|
|
|
|
viewing 1 To 9 of 9 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
LPM 085LP
|
Melopea Discos present a reissue of Huinca's self-titled album, originally released in 1971. The self-titled Huinca album by Litto Nebbia (Los Gatos), in its ten tracks, brings together a peculiar naivety, so typical of the dawn of a new era. This is still more poignant in countries without a tradition in rock as well as immediate information of what was going on in England or in the USA. And that is its charm, and therefore -- unconsciously -- a watershed in the history of the Argentinian rock. "Gritar Y Amar Es Luchar", with a labyrinthine guitar progression (and eventual solo) -- which seems to be walking behind the whole song -- is a fine example of the best kind of heavy prog pretty much in synch with top Brit bands as Deep Purple, Warhorse, and Atomic Rooster (actually the keyboardist Gabriel Ranelli has an approach very solid, and visceral reminding of Vincent Crane). Harlem brings together a loungy vibe spilled on a cerebral prog tapestry. "Cadenas Y Moneda" is an outstanding blues experiment starting with a classical piano approach and going along in an imagistic guitar innuendo a la Peter Green at his peak. "Yo Soy Tu Voz" and "Alunar" follow a prog-pop diatribe echoing '60s artifacts. Finally, "Chocolate (Para Ud.)" is an expansive and invigorating prog-ballad with a seductive lyrical feel. Following the break-up of Los Gatos -- a truly pioneer group in Argentinian rock, and a well-deserved owner of an established and legendary reputation -- the guitarist, singer and songwriter Litto Nebbia has put together Nebbia's Band, which debuted with a self-titled album. After that, came the emblematic and astonishing Huinca. The quartet was completed by Cacho Lafalce (bass), Gabriel Ranelli (keyboards), and the first league drummer Oscar Moro of the much-loved Los Gatos. The band -- in fact, you may say, it is nearly a Litto Nebbia solo adventure under a band's banner -- released its self-titled album in 1971. Alongside Arco Iris, Vox Dei, and Sui Generis, all starting their careers also in the same year, Huinca was perhaps the sound with more relevant, and robust progressive elements. Therefore, this incandescent creation is crucial in the prog-sound context, and its development through the Argentinian rock. Through decades this idiosyncratic prog-fusion with folk, rock, regional music, and jazz became an expensive, and sought-after item for collectors and alike. Fully restored and remastered from its master tapes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPM 099LP
|
Melopea Discos present a reissue of Litto Nebbia's Melopea, originally released in 1974. Melopea is one of most praised works by Litto Nebbia -- the title of this album, years later, would become the name of his record label and production company. It is an elegant opus in songwriting, and perhaps one of his most song-orientated creations. A subtle pop and prog overtones paint an aura full of identity, and originality. The highlight is the presence of the venerated orchestral conductor, guitarist, and composer Rodolfo Alchourron. He was a master in fusing the tango with jazz and rock and piloted the amazing band Sanata Y Clarificación. Also worth mentioning, there are lyrics of the renowned poet Mirta Delfipo. "La Lección Del Viajero" is a beautiful folk song in a Dylanesque vein. "Gloria Y Guitarra" and "Augurio Del Silencioso" have peculiar Brazilian overtones. "Los Lunes De La Humanidad" (intersected by shivering tango nuances), "Apelación De Otoño" (a very moving interpretation), and the closing track simply called "Final" ("Ending", what a chic finale) are enriched by a flowering orchestration. Enjoy, then, a remastered and restored sui generis pop adventure. Having over 100 albums under his belt, including soundtracks, full productions and collaborations, Félix Francisco Nebbia, as known as Litto Nebbia was born in Rosario, Santa Fé province, Argentina, in 1948. Aside of being a cult name and an artistic institution per se, he can easily display a legendary status as his name appears in over 1200 songs. As early as 1963, he was already playing guitar, and playing lo-key gigs. With his best friend Ciro Fogliatta he formed the first Argentinian rock band in 1966, Los Gatos. He established Melopea, his own company, a pioneer enterprise for discovering and recording upcoming talents as well as being a record label. He has collaborated with well-regarded musicians as Cacho Tejera, Victor Biglione, Zé Renato, Domingo Cura, and Lito Vitale. Welcome to the legendary world of Litto Nebbia!
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPM 089LP
|
Melopea Discos present a reissue of Litto Nebbia's Muerte En La Catedral, originally released in 1973. Muerte En La Catedral, following other four solo Litto Nebbia's albums, and his then, fifth work under the Huinca alias (LPM 085LP), is a consistent "outing" in his solo career. It has a progressive ambience shining through it as well as a liaison with Argentinian roots disposed with subtle lyricism. In songs like "El Revolver Es Un Hombre Legal" and "Mendigo De La Luna" there's a jazzy-pop dressing a la Chicago, If, Blood Sweat & Tears, and Rare Earth, which is a compliment to be taken seriously. "Señora Muerte" works as an experimental space-folk. "Vals De Mi Hogar", as a complex folk trip. The floating vocals arrangements of "Despedida Del Trabajo Nro 2", wrap it up these special flavored songs. Curiously, the trio have an exquisite Brazilian spice recalling directly Clube Da Esquina (1972), the Milton Nascimento and Lô Borges masterpiece (1972). On the gigantic title track, the astute percussive organ meets guitar counterpoints, sounding perfectly like a cross of Terry Kath (Chicago) and Gary Green (Gentle Giant). The bonus track -- never included on its official vinyl release -- "Señora Vida" recalls some of the best bits you can find on the -- back then -- contemporary Italian Prog; i.e. Banco Del Mutuo Soccorso and PFM. Above all, a very solid album, concise in its delivery, and soul. Having over 100 albums under his belt, including soundtracks, full productions and collaborations, Félix Francisco Nebbia, as known as Litto Nebbia was born in Rosario, Santa Fé province, Argentina, in 1948. Aside of being a cult name and an artistic institution per se, he can easily display a legendary status as his name appears in over 1200 songs. As early as 1963, he was already playing guitar, and playing lo-key gigs. With his best friend Ciro Fogliatta he formed the first Argentinian rock band in 1966, Los Gatos. He established Melopea, his own company, a pioneer enterprise for discovering and recording upcoming talents as well as being a record label. He has collaborated with well-regarded musicians as Cacho Tejera, Victor Biglione, Zé Renato, Domingo Cura, and Lito Vitale. Welcome to the legendary world of Litto Nebbia!
