Aeroblus - Aeroblus (1977) (Remastered, Digipack, 2006) Lossless

Aeroblus -actually it should be “aeroblues”, but the band’s name was misspelled on purpose-, it was a trio formed by Pappo with a Brazilian drummer, Júnior; and the bassist Alejandro Medina that was an ex-member of Manal and other Argentine erratic and tasty projects such Billy Bond y La Pesada for instance; adding to this, the bassist and vocalist Enrique Avellaneda, who is featured in some track, as well.
The album it’s short, as usually happened with these heavy rock LPs released in Argentina during the 70s, particularly by the local Music Hall label (strangely this one was released by Philips that, if I’m not wrong, it is or it was a subsidiary of Polygram); and besides being short, “Aeroblus” it’s stylistically, dare one say “samey”, showcasing a heavy blues/proto metal with not too many variants…but in spite of this, the tunes are truly great, and the spirit, the sound of the band has a power that unavoidably moves you, if you can tell a good from a mediocre band in this genre, and Aeroblus belongs clearly to the league of the good ones.
Aeroblus shows-off some groove and sophistication at the same time, especially I note the strength in the Alejandro Medina’s voice -in the songs he sings-, which it’s quite spectacular. The Pappo’s voice hasn’t that grit and stamina, on the other hand, though he was an original and fine composer and a fantastic guitarist; also his lyrics are obscure and semi-philosophical for moments; getting well fit in to the (for 1977) quite apocalyptic sound.
Apparently the “Aeroblus” project was engendered in Brazil, where Pappo and Medina met the drummer Júnior Castello from the band Patrulha do Espaço (band that would release an album in the mid 80s with Pappo himself as stable member)…the recordings for “Aeroblus”, the album, were finished in Buenos Aires, with a rather low-budget production: nonetheless the technical quality is pretty decent.
I have several favourite tracks to pick from here: “Vine cruzando el mar”, “Nada estoy sabiendo”, “Buen tiempo” (with a killing-heavy wah-wah), “Completamente nervioso”, and the enigmatic “Vendríamos a buscar”, that years later Pappo re-recorded with a different title: “La adivina”, graced with mysterious lyrics that in some moment say:
“If you accepted, it’s because you were with the fortune-teller; and she told you, that we would come for you…”

This album is quite unknown, maybe unfairly , but as final pseudo footnote, I’d like to say that its lyrics are important in context and form: to some extent, the listener who can not understand them, won’t appreciate fully the LP in its intriguing or suggested parts; and incredibly these parts exist, they are there…….

“When in 1974 the guitarist Pappo traveled to England, after one of the solutions Pappo’s Blues, he worked in London even lavacopas, reaching regentear a very suitable for testing basement bands, and there witnessed the formation of Motörhead, which became very friend and may even have been part of them if I had not decided to return. in London he also met Michel Peyronel, UFO and Heavy Metal Kids entering itself enough from the pop metal rock, a direct descendant of hard rock Led Zeppelin and Deep Purple. at the same time Alexander Medina, former bassist Manal and heavy rock had decided to emigrate to Brazil, where he was living his former teammate, guitarist Claudio Gabis. there survived playing in several places where he met drummer Junior Castelho. Upon returning from Pappo, Medina invited him to Sao Paulo to play with him, giving rise to Aeroblus, consisting of both and the aforementioned Brazilian drummer. This trio born in 1976 becoming perhaps the greatest expression of power trio that has given the southern rock. In 1977 they would be presented in Buenos Aires at the Teatro Coliseo, and did not rule introduced in England where the vocalist Rob Stalder group would be added. But by that time in Argentina, and installed the military dictatorship, the music that was imposed was disco music, and things for rockers had become quite difficult, which is why the only board that the trio would reach edit happen at that time almost unnoticed, despite the quality of it, perhaps now more valued than then having already spent thirty years ”. for fans of sounds seventies this album will blow their heads off himself Pappo was in charge of summarizing the musical intention of Aeroblues, as follows:. “Today, people know what you want and what music you are interested, that means an expression that identifies with present. Rock and blues express the freedom that seeks the public attending the concerts; the music we do has nothing to do with business or with politics; rock is a musical expression that has nothing to do with the rest of things. ”