Sombras inútiles del parque

Pescado Rabioso - Pescado 2 - 1973

When I wrote about their previous album, Desatormentándonos, a few days ago, I mentioned that I thought it was the lesser of their two albums. And I am so glad that I remembered that correctly!
I have listened to this one, their second and last release, quite a few times in the last couple of days, probably more than any album so far.
I hadn't actually listened to the album in full in quite a long time. Not sure how long, I had it in CD and there was a time in which it would be unusual for a week to go by without my playing it. But upon listening to it again, a few things call my attention, which I had sort of forgotten.
The first thing is how much more progressive this album is, compared to the previous one. That one was fully hard / heavy rock, this one is much more varied and, while there are a lot of hard rockers here, there are also many tracks that would not be out of place in a King Crimson or Pink Floyd album.
The other thing, which is marginally related to the previous point, is simply how varied this is. Not only there are more elements of progressive rock, but apart from the heavier tracks, there are folk/acoustic songs, influences of jazz, bossa nova, blues and, of course, tango.
Probably the only thing that I may not be too happy about with this album, is that it is a bit long, being a double album, and that some songs feel a bit like filler, but not much. I guess that, had it been released in the CD era, with a wider range of time, it could have been a longish single album, without a few tracks.
But, all in all, this is a superb album, that really shines at its best moments, of which there are a lot of here.

• As usual with local releases, you can find a link to the full album here. 
• The album opens with a very short track, just a couple of seconds called "Panadero Ensoñado" (something like "Dreamy Baker"), which is a series of mostly guttural sounds that, now I realise, sound a lot like a beat box to me.
• Lyrically, the album was very much influenced by French 19th century poet and adventurer Arthur Rimbaud. 
• Not all the lyrics, though. There's a song called "Nena Boba" ("Stupid Girl"), which Spinetta wrote referring to the bass player's girlfriend. That goes a long way to explaining why the band split up shortly after this album was released.
• The bass player was a new addition to the band, and his name is David Lebon (no relation to Simon). He would go on to form Serú Girán, one of the most important Argentinean bands from the 1970s, so we'll see him again. 
• It is very hard for me to choose a song to post here, so I decided to post two, which doesn't really make it much easier. But I'll put "Como el Viento voy a ver" ("Like the Wind I'm going to see"), an awesome rock/blues, and the last track, "Aguas Claras de Olimpo" ("Clear Waters from Olympus"), also known as "Cristálida", which is one of the most prog / symphonic tracks (it actually includes an actual symphonic orchestra).

In the first, and final, second of forever

Hawkwind - The Space Ritual Alive in Liverpool and London - 1973

It has always annoyed me (and embarrassed me a bit as well) that I know so damn little about this band, and that I have listened to so little by them. 

Especially since they have been repeatedly quoted as one of the main influences for one of my favourite bands, Monster Magnet. 

I do have a couple of their albums and never really took the time to give them a good listen, I guess. And now I'm properly starting by a live album, which in this case may not have been too bad of an idea, because the album sounds damn good and tight, which is not surprising because it seems to be that they would play live all the time, everywhere as long as there was someone wanting to listen. 

So, as far as live albums go, this is a fine example of what a live album should sound like, and it's thoroughly enjoyable, with a lot of brilliant riffs and a rhythm section who had the luxury of having a bass player that one or two of you may have heard of at some time, one Lemmy Killmeister (to continue my embarrassment, I'll go ahead and admit I never knew Lemmy had played here).  He is absolutely brilliant, all of them are. 

Now, Hawkwind were always the personification of space rock at its best (or worst -- at its most would be more accurate), so this is definitely not for everyone, and it's not a short album either, 88 minutes in the original release, plus an extra half hour in the CD re-release. 

So it's not necessarily an easy listen, and I would probably need to give it a couple more listens to have more of an opinion, but I certainly have been impressed, and very much positively so. 

• An ad from the year of the release, promoted the album as "88 minutes of brain damage". It's one of the most honest ads ever. 
• About the influence of Monster Magnet, it's so there sometimes that it's ridiculous. I think that the vocals are much better in MM, but it could be a live thing. 
• According to some sources, in "Brainstorm", drummer Simon King hits the drums at 250 beats per minute. I have no idea, it does seem quite frantic. 
• The song I'm choosing to post here, is "Lord of Light". Not too weird, for the less "space-y" out there, it has a real cool musical exchange between Lemmy and the sax player, and showcases the bass generally very well. It also has a very trippy, very appropriate, fan video.

And also...

Carlos Santana / John McLaughlin - Love Devotion Surrender - 1973

From what I understand, this is an album released by both guitarists, which was inspired by the teachings of an Indian spiritual leader that had moved to the US in the mid 1960s and, at the same time, a tribute to John Coltrane. 

So, yes, basically jazz fusion with chanting. 

Also we have to technically brilliant guitar players. It's sort of funny because I am not exceedingly familiar with either as musicians, and I'm not an expert, or too good for this, but in many places I can easily tell who is playing. Santana is the guy who adds a bit of feeling to the music. McLaughlin sounds like he's just showing off. 

This are two amazing musicians and I'm quite certain that they display their full capabilities and technical prowess here. I'm also quite certain I will not be listening to this one again any time soon.