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1 Jul 2017

V.A. " Acusticazo" 1972 Argentina Folk Rock

 V.A. " Acusticazo" 1972 Argentina Folk Rock


Litto Nebbia, Leon Gieco, Edelmiro Molinari, David Lebón, Raúl Porchetto and Nito Mestre, among others, recreated the mythical festival in 1972. Also participating were musicians of later generations, such as Nekro and Fernando Ruiz Díaz. In the end, everyone sang "La balsa"..................

The famous album called ACUSTICAZO .... The Acusticazo formed the tacit pole opposite to La Pesada, since it was a recital (of which the first live rock record was recorded) with artists playing 'without electric instruments'. There were Porchetto, Leon Gieco, Miguel and Eugenio, Carlos Daniel Fregtman, Litto and Gabriela. Leon always remembers gratefully without touching, and came to reconsider the proposal of Horacio Malvicino to work as a 'commercial' singer. But he gave up, following the advice of his friend Gustavo Santaolalla, whom he met because he taught music................

Acusticazo was the first acoustic festival in Argentina. I produced it in the winter of 1972, as part of the B.A.ROCK festivals, which was then performed in November. In the opportunity, we also recorded live (the first unplugged of Ibero-America) that early dawn of the guitars and natural sounds, in which recordings debuted Leon Gieco, Raúl Porchetto, Gabriela, Carlos Daniel Fregtman, Miguel and Eugenio (Pérez), David Lebon and Miguel Krochik. But they were not the only ones, they were in addition, although they were all very young, other musicians more flushed like Edelmiro Molinari (Almond) and the historical Litto Nebbia, that added to the percussionist Domingo Cura. (By Daniel Ripoll)...............

"The acusticazo" made at the Atlantic theater a few weeks ago was not the first step of soft rock in Argentina against heavy rock, nor the preposition of one music over the other. It was simpler: we tried to bring together the best of the musicians of the new generation who play in acoustic music: guitars, folk, flutes, vocals; Elements that confer a special type of transmission to the unstoppable urban music of Buenos Aires, new citizen folklore burial of expressions lacking already of eloquence and renewal.
A small festival, a meeting of friends (on stage and in the audience), "Acoustics" gathered for the first time a group of musicians explorers of a necessary expression of rescue: the simple, sincere and almost human music that comes from Acoustic guitars.
During the show everything was measured to the last detail and from the morning of that same day the groups and soloists had been rehearsing all the details of their respective sounds: the live recording that was going to be performed of each one of them demanded it .
Among the members of the program were debutantes (Raúl Roca), reappeared (Carlos Daniel), a soloist who takes his first steps (Miguel Krochik), two already in the race (Raúl Porchetto and Leon Giecco), Miguel's duo And Eugenio and the special participation of David and Edelmiro Molinari accompanying Gabriela and Litto Nebbia.
There were also some extra participants: Raúl Porchetto played along with two other musicians, one of them the soloist Petty who is having outstanding performances in semi subterranean recitals. Another of the guests was the percussionist Domingo Cura, one of the important of America that attended especially requested by Litho Nebbia. Many musicians attended the Atlantic Theater that day. It is logical: the lack of primary excitation, electrification and equipment walls, does not seduce - still - the mass audiences. But those who understood, those who feel the music in its most subtle details were willing to have the privilege of a first acoustic festival in Argentina.
Surely they did not disappoint: discounting some unpleasant improvisations of one or two soloists, the general rhythm kept the climate warm and growing. Closely applauded were some passages of Gabriela-David-Molinari, Litto Nebbia (with Cure) and Leon Giecco, certainly the most acclaimed of the night, not only for their strength to sing, there was in the applause some support for their Ultra sincere and committed letters.
Everything that happened there was recorded by the technician Carlos Robles ("Robertone"), one of the sounders in which the local rock musicians most trust. This recording that is currently in its processing period will be edited by the Trova label and will be the first album dedicated exclusively to acoustic rock and folk...............

