Entering La Roca always offers an enchanting experience. Jorge “Corcho” Rodríguez’s operational hub is a renovated old Munro factory, artfully transformed to resemble a New York loft. Within its walls lie recording studios, editing suites, alongside offices adorned with collectible motorcycles, photographs, and paintings. Below, a renowned rock club, rivaling any Hard Rock Café worldwide, hosts remarkable jam sessions devoid of a live audience.
In his role as an artistic producer, Jorge Rodríguez masterminded Pappo’s final studio album, “Buscando un amor,” released in 2003, just shy of two years before his tragic accident. Recently, a cache of tapes from those sessions emerged, prompting the decision to reissue the remastered album, embellished with three bonus tracks and an extra CD featuring a lengthy interview conducted by Norberto Napolitano, showcasing a labor of love that filled him with pride.
How did the concept for this reissue materialize? The genesis of this reissue was multifaceted. It stemmed from the enduring relevance of the album, evidenced by continuous praise and gratitude from admirers. Additionally, there was an eagerness to reintroduce some overlooked gems omitted from the original release due to time constraints. Furthermore, an intriguing plan involving Javier Malosetti emerged, whereby his talents were enlisted to compose wind arrangements, a task he undertook with humility, refraining from seeking a performing role.
When did Malosetti become involved in the project? Malosetti’s inclusion occurred during the initial recording sessions for the album when the wind arrangements, executed with Juan Cruz de Urquiza, showcased promise but leaned towards a modern style reminiscent of Tower of Power. Subsequently, a decision was made to re-record them with different musicians and another arranger. Despite initial reservations from Norberto regarding stylistic differences, Malosetti’s exceptional rendition of the Negro spiritual “Somebody’s Callin’ My Name” proved decisive. Later, when Álvaro Villagra and I resolved to revive some remaining tracks, “Blues en el Delta,” a rendition of “Buscando un amor,” and Javier’s composition recorded with guitar were selected.
What sets these two Pappo tracks apart? “Blues en el Delta” was initially recorded with the full band but lacked wind and choir arrangements. Malosetti contributed the wind arrangements, while Blacanblus, who had previously provided vocals on other tracks, contributed the choir. Additionally, Luis Robinson’s harmonica was incorporated into the acoustic version of “Buscando un amor.”
Are there any other deviations from the original release? Another CD accompanies the reissue, featuring Pappo’s promotional interview where he provides insight into each track. This addition was deemed immensely valuable. Moreover, the album cover underwent a makeover to differentiate it from the previous edition, featuring a photograph of Pappo. The original cover is included in the booklet, alongside additional photographs of the musicians and Álvaro Villagra.
Is there more unreleased material in the archives? Several demos and sketches recorded by Norberto remain, hinting at potential future projects. Notably, base tracks were recorded in Gustavo Cerati’s studio with Adrián Taverna, alongside Javier, Luciano, and Patito Raffo. Pappo’s lyrics were extracted, and the bases and riffs were reconstructed. This notion of a “new” Pappo album with guest vocalists and guitarists has been shelved for years.
Will the album also be released on vinyl? Indeed, it will. In fact, it will span two vinyl records due to the abundance of tracks. Promising enhanced sound quality beyond the original, Álvaro Villagra requested a remastering process. The release is imminent.
How do you promote an album in the absence of the artist? Promotion strategies include a press launch at Red House and a guerrilla marketing campaign featuring motorcycle riders traversing various city locales. Adorned with Pappo’s Viking helmet and jackets bearing the album title, they will visit iconic spots such as the Obelisco and the Roxy over several days. This underground approach pays homage to Norberto’s motorcycle culture persona.
Could you share the backstory of your relationship with Pappo? How did you initially meet? My introduction to Pappo occurred through attending concerts from a young age, likely witnessing him perform at a festival at All Boys during Perón’s return, followed by numerous subsequent concerts. However, our first personal encounter took place at a motorcycle parts store rather than a musical setting. At around 17 years old, I found myself at a store in Warnes with a broken clutch from my Royal Enfield 1948 in hand. This chance encounter led to Norberto offering me a ride in his truck, sparking a relationship centered around motorcycles. Despite losing touch for a period, we reconnected in 2000 on Susana’s show, where a conversation ignited a renewed musical collaboration. From impromptu jam sessions in garages to formal rehearsals, our partnership evolved, culminating in The Thomas Brothers and the subsequent planning of an 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
