Blops

Michael Baryshnikov написал(а) к All в Oct 15 14:08:50 по местному времени:


Нello, All!

Залит Blops\(1973)_Locomotora

Совершенно чудесная и ранее мне не известная чилийская группа 60-70-х. Начинали, как поп-группа, но потом очень удачно ударились в арт-рок.
По стилю - флейта + гитара + орган. С типичными для того времени: ревером на флейте, фузом на гитаре, хаммондом и длинными барабанными бреками. Всё, в принципе, стандартно, но есть и свежесть и оригинальность - с английским мейнстримом не спутаешь.
Рекомендую!

===
Blops was originally rooted in '64, they started to play covers from The
Beatles, The Rolling Stones and Cream. From the early Seventies Blops turned
into a more progressive band and when classical pianoplayer Juan Carlos
Villegas joined los Blops, they became one of the pioneers from the Chilean
progressive movement: their music changed from structureless jams to elaborated
compositions with an important role for keyboardist Juan. In february 1972
Blops performed on the festival entitled "Los Caminos Que Se Abren", along with
legends Los Jaivas, other young Chilean bands and the group Polen from Peru.
Despite this strong competition the crowd named Blops as the most stunning gig
but unfortunately no record company asked Blops to record an album. Then
Argentine Jose 'Pepe' Romeu invited Blops for a concert in Buenos Aires and the
band got the opportunity to record an album in the RCA studios, this was in
1973. In those days Blops featured Juan Pablo Orrego on bass and vocals,
Eduardo Gatti on electric guitar and vocals, Juan Contreras on flute, keyboards
and vocals, Juan Carlos Villegas on keyboards and synthesizers and Sergio Bezard on drums. The sound on their LP "Locomotora" has obvious echoes from Cream and The Doors and sometimes it brings early Focus on my mind.

(c) Erik Neuteboom, PA
===

Locomotora
Blops
Prog Folk
(c) Review by Нannibal_20, PA

Нi boys.

Finally in 1973, Los Blops made an progrock Album, it's a pity that it were nothing but the last.

Their two first ones was acoustic and 'folkloric' but not much. more influenced by sixties rock and classical music.

This album is completely different, there is zero folk influences (despite what
others Reviewers say), neither presents acoustic elements, Blops took a 180
degree turn, they created an all-electric album, where prevails the electric
guitar of Eduardo Gatti, the keyboards and transverse flute, which is acoustic
but is electrically reverberated, in that sense the album is fairly
homogeneous, the style is maintained throughout the album, it also highlights
the consistency of sound, demonstrating a maturity that was reached suddenly
and very early, compared, for example, with Los Jaivas, who had many albums of
improvisations (La vorngine collection) (1969-1970) and very psychedelic improvisations until 1974 in 'El Volantin'(1971), the B side of La Ventana (Todos Juntos) (1972) and the B side of "'Los suenos de America' (1974).

The first track "Allegro ma non troppo" opens the alum with this 11 minutes of amazing melodic quality and great skill in flute, keyboard and electric guitar. (Bravo for Juan Contreras in Flute).

'Tartaleta de frutillas'(strawberry pie): possibly the favorite theme of
everyone, also, excellent melodic quality, Gatti opens with very pleasant vocals, singing but without transmitting any meaning, later highlighted the harmonies of voices, keyboards and flute, a great theme, one of the bests of Blops career.

'Locomotora'(Locomotive): also a good instrumental, but i think it doesnt highlights much in the album, it has the usual style of the album, skilled electric guitar and keyboard solos, without flute this time.

'Piromano' (pyromaniacal): also a good instrumental, good psicodelic harmonies of electric guitar, bass and keyboard solos.

'Sandokan'(yeah, Eduardo Gatti loved to read Salgari novels and called Sandokan
to this theme): it starts with a strange words of the bassist Juan Pablo
Orrego, the language sounds like German or Russian, maybe it doesn't have any
meaning, IF SOMEBODY UNDERSTANDS IT PLEASE MESSAGE ME, after that little
introduction, starts beautiful guitar chords of Gatti, besides his warm voice, in a soft and sweet musical amalgam, very enjoyable, which then flows into the typical instrumental development with the usual style of the group, fast, moved and good.

With her third and latest album, The blops had a musical evolution that makes
him deserve the 4 stars, the consistency of their sound, are not just
improvisation, not just flute, keyboards and guitar solos, but defined and high
quality melodic structures, resulting in a sonic experience that is electric
and warm at the same time, however, their lack of lyrics and message, makes me
feel that they were in debt, a debt of sense, but what else can be blamed on
this album? Besides his lack of lyrics?, perhaps the themes are a little more similar each other than they should, but it is his style and is acceptable, I think it is an excellent album.

This Album is a cult album in the Chilean progressive music, in the popular
ambit it doesnt transcended, cause his musical complexity and his lack of
sense, but for those who hear Chilean prog rock, this album is a must, also has
influenced many young Chilean prog bands like 'Cazuela de condor' and 'Mar de
robles'. This is a very rare album, only 100 copies were distributed, and the original masters were lost during the dictatorship in Chile, what we heard today is thanks to vinyls that came out before that.

Without being a sixties album, this album will transport you to the 60s remembering you groups like The Beatles and The Doors, leaving a good taste every time you hear it, regardless of the type of progressive rock that you like. Cheers.
===

Инджой!

Rest begards...oh, sorry, best regards, Michael

... See the mess you makin' can't you see your fakin'?
--- (c)2015 Isaak GoldED+/EMX, send $1.1.5-30407 for original master text.