In 1972 comes the album Acusticazo, the first record recorded live with the intention that the vedette of the album were the acoustic guitars becoming the true precursor of the unplugged. Participated in that famous meeting Litto Nebbia, Edelmiro Molinari, David Lebon, Leon Gieco and Raúl Porchetto among others. The cover art of the album showed a woman sitting naked on her back whose waist simulated an acoustic guitar, which showed a real innovation since the cover art was something to keep in mind when editing an album.
The Acusticazo was a group effort of several Argentine musicians to demonstrate that the walls of equipment are not always necessary to reach the audience of their own generation with the musical language of those times. It was also intended to present, together with well-known names such as Nebbia and Molinari, the members of a brand new layer of Argentine interpreters and authors who were having difficulty accessing genuinely interested audiences and in short, what the system calls As opportunity. All of them are united in supporting the possibilities of the natural message without great electronic artifices as a demonstration that music exists essentially in man beyond the constraints of technique........................

"There is no Acusticazo without 'Guilmar'", says Leon Gieco, who had just said Lito Vitale, behind the scenes. What is "Guilmar"? Many say that the best song of that concert that ended up recorded - and published - thanks to the occurrence in act of Robertone, legendary sonidista of the Argentine rock. And if you ask, and King Leon walks around, you have it. Towards the end of the acoustic set that he had to do, Santa Fe recreated "Something of peace" with -casi- all the musicians who had participated in the festival realized in 1972, and among them the author and interpreter of that beautiful song: Miguel Krochic. He was also surrounded by Edelmiro Molinari, David Lebón, Raúl Porchetto, Carlos Daniel Fregtman, Eugenio Pérez, the folk duo Miguel and Eugenio (who with the entry of Diego and Pablo, would become Aucán), and Litto Nebbia from behind, Listen very well to that phrase conceived by Raúl, who may well bridge the gap between the two climates of the time. "My mind asks you for light, my day asks you for light, I ask you please, in these bad days," he thundered in the midst of a large Rex filled, forty-five years of that landmark in the long coming of rock here.

The Lion's part had begun with a version of "Iron Men," this time tinted by the empirical whitening of the calico that he had made with respect to Dylan's "Blowin in the wing." "We can not take these songs from us, che, with the iron men who continue to enter the villages and schools, where is the 49 percent that has to be heard and not heard," asked Gieco, in one of His various spoken interventions. "The idea we had with Nebbia was to sing the songs in the same tone, so I'll try to do it," he continued, in the midst of the solo guitar intro from "La historia esta". Behind her, impeccable, came the "Mosquito Theme". Leon's third theme was "The Ghost of Canterville", at the same time (speedy) that Charly had spent on the phone, one early morning of the early 70's.

Behind her, the guest parade. First Nito Mestre, in excellent condition, to make the second in "The Hill of life". Then Porchetto, in order to recreate one of the most beautiful songs of the Argentine acoustic collection: "Bajaste del norte". Between her and the one that shared with Edelmiro Molinari, David Lebón and the same Porchetto ("The rat Lali"), Gieco bleached another sequence of its beginnings. "Before recording my first album, I had received an offer from the RCA to make a record of songs of the Bee Gees in Castilian. I was going to play with Horacio Malvicino, who at the time was nicknamed Alain Debray, and I said `well, I record this, I win guita, and then I record what I want`. But Daniel Ripoll appeared and said `aguantá, that the acusticazo is coming '. The truth is that I thought I was jealous of what I had achieved, but then I went to Gustavo Santaolalla, who was about to start producing my album, I told him about the Bee Gees, and he said, 'Well, Do that and here you do not stand again, "recalled the Santa Fe, before the collective laughter. It was the instant before the total assembly that versionó "Something of peace".

The man who opened the night, cold on the outside and hot inside, had been the mother of all this: Don Félix "Litto" Nebbia. Guitar in hand poured historical pieces to delight those who follow his work with musicologist precision: the wonderful "Song of the horizon", "Dream and run", originally recorded in Beat No. 1, Los Gatos; A late release called "Song for the innocent", the moving "Bohemian goes", and "Vamos negro", piece that had chosen to include in the original acoustic album, with Domingo Cura in percussion. And this time he recreated with Lito Vitale. Towards the end of his handful of presents in new glass, Nebbia received the "BARock Loor", a statuette made by the plastic artist Lean Frizzera, with the BARock icon that eternalized the movie Rock until the sun sets, and Which served to present the BARock Hall of Fame, a Foundation whose intention is to recognize the trajectory of the great Argentine musicians of all time.

