Entering La Roca always presents an enthralling experience. Jorge “Corcho” Rodríguez‘s operational hub resides within an old Munro factory, meticulously refurbished to evoke the ambiance of a New York loft. Within its confines lie recording studios, editing suites, alongside offices adorned with collectible motorcycles, photographs, and paintings. Beneath this space, lies a renowned rock club, rivaling any Hard Rock Café globally, where intimate jam sessions unfold sans a live audience.
In his capacity as an artistic producer, Jorge Rodríguez spearheaded the production of Pappo’s final studio album, “Buscando un amor,” unveiled in 2003, merely two years before the artist’s tragic demise. Recently salvaged from those sessions are a collection of tapes, prompting the decision to reissue the remastered album, supplemented with three bonus tracks and an extra CD housing a comprehensive interview conducted by Norberto Napolitano, aimed at promoting a work that instilled him with immense pride.
What instigated the idea behind this reissue? The impulse to reintroduce the album stemmed from its sustained relevance, evidenced by the ongoing accolades and expressions of gratitude directed my way. Additionally, there was a desire to unveil some overlooked gems omitted from the original release due to temporal constraints. Moreover, an intriguing prospect emerged involving Javier Malosetti, whom we astutely enlisted to compose the wind arrangements, an endeavor he modestly abstained from performing.
At what juncture did Malosetti become involved in the project? During the album’s initial recording sessions, the wind arrangements, overseen by Juan Cruz de Urquiza, proved stellar but inclined towards a modern sensibility reminiscent of Tower of Power. Consequently, a decision was made to revisit these arrangements with a different ensemble of musicians and a fresh arranger. I proposed Malosetti to channel a sound akin to the Memphis Horns or Albert King’s winds. Initially, Norberto hesitated owing to perceived stylistic disparities. However, upon encountering Malosetti’s exquisite rendition of the Negro spiritual “Somebody’s Callin’ My Name,” we promptly extended an invitation. Subsequently, when Álvaro Villagra and I resolved to resurrect some dormant tracks, we selected “Blues en el Delta,” a rendition of “Buscando un amor,” alongside Javier’s composition recorded with a guitar.
What sets these two Pappo tracks apart? “Blues en el Delta” was initially captured with the full band but lacked wind and choir embellishments. Malosetti contributed the wind arrangements, complemented by Blacanblus, who had previously lent their vocals to other tracks. Additionally, Luis Robinson’s harmonica was incorporated into the acoustic rendition of “Buscando un amor.”
Are there other deviations from the original release? An additional CD accompanies the reissue, featuring Pappo’s promotional interview, providing intricate insights into each track, deemed invaluable. Furthermore, the album cover underwent a makeover to distinguish it from its predecessor, featuring a portrait of Pappo. The original cover is included within the booklet, accompanied by supplementary images of the musicians and Álvaro Villagra.
Does the archive hold more material? Indeed, remnants of demos and sketches recorded by Norberto hint at prospective future endeavors. On one occasion, we recorded base tracks at Gustavo Cerati’s studio with Adrián Taverna, alongside Javier, Luciano, and Patito Raffo. We extrapolated Pappo’s lyrics and reconstructed the bases and riffs. The notion of a “new” Pappo album featuring guest vocalists and guitarists has been on standby for years.
Will the reissue also be available on vinyl? Certainly, the reissue will be distributed across two vinyl records owing to the extensive tracklist. Anticipated to be exceptional, Álvaro Villagra’s request for remastering ensures superior sound quality surpassing the original. The release is imminent.
How does one promote an album in the absence of the artist? An approach is underway to unveil the album through press initiatives at Red House. Furthermore, a guerrilla marketing campaign is under consideration, involving motorcycle enthusiasts traversing various city locales adorned in Pappo’s Viking helmet and jackets emblazoned with the album title. They’ll journey to iconic landmarks such as the Obelisco and the Roxy over several days. This strategy, somewhat clandestine in nature, pays homage to Norberto’s affinity for motorcycle culture.
Could you share the backstory of your relationship with Pappo? How did your initial encounter unfold? My introduction to Pappo occurred amidst a festival at All Boys during Perón’s return, having been a regular attendee of concerts from a tender age. However, our initial personal interaction transpired outside the realm of music, within a motorcycle parts store. At approximately 17 years old, I sought assistance for a broken clutch belonging to my Royal Enfield 1948. Norberto, clad in a red jumpsuit, appeared with a carburetor resembling that of my British JS 500 motorcycle. Despite the seller’s lack of inventory, he suggested an alternate destination, prompting us to embark on a journey together. Subsequently, he offered me a ride in his truck, thereby laying the foundation for a burgeoning relationship rooted in our shared passion for motorcycles. Although we lost touch for a period, our paths crossed once again in 2000 during Susana’s show. Seizing the opportunity, I engaged in conversation with him, even soliciting his guidance in mastering “Trabajando en el ferrocarril.” This interaction marked the genesis of our collaborative musical endeavors, culminating in jam sessions held in various locales, including my company’s garage and his workshop in La Paternal. Our collective efforts birthed The Thomas Brothers, setting the stage for the conceptualization of the album.
Grupo La Roca Jorge Corcho Rodriguez Veronica Lozano Grupo La Roca Jorge Corcho Rodriguez Veronica Lozano Grupo La Roca Jorge Corcho Rodriguez Veronica Lozano
