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And Pappo's not leaving! And Pappo's not leaving! The clamor of a burning stall was on stage by both pure and hard rock. Thank you for the fire, that black Gibson Les Paul of the dilect son of Buenos Aires, Carpo who established connections from Spinetta and Charly Garcia to The Paranoid Mice and Soda Stereo but also between Carlos Gardel and B.B. King. A whole walking musical encyclopedia, legend before he was legend, Pappo was much more than a guitar virtuoso, composer inspired by vital flashes, “Follow your routine, /Without realizing that, /Your life will end”, and an instrumentalist able to put the immortal bass in Moris's classic “The Bear”, or the exquisite piano in “32 pots” by David Lebon. Not to mention his participation in the dawn of British heavy metal, or in carrying trumpicons riff who would insist on the Spanish rockers. On the 71st anniversary, Pappo continues on the routes accelerating engines and hearts, “I am a national rock musician. Rock didn't make it up, but my music is national because it's made here. It can have many roots and influences of Chuck Berry, from the Stones Because there's everything, but it's the same as if you're going to make a phone. And you're doing it here, national. But the phone was not invented in Argentina. It was clear, wasn't it? Shall we leave him there? in 1981, he ended up frankly, between laughter, to the magazine “Expreso Imaginario”, the Latin American artist who reimagined blues and rock from La Paternal.
“I remember very little in Santa Isabel, in Santa Fe. It is a small town where I think I was born; there or in Buenos Aires, I don't know where I was born, I think in Buenos Aires, but I was in both places” said Norberto Aníbal Napolitano, born on March 10, 1950. Together with his metallurgical father, a poet mother, a grandmother tantrum and a concert sister lived in Artigas at 1900 from the Capital, “I played guitar since I was 8 years old. At 15 I started with electric guitar. I did a thousand sets but I didn't find the group I was looking for. So I didn't want to do more ensembles and worked as a musician in La Cueva. One day Carlos Bisso came and told me about getting into Connection No. 5 and I accepted and worked with him until a month ago,” Pappo recalled his beginnings in 1969 in the beat group of Bisso after joining the first formation of Los Grandparents de la Nada, “I preferred change because this is something else, I can do more what I want. Conjunto is a sacred word and I wasn't in Connection. Instead here I feel like a member of the group. I stopped doing recitals and I dedicate myself to Los Gatos alone. I'm very happy because we're all the same. We are cut by the same scissors,” a barely teenage musician ended up, and who was part of Litto Nebbia's ensemble, the most popular in Argentina within the so-called “progressive music”, in the company of Almendra y Manal - where Pappo had also participated in insistence by Claudio Gabis, and which represented more the rough blouse sound that exploded on the musician's fingers, close to his beloved Eric Clapton, and unusual among Spinetta's delicacy, Javier Martínez's bloused jazzy and Vox Dei's songbook.
“Finally, that day came,” signed the mythical producer Jorge Álvarez in the back of the mythical “Pappo's Blues Volume 1” from 1971, today fifty years from an album that will influence our music enduring from Pescado Rabioso to Los Spiritas, “El Viejo”, “Where is freedom” and “The Suburban Man”, some of the temazos, “Pappo appeared with more peace and madness than ever and said, “Yes now yes.” From there everything went very fast: with Davies -David Lebón-, an excellent violist became a solid bass player and with Black -Amaya-, the drummer of so many memorable zappadas Pappo's Blues was born. From rehearsals to the recording room was a step. The exuberance, the fabulous ability for the improvisation of Pappo and his guitar, a strong and rich rhythmic base were making them a trio that amazed those who attended - including technicians - to that incredible series of sessions” closes Álvarez” Please leave me, /or I'm going to go crazy, /I'm not who to be, /everything I am” in “Something has changed” anticipated the countless doors that Pappo would open in the seventies, going and coming between Argentina and Europe. Of the first formations of Pappo's Blues, which were mixed with Billy Bond's La Pesada del Rock and Roll lineups, one was the most finished exponent of musical virtuosity and suburban philosophy of the guitarist. Maybe because Pomo Lorenzo and Machi Rufino are not limited to the bases and in “Pappo's Blues Volume 3” they fly through the air with the Carpus, there the tremendous “Stratocaster boogie” And the valves turn on red-hot with “Dirty and messy”, “Crumb sandwiches”, the mortí blosero ; fero “It's always the same, baby” and the electrically thoughtful “South of the city”, “Since we live/in the south of the city, /I have never stopped, /but never to observe. /An old man has/it is customary to walk, /always thinking, /but he can never speak” Prophecy fulfilled from the tough dictatorial years to come .
“Finished Aeroblus,” said Pappo at the end of the seventies of the hard rock experience, half Argentine, half Brazilian, which made the debut of a teenager Miguel “Botafogo” Vilanova, “and I went to Spain. From there to England and then to Germany. I've been playing in all those places. In England I played with Peter Green's band. It was amazing. I was sapping with Lemmy, Motörhead's bass player. One day Peter Green came to the studio, was looking for musicians and asked me if he wanted to play guitar in his band because he could no longer play. Sure... I pulled everything out, that otherwise, I would have been in Motörhead. I missed a first one, but at that time seeing Peter Green was like seeing Jesus Christ. We went on tour for six months in England. When he finished, he went back in because he was half crazy and I traveled to Germany, at the request of a German drummer I met in England. I played six months at a club called Top 10, in a very low district of Hamburg, in the harbor. There are all the boliches, Chinatown, prostitution, drugs and mafia. From Germany I had to run because the contract ended. I stayed in balls on a very cold street” Pappo would return to the country to form his most existent group, Riff.