After the recognition, Nebbia reappeared on stage to publicly offer an emotional version of "El rey lloró", next to Leon, and at the end-end, to be part of the song with all of the night (Emilio del Guercio and Ricardo Soulé included ) Which was - of course - "The Raft". A night that also opened its doors to the new generations. A la Banca, band not very much in line with the spirit of the group. To Tino Moroder. Nekro, the former Fun People, who actually opened it, because sound problems forced him to play two tracks without sound !, after two versions for the occasion: "This land is your land" by Woody Guthrie , And "Gurisito", by Daniel Viglietti. And to Fernando Ruiz Diaz that was dispatched with a folkie but potentísima version of "Tomorrow in the Abasto", and others of "Plan B" or "Y ....................

Continue, to continue with the stirring adventures (?) Of this humble blog, our archaeological laburo in search of discovering all the edges that occurred in a particularly high period for Argentine rock. We speak, of course, of the beautiful and (fortunately) always well-considered decade of the '70s, in particular of its first years but also of the whole development of the decade, which was without a doubt the most fruitful that has occurred in all the leafy History of the rock of our country. Why did this happen? Well, let's make a brief review before entering today's post, that more than a musical publication is a document that reflects a key moment in that story. The first years of Argentine rock took place in a framework of full creativity in which a small group of restless young people gathered in community to share their ideas, influences and opinions regarding a cultural moment boiling, or at least what came out of What they could appreciate from the countercultural explosion that occurred in the late 1960s in the United States. These revolutionary impressions, profound change, reversal of the authority of an adult society prone to the status quo, the retreat to a youth with desire, with creativity and vigor, came to Argentina at a propitious moment. The terrifyingly-called Argentine Revolution - a morsel of rampant irony - that was led by sons of bitches like Juan Carlos Onganía and Alejandro Lanusse was characterized by repressing the youth and their creative ambitions in order to avoid the alleged rise of the dirty red rag that Would copy Argentine democracy (oh irony, who said this was part of a dictatorship!) With its influence to eliminate individual liberties. The reaction was logical: all those youthful moves, which were already beginning to take place, took a clandestine (underground, let's say). The children continued to gather, taking care not to fall into the hands of the cane, and doing theirs without caring - or rather, thinking clearly of the repressive climate that surrounded them. The first bands were born, not yet rock. Initially, what existed were imitations of the initial Beatles, and for that reason to its innocent style, anglophile, pop and simple was called "beat". The neuronal movement, logical, that came from the explosion beat, facilitated the progress, the expansion of the proposals towards horizons somewhat more personal, less imitative. The cultural heritage of Argentine music, very deep, survived the psyches of some of the musicians of the time, who had their concerns anchored in rock but also invariably attended some of the oldest traditions of our country, as The tango and the folklore. With a view to these expressions, some of the most restless, intelligent and virtuous among the many kids who were going around in that cauldron of influences that was the brotherhood that was beginning to form around the Cave of Pueyrredón and La Perla Of Eleven began to think of writing and singing in the language they had heard from the cradle and not in the one that arrived outside the borders. They ventured into a path which, in Spinetta's own words, could make them look like Martians, but they kept on, convinced that this was the way. Judging by the results, reason was not lacking. Their efforts, originally only modest attempts to recreate the foreign forms-from which they could not be totally detached, given the influence they still had in everything that was done musically in the country-but in a local language, they transgressed the established forms And created a new expression. The domino effect this caused made more and more bands of the previously beat turned to this new way of seeing things. Thus, thanks to a couple of restless minds (as always happens, why deny it) began to generate, from a lot of adjacent movements, Argentine rock. Among several, it was precisely those who had made an effort to Spanish, if possible, what was happening in order to be able to communicate it to more restless people: the Almond, Manal and Los Gatos, who were the first to become professionalized and marked The way to all the others with his tenacity and laburo ethics. Those early years, which were more or less from 1966 to 1971, were of trial and error, discovery, dazzling and new attempt to discover. The first discs that came out gave rise to a renewed interest of the record companies by every young man who preached to play rock, and this made to a wave of simple that they served to the labels to test the market: if you walked, they recorded a long duration, If not, to play with the simple ones and playing anywhere, as it were. Also born the first television programs that attended the young culture, direct descendants of the programs.
