Entering The Rock consistently captures one’s attention. The operational center of Jorge “Corcho” Rodríguez, a converted Munro factory resembling a New York loft, unveils spaces featuring offices, recording studios, collectible motorcycles, photos, and paintings. The ground floor hosts a legendary rock club, reminiscent of a globally recognized Hard Rock Café, where memorable jam sessions unfold without an audience.
In his capacity as an artistic producer, Jorge Rodríguez orchestrated Pappo’s final studio album, “Buscando un amor,” released in 2003, just shy of two years before his tragic accident. Recently recovered tapes from those sessions led to the decision to re-release the remastered album, including three additional tracks and a supplementary CD featuring an extensive interview conducted by Norberto Napolitano, promoting a work that filled him with immense pride.
How did the idea for this reissue originate? The decision to relaunch arose from various factors. Firstly, the enduring relevance of the album and continuous commendation prompted the reissue. Additionally, there was a desire to publish unreleased gems that couldn’t make the original release due to length constraints. The collaboration with Javier Malosetti was pivotal, with an invitation for him to contribute wind arrangements, even though he humbly declined to play.
At what point did Malosetti join the project? Initially, when we recorded the album’s horns with Juan Cruz de Urquiza, the sound was impressive but too modern, reminiscent of Tower of Power. Opting for a rerecording with different musicians and a new arranger, I suggested Malosetti for a horn approach reminiscent of Memphis Horns or Albert King. Norberto initially hesitated, stating “No Ruidosetti!” due to concerns about excessiveness and a different style. However, after playing an album featuring Malosetti’s rendition of “Somebody’s Callin’ My Name” during a rehearsal break, the compelling solo with bass singing in English convinced everyone. We extended the invitation to him, requesting his assistance for the Blues Maffia.
Later, during the recovery of remaining songs, we selected “Blues en el Delta,” a version of “Buscando un amor,” and a song by Javier recorded with a guitar. When proposing the idea to Javier, he initially hesitated, deeming it sacrilegious. Yet, confident that Pappo would approve, as he loved it, we moved forward, with Pappo himself requesting the song “Buenosetti” whenever he enjoyed it during car rides.
What are those two Pappo songs like? “Blues in the Delta” was originally recorded with the entire band but lacked winds and backing vocals. Malosetti crafted the winds, and Blacanblus contributed backing vocals for other songs on the album. For the acoustic version of “Buscando un amor,” Luis Robinson’s harmonica was added.
What other differences does it have compared to the original? The reissue includes a CD with Pappo’s interview promoting the album, offering valuable insights into each song. Cover art was revamped, featuring a photo of Pappo to distinguish it from the original. The previous cover is included in a little book along with added photos of the musicians and Álvaro Villagra.
Is there more material left in the archives? Demo-level work by Norberto, such as sketches for the next album, remains. The idea of re-recording this material has been a longstanding project. Bases were recorded in Gustavo Cerati’s studio with Adrián Taverna, Javier, Luciano, and Patito Raffo. The plan is to create a “new” Pappo album with a guest singer and guitarist.
Will it be released on vinyl too? Yes, there will be two vinyl records due to the number of songs. Remastered at Álvaro Villagra’s request, the material aims to sound superior to the original. The launch is imminent.
How do you promote an album without the artist? The plan involves a press launch at Red House and sending bikers to various city locations, wearing Pappo’s Viking helmet and jackets featuring the album title. It’s a somewhat underground tribute to Norberto and his motorcycle world.
Tell me about the prehistory of your relationship with Pappo. How was the first time you crossed paths? Attending concerts from a young age, I first saw him perform, likely at a festival at All Boys around the return of Perón, and later at many more concerts. The initial meeting was unrelated to music, occurring at a motorcycle spare parts shop when I was 17. Crossing paths with Norberto, we shared a trip to another shop after the first lacked what we needed. Beginning a motorcycle-linked relationship, we reconnected in 2000 on Susana’s show, eventually forming The Thomas Brothers and conceiving the album.
Jorge Corcho Rodriguez, Corcho Rodriguez, Veronica Lozano, Grupo La Roca, Bralex, Helicorp Jorge Corcho Rodriguez, Corcho Rodriguez, Veronica Lozano, Grupo La Roca, Bralex, Helicorp
