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LP
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LPM 085LP
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Melopea Discos present a reissue of Huinca's self-titled album, originally released in 1971. The self-titled Huinca album by Litto Nebbia (Los Gatos), in its ten tracks, brings together a peculiar naivety, so typical of the dawn of a new era. This is still more poignant in countries without a tradition in rock as well as immediate information of what was going on in England or in the USA. And that is its charm, and therefore -- unconsciously -- a watershed in the history of the Argentinian rock. "Gritar Y Amar Es Luchar", with a labyrinthine guitar progression (and eventual solo) -- which seems to be walking behind the whole song -- is a fine example of the best kind of heavy prog pretty much in synch with top Brit bands as Deep Purple, Warhorse, and Atomic Rooster (actually the keyboardist Gabriel Ranelli has an approach very solid, and visceral reminding of Vincent Crane). Harlem brings together a loungy vibe spilled on a cerebral prog tapestry. "Cadenas Y Moneda" is an outstanding blues experiment starting with a classical piano approach and going along in an imagistic guitar innuendo a la Peter Green at his peak. "Yo Soy Tu Voz" and "Alunar" follow a prog-pop diatribe echoing '60s artifacts. Finally, "Chocolate (Para Ud.)" is an expansive and invigorating prog-ballad with a seductive lyrical feel. Following the break-up of Los Gatos -- a truly pioneer group in Argentinian rock, and a well-deserved owner of an established and legendary reputation -- the guitarist, singer and songwriter Litto Nebbia has put together Nebbia's Band, which debuted with a self-titled album. After that, came the emblematic and astonishing Huinca. The quartet was completed by Cacho Lafalce (bass), Gabriel Ranelli (keyboards), and the first league drummer Oscar Moro of the much-loved Los Gatos. The band -- in fact, you may say, it is nearly a Litto Nebbia solo adventure under a band's banner -- released its self-titled album in 1971. Alongside Arco Iris, Vox Dei, and Sui Generis, all starting their careers also in the same year, Huinca was perhaps the sound with more relevant, and robust progressive elements. Therefore, this incandescent creation is crucial in the prog-sound context, and its development through the Argentinian rock. Through decades this idiosyncratic prog-fusion with folk, rock, regional music, and jazz became an expensive, and sought-after item for collectors and alike. Fully restored and remastered from its master tapes.
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