But it was that same uneasiness, that desire for progress, which led - ironically or not - to the implosion, precisely, to those initiators of our rock. In a period that goes (again, roughly) from the late 1970s to the end of the following year, there were the separations of Almond, Los Gatos and Manal - in that order - each for very different reasons but all with their heads on The same objective: to channel the individual influences that made collective projects into new initiatives, but this time, rather personal. The first reaction of the national culture, however, was of fear and helplessness. Those lighthouses, those obligatory references that guided Argentine rock in its multiple initiatives from an unrivaled creative force, were no longer to help those who were just starting to decide, to collapse behind an ideal. Thus, that 1971 was a crisis and reorganization, a slow but progressive reform of the known to a new and unknown horizon, true to the creative ambition of these kids who were still very young. Already towards the end of '71, but with much more force entered the following year - in my opinion, that is the key period of the rock of here - those referents had initiated a diaspora with marvelously favorable results. Now, instead of three bands, we had many more, all with their own distinctive imprint. Fish, Aquelarre, Human Color, Pappo's Blues, Huinca appeared, all of them to join the new wave of musicians who were inspired by folk songwriters on both sides of the Atlantic and formed a healthy counterweight to some of the most rock Who came from the side of Billy Bond, Italian by birth who had come to our pampas to become a sound engineer and had organized around him a group of transhumant musicians that was called La Pesada del Rock And Roll (and which, For example, the former Manal). Inadvertently for many, this counterweight was transformed by the unfortunate interventions of the press - which sought a new way of polarizing the musicians, separating and compartmentalizing them - and, of course, some personal quarrel among the artists themselves, in A true division of Argentine rock. By 1972, this separation was clearer than ever and expressed in two apparently opposing concepts, never complementary (although in fact they could be, obviously): electric, musicians looking for a root blusera, distorted, electric and heavy in their proposals , And the acoustic ones, which were just the opposite, more prone to melody, intimate lyrics and humble and subtle arrangements. Among the first, of course, La Pesada appeared as a guiding light and main vehicle of diffusion. Among the latter there is a lot of new young people, a lot of young people who want to do their thing, but without a name that will help to carry it, although when Litto Nebbia leaves his Huinca project in favor of a creative alliance with folklorist percusionist Domingo Cura. The cause of these children. The same would occur customarily with other luminaries of the first rock, who would be, who, far from any classification, would pivot with skill between both ways of seeing things, demonstrating their complementarity and trying to move the divisions. The most visible among them would be the great Edelmiro Molinari, who was not content to include some other pastoral and peaceful song in his once electrified and zapado Color Human sponsored his wife, the singer Gabriela, in his way folk of little (?) Accompanying him with his band, but also Spinetta and Del Guercio, among others, would incur more or less frequently in the same variant. We speak of Molinari, however, because it would be central to the history that we will develop today. Noting that the so-called pre-BA Rock, or BA Rock indoors (which was done in the Atlantic theater) would not have much place for songwriters, it was he who had the idea of ​​bringing them together in one place to give them the spread Which they thought they deserved. He met with Nebbia and his former bandmate David Lebón and together they worked out the idea that would give rise to the album that we offer today: a completely acoustic show in which the walls of amps and the distortions in favor of a washed sound are abandoned and Calm that also would serve to present to the new figures of the song. The show took place on June 16, two months before the start of the pre-BA Rock, in the Atlantic Theater itself, and in addition to Nebbia, Molinari, Lebón and Gabriela, a few young people of promising future were presented: the newly arrived Santa Fe Leon Gieco , The ascendant Raúl Porchetto (months before his ambitious debut Cristo Rock), young Miguel Krochik and Carlos Daniel and the duo Miguel and Eugenio. But this is not the most interesting of the whole question, but .........

1. Introducción: Lebón - Molinari.
2. Abre el día - Gabriela.
3. Rodando - Gabriela.
4. Vamos Negro - Litto Nebbia.
5. Cuando - Miguel Pérez, Eugenio Pérez.
6. Si vos sí, no. Si vos no, sí. - Carlos Daniel
7. Cortar el viento. - Raúl Porchetto.
8. Guilmar. - Miguel Krochik- Gregorio Fleicher.
9. Hombres de hierro. León Gieco

- David Lebon / Voz, guitarra
- Edelmiro Molinari / Guitarra
- Gabriela / Voz
- Litto Nebbia / Voz, guitarra
- Raúl Porchetto / Voz, guitarra
- León Gieco / Voz, guitarra, armónica
- Miguel y Eugenio / Voz, guitarras, flautas
- Miguel Krochik / Voz, guitarra
- Carlos Daniel / Voz, guitarra de 12 cuerdas
Petty / Guitarra
Domingo Cura / Bombo, percusión

johnkatsmc5, welcome music..