In 1980, Carpo decided to say goodbye to Pappo's Blues, although throughout his career he would return with different line-ups, and welcome Riff, a group in which he was accompanied by Vitico on bass, Michel Peyronel on drums and Boff on second guitar. The first LP of the group was called “Ruedas de metal” and was recorded by the label Tonodisc in 1981 in the recording studios of ATC -current Public Television, there were also the first video clips of Argentine rock. The success of this plate resulted in the edition of a second work in the same year, “Macadam 3,2,1,0", and completed the following year in “Contents”, which contains the fundamental “Susy Cadillac” and “Screen of the New World” , “I wish you a lot of luck/human being of the past /Change will be fatal/And your new world, used! While the experience lasted less than three years, serious acts of violence tarnished the recitals, the impact was major on the numb local scene and, practically, he invented the Argentine heavy metal, which in turn cast its shadow throughout Hispanoamerica , “it's hard to play rock'n'roll. Don't think it's easy to touch heavy metal. I start playing melodic songs, with a thousand tonitos, and they're perfect, right away. But I get to play heavy rock and it doesn't come out so perfect. I have to do a lot of work to do something good. Rock must be compact and for that it takes the whole group to pull the same side,” he would say to Pelo magazine in 1982, at the forefront of heavy sound, something I had already anticipated in the same magazine ten years before when he foreshadowed a musical evolution towards a “ball of destruction & rdquo;. Heh.
More airports, and Riff's transient formations, find Pappo playing in Los Angeles with the Widow Makers in 1989, which had little impact, and disregard for producers and recorders. “I started working in the workshop, I put together a mobile home, put together a Chevy to run,” he admitted in the times when the best guitarist in rock history could be seen in his beloved neighborhood under cars, in the family mechanic workshop Juanse always came to visit me, until one day he said to me: “I got out of under the cars, put something like people, we're going to Velez to play Keith Richards support..! I didn't think of playing anymore. And there I started playing back” she confesses the decade that molded bronze to Pappo.
“One day I went by Álvaro Villagra's Abasto studio and asked him how much he would rent fortnight. I called Vitico, Black, Luis- Robinson, Alejandro- Medina, Javier Martinez, Yulie Ruth and so we recorded.” Blues Local” We recorded it for us. I don't know how many thousands of records... How will I explain that”, I would admit between astonished, and resigned, the tanned Pappo “Mi vieja”, composed by Sebastián Borensztein to be played in a sketch on the program “Tato de América”, propelled the double platinum album, the first he would receive in his entire career “Because it is not known, it does not mean that it has never existed; /in the early morning, he could give him freedom; /his great answer was not betray himself inside,” says the fine composer at the moment when fame smiles at him, with apotheotic shows throughout the country “Pappo is still alive” is the plaque that records what best of those times - and it refers to the car accident that almost costs his life on Route 9” Tonight we are very proud to have a special guest from Argentina, one of the great ones in the world. Ladies and gentlemen, from Argentina: Pappo. That's what blues sound there,” said B. B. King in 1993, one of the greatest musicians in American history, while Carpus took its place and a tear escaped at Madison Square Garden. We have to go back to Carlos Gardel for such recognition in New York.
He debuted as an actor in the strip “Carola Cassini” in 1997, which soon the musician would define as “a shame”, Pappo, a man of politically incorrect phrases and attitudes, and remains without a record contract although he is the main course of any rock festival that respite. In 2000 “PAPPO & Amigos”, a new double plate, constitutes the well-deserved recognition of subsequent generations, with guests such as Divididos, Almafuerte, La Renga, Juanse, Adrián Otero, Andrés Calamaro and his son Luciano, in a spectacular version of “Train of the 16" It was the anteroom for his best produced and performed production, in another creative peak of Carpus, “Looking for a Love”, an album that included novel wind arrangements, by Javier Malosetti, and Blacanblus choir “Juntos a la par”, a fabulous ballad composed by Yulie Ruth, “Rock and Roll and fever”, “Katmandu & quot;, “Looking for a love” and the beautiful “Maybe tomorrow my boat will leave/behind that wind that made it come, /and with that wind too I'll go, /behind that boat forever maybe”
They are the honeys of endless applause with Pappo's Blues and Riff, alternating solo concerts with Juanse and Botofogo, on what stage they put in front. In the first decade of the millennium it has the height of an Argentine myth . On February 22, 2005, it performs at the Festival of All Peoples, in front of 40,000 fans in Villa Mercedes, San Luis. It would be Pappo's last concert. He died in an accident aboard his unfailing Harley Davidson motorcycle on February 25, 2005, in Luján.
Many trains from the 16 will come and the streets of Buenos Aires will have their blues, the prayer of the suburban man, in the magical hands and the porteña voice of Carpo “The faculties and electricity, /in very few people I can find them, /and without your regret I could continue, /and in the stars I can resurrect; /without asking anything, only be able to think; /that if we all agree, /peace will come.” And make it rock.
Sources: AAVV, 10 national rock albums presented by 10 writers . Buenos Aires: Paidos. 2013; Abalos, E. Rock from here 2 . Buenos Aires: Author's Editions, 2011; De la Puente, E. Quintana, D. It's all right. Analysed anthology of the poetry of Argentine rock since 1965 . Buenos Aires: Distal. 1996; Marchi, S. Pappo, the suburban man, Buenos Aires: Planeta, 2011 www.elsitiodepappo.com.ar
Publication Date: 10/03/2021
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