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IN STOCK
01. LOS GATOS - Rock De La Mujer Perdida
02. LOS GATOS - Requiem Para Un Hombre Feliz
03. LOS GATOS - Los Dias De Actemio
04. LOS GATOS - Invasion
05. LOS GATOS - Mujer De Carbon
06. LOS GATOS - No Fui Hecho Para Esta Tierra
07. LOS GATOS - Porque Bajamos A La Ciudad
08. LOS GATOS - Blues De La Calle 23
ARTIST
TITLE
Rock De La Mujer Perdida
FORMAT
LP

LABEL
CATALOG #
LPPR 018LP LPPR 018LP
GENRE
RELEASE DATE
10/6/2017

Melopea Discos celebrates 50 years of Argentine rock with the remastered editions of the complete discography of Los Gatos, after 25 years of absence in record stores. After spending 15 years out of the market, and to mark the half-century existence of these anthological records, the band members themselves have decided to publish the complete discography. Remastered by Los Gatos.

Rock De La Mujer Perdida ("Rock Of The Lost Woman") is the fifth and last studio album by the Argentine group Los Gatos, released in 1970 by the RCA Vik record label. After a first estrangement from the band, the rest of the group, except Litto Nebbia, traveled to the United States in search of new musical influences in 1969. This brought enough changes in the band; the group will leave aside the beat rock to transform its sound into something much more bluesy and akin to harder rock n' roll. The songs "Rock De La Mujer Perdida" ("Rock Of The Lost Woman") and "Mujer De Carbon" ("Woman Of Coal"), among others, prove it. This LP with the passage of the years would be considered the best of Los Gatos and one of the best of Argentine national rock. Originally the album was going to be titled "Rock Of The Rotten Woman", but due to censorship problems, they had to change it. According to Nebbia himself, "the record company seemed very aggressive and I changed the title. At that moment I thought it was fine, that the essence was the same." Litto continues: "On the cover, we wanted a woman who responded to the bohemian character referred to in the lyrics of the song. . . . and we found this girl who was working in a boutique in the East Gallery, on Santa Fe Avenue." The first photograph that saw Ciro Fogliatta and Bony for the cover was of a bank of images, in which the model, according to the keyboardist, "was three times as fat and dressed in spectacular black lingerie." He goes on: "We could not get the rights, but we set out to maintain that spirit. It's a very crazy cover, because that story was going around that claimed that the mine of the photo was me, dressed as a woman. A lot of people, if you told them it was me, you threw their morale down. That is very Argentinean."