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPPR 017LP
|
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.
Beat Nº 1 is the fourth studio album by the Argentine group Los Gatos, released in 1969 by the RCA Vik label. For this album, the band of Litto Nebbia incorporates a young guitarist, still practically unknown, Pappo, who would print a more bluesy and rocky flavor to the group, especially in the following album, 1970's Rock De La Mujer Perdida (LPPR 018LP). A fluid eclecticism plays throughout the album: the beat, Beatles-esque and melodic rock, psych, and the edgy blues, partly because of the incorporation of Pappo, that results in a more determined hard rock. Adding to this the inspirational journey from Nebbia to New York, the new songs denote an evident evolutionary change that goes through the speed mod of "Home", the density blues creeping in "Escúchame, Alúmbrame", and the very psychedelic "Out Of The Law". The Moro-Toth base is full-bodied and comfortable between Cyrus and Pappo; the voice of Litto sounds much harder and mature. There is an interesting exploration of the stereo possibilities (the battery completely thrown for the left channel, for example). The album closes with the extensive "Out Of Law" theme that foreshadows the change of style of Los Gatos; the band was beginning to abandon beat music and psychedelic pop, to delve into more robust and complex.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPPR 019LP
|
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.
En Vivo Y En Estudio consists of material recorded between 1970 and 1971 that remained unpublished until 1987. As its name indicates, it is composed of one side recorded in studio, without the intervention of Pappo, with Toth on guitar and Nebbia on bass. The second side of the original edition contained songs recorded live on December 4, 1970 at the Teatro Odeón in Buenos Aires. At the beginning of 1969, Los Gatos separated momentarily. For nine months, all members of the band, with the exception of Nebbia, traveled around the United States, getting to know the local music, listening to the "greats of the moment" and even recording a simple with an American singer, unpublished. In the interim, Nebbia began his solo career, filming the movie The Strange Long Haired and releasing his first solo LP. Los Gatos would return to the following year with Beat Nº1 (LPPR 017LP), with Pappo in the place of Kay. This album clearly shows the two styles: the melodic of Litto (in "Dream And Run") and the rocker that imposed Pappo ("Home"). In the middle of 1970, Pappo left the group to form his own band. Nebbia would then play bass and Toth took the place of the distant guitarist. "We are making another sound to the whole," they anticipated. Nevertheless the luck was already cast: a series of recitals signed the definitive goodbye to this key group of Argentinian music. From that moment on, Litto Nebbia would continue his solo career.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPPR 014LP
|
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.
Los Gatos is the first studio album by the Argentine band of the same name, released on November 11, 1967 by RCA Vik. After the release of the single "La Balsa/Ayer Nomás", released on July 3, 1967, which sold some 200,000 copies (the first major success of Argentine rock), the RCA company decided to capitalize on its success with the release of the first full-length namesake of Los Gatos, which would see the light of day at the end of that same year. The album included the two songs of the simple, plus ten others composed by Litto Nebbia, voice and leader of the group. The material was recorded in the Studies TNT of Buenos Aires, between April and October of 1967. In 2007, Rolling Stone of Argentina placed it in the 36th position of its list of the 100 best albums of Argentine rock.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPPR 015LP
|
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.
Los Gatos, also known as Los Gatos (Vol 2) or Viento Dile A La Lluvia, is the second studio album by the Argentine band of the same name, published in 1968 by RCA Vik. Although known as Vol 2 or Wind Tell The Rain, the album, like the previous one, had no title; and precisely "Wind Dile A La Lluvia" was the big hit. This LP came as the successor to the debut, which included "La Balsa", and did not have the impact of that one, although it served to consolidate the name of Los Gatos in the nascent scene of Argentine rock.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPPR 018LP
|
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."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LPPR 016LP
|
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.
Seremos Amigos is the third studio album by the Argentine band Los Gatos, released on November 30, 1968 by RCA Vik. Although the band did not manage to obtain simple singles with this album, as they did with their previous releases, the work is widely considered the best by fans and followers. Posted by the RCA Victor label in its VIK division on November 30, 1968, it's the third Los Gatos album and the last album with its original formation, because during the band's tour in Brazil, Kay Galiffi (guitarist) fell in love with Brazil and settled there not to return to Argentina for 39 years, just for the meeting of the group. This record shows Los Gatos a little more psychedelic than in his previous work (the album that brought "Viento Dile A La Lluvia") in themes like "Tomorrow" or "The Girl Of The Umbrella". They even animate a space rock prototype with "When The Year 2000", which was watered down 30 years after by artists such as Daniel Melero.
|
|
|
|