s1rrah
Headphoneus Supremus
- Joined
- Sep 27, 2007
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[size=medium]Piel De Pueblo - Rock De Las Heridas[/size]
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[size=large]OMG![/size]
If you've ever wondered where today's Stoner Rock genre comes from ... then, oh man ... you gotta hunt down this sick sick 70's era Argentinian group.
The guitar leads are ... just ... well ... just find it and listen.
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From a popular review site:
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Tracklist: Silencio Para Un Pueblo Dormido (4:43), La Tierra En 998 Pedazos (9:09), Jugando A Las Palabras (3:45), Por Tener Un Poco Más (3:04), Sexo Galáctico (5:55), La Pálidia De Nacho (2:50), Vení Amigo A La Zapada (3:05), El Rockito De La Bufonada (2:53)
Short-lived Argentinean four-piece, Piel De Pueblo, released a single album back in 1972 before the members went their separate ways. Those members were Pajarito Zaguri (guitar and vocals), Nacho Smilari (guitar), Willy Pedemonte (bass, piano and vocals) and Carlos Calabró (drums). The album is an interesting blend of psychedelic hard rock which is very much of its era. Very highly regarded amongst collectors and connoisseurs of the genre, this is the first release on CD.
Opening track Silencio Para Un Pueblo Dormido sets the tone with a solid and rhythmic bass and drums backing wailing guitars. The sound is quite reminiscent of Cream in free flight, with the bass holding down a melody under the soloing guitar. The lengthiest track on the album, La Tierra En 998 Pedazos goes through several changes with the introductory section featuring the only piano on the album, mostly noticeable when the piano strings are strummed! The rest of this track and the next one, Jugando A Las Palabras, are laden with lead guitar breaks that are both fluent and full of bite.
Por Tener Un Poco Más features the electric violin of Héctor Lopez Furst which initially holds down the melody in conjunction with the bass and then takes a frantic solo. Interestingly the guitar is quite far back in the mix which gives the song a slightly different emphasis. Plaudits on the interestingly named Sexo Galáctico, belong to Pedemonte for some magnificent bass playing, although the track does tend to degenerate into a mass free-for all towards the end. La Pálidia De Nacho and Vení Amigo A La Zapada continue in a similar style, although the first of these two tracks has rather less soloing and more chordal backing from the guitars and the second is marred by a relatively poor vocal delivery. Final track El Rockito De La Bufonada has more of a blues tinge to it with the violin once again adding an extra dimension to the sound.
The album is a sort of hybrid between the psychedelic / garage fuzz bands of the mid to late 1960s and groups such as the aforementioned Cream and Mountain with a fair dose of proto heavy rock thrown in for good measure. The driving bass and soloing guitars will certainly find favour with fans of this genre of music, even if the vocals, all sung in Spanish, are a bit forceful and are slightly lacking in melodic flavour.
...
...
[size=large]OMG![/size]
If you've ever wondered where today's Stoner Rock genre comes from ... then, oh man ... you gotta hunt down this sick sick 70's era Argentinian group.
The guitar leads are ... just ... well ... just find it and listen.
...
From a popular review site:
...
Tracklist: Silencio Para Un Pueblo Dormido (4:43), La Tierra En 998 Pedazos (9:09), Jugando A Las Palabras (3:45), Por Tener Un Poco Más (3:04), Sexo Galáctico (5:55), La Pálidia De Nacho (2:50), Vení Amigo A La Zapada (3:05), El Rockito De La Bufonada (2:53)
Short-lived Argentinean four-piece, Piel De Pueblo, released a single album back in 1972 before the members went their separate ways. Those members were Pajarito Zaguri (guitar and vocals), Nacho Smilari (guitar), Willy Pedemonte (bass, piano and vocals) and Carlos Calabró (drums). The album is an interesting blend of psychedelic hard rock which is very much of its era. Very highly regarded amongst collectors and connoisseurs of the genre, this is the first release on CD.
Opening track Silencio Para Un Pueblo Dormido sets the tone with a solid and rhythmic bass and drums backing wailing guitars. The sound is quite reminiscent of Cream in free flight, with the bass holding down a melody under the soloing guitar. The lengthiest track on the album, La Tierra En 998 Pedazos goes through several changes with the introductory section featuring the only piano on the album, mostly noticeable when the piano strings are strummed! The rest of this track and the next one, Jugando A Las Palabras, are laden with lead guitar breaks that are both fluent and full of bite.
Por Tener Un Poco Más features the electric violin of Héctor Lopez Furst which initially holds down the melody in conjunction with the bass and then takes a frantic solo. Interestingly the guitar is quite far back in the mix which gives the song a slightly different emphasis. Plaudits on the interestingly named Sexo Galáctico, belong to Pedemonte for some magnificent bass playing, although the track does tend to degenerate into a mass free-for all towards the end. La Pálidia De Nacho and Vení Amigo A La Zapada continue in a similar style, although the first of these two tracks has rather less soloing and more chordal backing from the guitars and the second is marred by a relatively poor vocal delivery. Final track El Rockito De La Bufonada has more of a blues tinge to it with the violin once again adding an extra dimension to the sound.
The album is a sort of hybrid between the psychedelic / garage fuzz bands of the mid to late 1960s and groups such as the aforementioned Cream and Mountain with a fair dose of proto heavy rock thrown in for good measure. The driving bass and soloing guitars will certainly find favour with fans of this genre of music, even if the vocals, all sung in Spanish, are a bit forceful and are slightly lacking in melodic flavour.
