveche" 1971 Uruguay Psych Rock

Zocalo "Que Te Aproveche" 1971 mega rare Uruguay Psych Rock 

It begins with the band LOS SANTOS (1965-69) formed by: Ángel Armagno (Voice), Raúl 'Polo' Vidart (Guitar and Voice - not to be confused with Mockers Polo) Jaime Durán (1st guitar and voice), Bocha Bordoni (Drums), Jorge Epinguert (bass), who basically made covers of BEATLES, and according to anecdotes tell of those years, LOS SANTOS were the band that best interpreted the 4 of Liverpool at that time. The year '67 brings with it a change in the formation of the band: Ángel happens to sing and play the bass, Antonio Pantolios enters in 1º guitar, and enters in the battery Julio Yafigliola. This year is very important because it affirms the Armagno-Vidart duo that will be the machine to make songs. LOS SANTOS left that name in '69 to be renamed URUGUAYAN INDUSTRY (1969-70). (Already the 70s when all the bands made compositions of his and sang in Spanish). With this new name they win the 'International Festival of the Song Beat in Piriapolis' with the own subject 'Help me to find it'. Of prize they are going to touch to Mar del Plata (Argentina) and to return to Uruguay the seal ECO invites them to participate in the 'salad' of national artists (that takes its name ...) INDUSTRY URUGUAYA Vol.1, for the Which record two tracks of their own: "Help me find it" and "My sadness" (a theme of Pantolios that reflects all his admiration for THE KINTO). They change their name to SOCIEDAD ANONIMA, preserving their integration, but it will not last long until in that same year, enter Pedro Peradoto in Keyboards and Rodolfo 'Rolo' Rodríguez in Battery to finally be called ZOCALO. 
The group tries the same strategy that LIMONADA had taken a year earlier: in total anonymity they record an LP and prepare a major dissemination plan. 
To record the album they went to the magnificent studios ION of Argentina, by Carlos Píriz (famous for recording characters like Mateo or mixing the tapes of EL KINTO, among many other bands) in the middle of '71. 
Here it begins to complicate ... Everything comes divine until they make the master to send to press the Long Play ... they sent to the factory the master in MONO !!! And the record was recorded in STEREO !!! A DISASTER!!! 
With the record in hand and the disillusionment by the musicians for the disaster that afflicted them present the album, the reviews are magnificent: the band sounds better live than on the album. And in part that begins to fracture the relationship between the members. As soon as Antonio Pantolio decides to leave the group, this brings an ominous consequence since Pantolios is the 'mediator' of the constant fights between Angel and Polo. With no Pantolios in the band, Eduardo Lanza (keyboard player) arrives and with this the band once again changes its name to CORPUS, one of the most commercial (and renowned) ensembles of the 'Porteñada' of '72, famous for their Theme 'Mom-Dad', success in the VOLTOPS salads. Anyway CORPUS disappears. 
Fortunately in 2006, the label SONDOR, the seal par excellence of Uruguayan music for more than 70 years re-edited in CD format those tapes in STEREO that had been stored in the cellars of the label DE LA PLANT, and as SONDOR I bought the Catalogs of stamps like ECO, OF THE PLANT, MACONDO, KEY, the tapes went to stop to the cabinets of SONDOR. 
Thanks to Miguel Livichich for finding such a valuable treasure.... 

With the entry of Pedro Peradoto on keyboards, and Rodolfo "Rolo" Rodríguez (drums) instead of Julio Yafigliola, the former Santos (ex Industria Uruguaya, ex Sociedad Anónima) regroup, they change their name again - leaving to be called Zócalo - and, after so many years, they are convinced that the presence of a representative is essential. 

ANGEL ARMAGNO - We had been bullies. I thought it was Paul McCartney, and we always expected them to come and ring the bell to hire us, because we thought we were phenomena. How stupid! do not? Well, we did not understand anything about those things. With Zocalo we tried to change that. 

