Vinilísssimo presents the 1978 debut album by seminal Spanish rockers La Banda Trapera Del Río. "Cornellá -- a satellite town on the outskirts of Barcelona, a depot for immigrants abandoned to its own rotten luck. Spain -- a country that had been in the dark for 40 years, then pushed to make a quick move if it wanted to join the capitalist orbit. La Banda Trapera Del Río arrived by pure surprise within such a confused context, with devastating certainty and precise aim. Their uniqueness was their ability to naturally present a social critique of the two realities they belonged to, without any other mirror than their own reflection. 'Nobody is nothing,' they said, 'we are everything.' Their conscience was exposed to working class militance and they were musically anointed in the hard rock that was blasted in bars and discos at the time, but La Trapera possessed their own will. Arrogant, provocative, disobedient, they provided a mythical and poetic credibility to the plain character of the outskirts' juvenile delinquent. Through their music, La Trapera forged a new archetype: the curriqui, i.e. the little thief that lives precariously, an expert in other people's car radio cassette. With hash, a Xibeca beer and proletarian cheekiness, unafraid to speak their mind, with nothing to lose, they didn't give the curriqui a revolutionary voice, but they gave him something to think about. La Trapera only wanted to have as much fun as possible. If they wanted to change anything, it was the collective perception of a rock scene that, in their eyes, had become complacent. In order to do that, they had their singer Morfi Grei's shocking stage immolation, Raf Pulido's naturalist lyrics and the inspired guitar of Tío Modes, without forgetting about the enthusiasm of their manager, Chiri, and the contacts of Carlos Carrero. The latter was one of the few receptive and independent journalists in the local press, and acted as a Svengali who, among other things, got them a contract with Belter, the Mecca of Spanish popular music, the only record label that gave them a chance, without knowing the risks they were taking. Produced by Carrero, and the origin of a stir in stuffy circles, their first single, a daring call for menstrual normalization, appeared in the same period that produced the debuts of Madrid's Burning and Ramoncín & WC, originators of the cheli sound. Although they came out the losers out of those three bands in the commercial sense, La Trapera were winners in the legend stakes. Their first LP was released a year after it was recorded. Just 500 copies reached the record shops. When the band split up, leaving an unissued second album, that first LP remained an isolated statement which captured all the mystery they left behind. Successive generations got to know the band through the oral transmissions of the traces left by their seminal gigs. Many would see the light thanks to the countless bootleg tapes of their LP that spread around the street markets of Madrid and all over Spain. Apart from their live energy, the essence of La Trapera is preserved intact. A frantic collusion of blues rock, hard rock, prog and proto-punk, their eclecticism is still surprising, charting the path of a precocious evolution that would take shape in their best and most remembered songs. Although they reformed years later, never again would La Trapera be as immediate and universal, nor would they enjoy a more fertile balance between chemistry and skills." --Jaime Gonzalo; 180 gram vinyl in a limited edition of 1,000 copies. Includes an insert with liner notes in Spanish and English.