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Reissue of the first album by Leño, the foundation stone of Spanish hard rock and a record which has been massively influential for over 30 years since its release in 1979. Their sound, with influences ranging from blues rock to prog, and their defiant attitude established a blueprint adopted by different generations of urban rock bands, right up to today. In Spain, the Church of Hard Rock considers Leño's first LP its gospel. Several generations of Spanish bands have developed under the guidance of Rosendo Mercado, leader of the band and affable pontiff of this institution. In fact, 2010 has seen the release of a tribute double CD to Leño titled Bajo La Corteza ("Under The Bark," which makes a reference to the band's name, which means "Log"). It's important to remember that Madrid's rock scene spent a good part of the '70s in clandestinity; only after the death of dictator Francisco Franco did it come out of the catacombs. In the book Rosendo: Rock En Las Tripas (Guía de la Música, Madrid, 1994), Pedro Giner detailed the miseries of the band members' previous groups such as Fresa or Ñu, and even Rosendo's struggles during his military service in a Western Sahara under war threat. The urgency to communicate can explain this debut's fury, made without many means: it was recorded in 70 hours, including mixing. The repertoire ignores conventional structures: over five minutes of the first track, "Castigo," go by before Rosendo's voice rises, rough and menacing. Although the guitarist admitted he was influenced by British guitarist Rory Gallagher, Leño's first steps go beyond the blues-rock canon, trying to crush mental structures. "El Tren," which Rosendo used to play with Juan Carlos Molina in Ñu, was an invitation to an LSD trip. Although there were some pastoral moments in Leño, the band stood out for their belligerent reaction towards their environment. They sing of a city where "not even the rats can live," and the track "Este Madrid" also points at the disappointment of a democracy where the powerful can impose their will (and the former rebels are happy to just get high). Rosendo had no patience either for a society which, after years of rejection, couldn't wait to embrace rock music as a symbol of modernity. "El Oportunista" ironically talked about punk and businessmen who "invest one and get ten in return." He didn't know how much that opportunism was going to cost him: the band had signed an onerous contract and, when they split in 1983, its members had to give up all their rights in order to obtain artistic freedom. The record cover also requires an explanation: it represents the replacement of the bass player, with the departure of Chiqui Mariscal and the arrival of Tony Urbano. The overall look reveals they followed the photographer's orders, who tried to create a kind image which didn't correspond with the harshness of the grooves. Liner notes in Spanish and English, pressed on 180 gram vinyl in a limited edition of 1,000 copies only. Gatefold sleeve.