ANTONIO PANTOLIOS - I can assure you that in our group there was one hundred percent art by Polo and Angel. Let no one confuse what Angel does on television with what he is as a Beatles singer. That, added to the superhuman effort we made, but an effort to vocation, to rehearse ten hours a day, to go on the street singing the songs, well, all that made it impossible that we did not sound very good. And I had never understood why, if we sounded so good and when we performed live we killed, that was like a match that turned on and off. I had never understood why so many groups inferior to ours had so many dances. And the case of Miguel Livichich attracted my attention. We were a thousand times better than all the groups he had had. But he worked three times. I always admired him for that. Sure, he had sales gift, negotiating ability, knew how to do it. I always liked his stamp, his strength and his public relations. I was one of the promoters for him to come with us. 

MIGUEL LIVICHICH - I'm going to work with Zocalo. I was going to play tumbadoras and besides they knew that I was very good merchant and also they needed that: a good producer within the orchestra. 
The group tries the same strategy that Limonada had carried out a year before: in total anonymity they record an LP and prepare a major dissemination plan. 

MIGUEL LIVICHICH - When we went to record the album to Buenos Aires, they welcomed us as if Paul Me Cartney had arrived. It turns out that I was carrying a letter from Quique [Abal] that said spectacular things about me. We went to a place in Callao 11, which were rehearsal rooms to play in front of the producer we had been put on. When we started, the guy almost fell off the chair where he was sitting. The group sounded impressive. And the five of them sang. Look, I swear to my kids that when we listened to the entire master of the album, I said, "Well, now, yes, I did, no more going hungry." I had never seen such impressive rapture with five voices killing. In addition, we had all kinds of topics. 'If the sun stopped the rain' for example, he had to hit any bowling alley . 
Before a large number of critics and many of the best known characters in the musical medium, Zócalo makes his debut presenting the LP at the Teatro del Centro on January 22. The reviews are unanimous: they sound better live than on the record. 

MIGUEL LIVICHICH - The edited record comes out and we went to listen. We ended up crying the six. Crying the six as children, because what was heard was a revered shit. I do not understand what it was, whether the cut of the disc or what. 

ANTONIO PANTOLIOS - We finished recording at ION and one of us stayed to finish the mix. I wanted to bring a tape, but for what? Angel remained, made the mixture with Píriz, remained like the gods, but it turned also without a copy. So what happened? The mix was stereo and the record came out mono. A revered shit. You hear the second voice above the first, anything. I never understood why they did that. We wanted to die when we heard the record. We wanted to die. From Buenos Aires we had returned with a girlfriend who, here, we realized that it was all made of silicone. It was difficult for me to recover from that. Those wanted to return to Argentina to work there, and I decided to stay to study. 

Without the presence of Pantolios, eternal "mediator" of the fights between Angel and Polo, this last one leaves the group. The inclusion of keyboard player Eduardo Lanza and the new name Corpus, make what remains of the legendary Saints become one of the most famous "commercial" ensembles of the "porteña" of 72. But despite his hit ' Mama-Papa ', one of the great successes of the salads of Voltops, Corpus does not survive. 

EDUARDO LANZA - With Corpus we would play a remise and all the chiquilines screaming as if we were The Beatles. When we left, anyway. We worked for Voltops. Everything is great. But we did not see a handle. There came a time when we were hungry. It really was. And when the hunger did not give more, Angel Armagno managed to find the representative and almost killed him. The guy ended up paying us something, and that night was a glory of milanesas on horseback with fries [laughs]. We do not bank that anymore, and I start looking for a way to get back. Then I managed to connect a performance in Montevideo on Channel 4 in exchange for the tickets. The tickets were back and forth. But we were only interested in going to Montevideo. The return to Buenos Aires we never use it [laughs]..... 

Angel Armagno (vocals, bass) 
At Bidart (vocals, guitar) 
Pedro Peradoto (keyboard) 
Pantolios Antonio (guitar) 
Rolo Rodriguez (drums) 

A1 Grecia 
A2 Ya No Me Molesta Tu Presencia 
A3 Siempre Dispuesta 
A4 No, No Preguntes 
A5 Piensalo 
A6 Ven, Ven, Bea 
B1 Sol Ven A Parar La Lluvia 
B2 Ayudenme A Encontrarla 
B3 Oh Mi Beatriz 
B4 Tomala O Dejala 
B5 No Se Olvidara 
B6 Que Te Aproveche 

johnkatsmc5, welcome music..





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