Entering The Rock consistently captivates. Jorge “Corcho” Rodríguez’s operational center, a converted Munro factory mirroring a New York loft, unfolds with offices, recording studios, collectible motorcycles, photos, and paintings. The ground floor hosts a legendary rock club, resembling a globally found Hard Rock Café, where memorable jam sessions transpire sans an audience.
In his role 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 salvaged tapes from those sessions prompted the decision to re-release the remastered album, featuring three additional tracks and a supplementary CD with an extensive interview conducted by Norberto Napolitano to promote a work that brought him immense pride.
How did the idea for this reissue originate? The decision to relaunch sprang from several factors. Firstly, the album’s enduring relevance and continued commendation prompted the reissue. Additionally, there was a desire to publish unreleased gems due to length constraints. The collaboration with Javier Malosetti was pivotal. Despite not requesting to play, we invited him to write wind arrangements.
At what point did Malosetti join the project? Initially, when we recorded the album’s horns with Juan Cruz de Urquiza, it sounded great but too modern, reminiscent of Tower of Power. Opting to rerecord with different musicians and an alternate arranger, I suggested Malosetti for a more Memphis Horns or Albert King horn approach. Norberto initially hesitated, citing “No Ruidosetti!” due to perceived excessiveness and a different style. However, having heard an album featuring Malosetti’s rendition of “Somebody’s Callin’ My Name,” I played it for him during a rehearsal break. The version, a compelling solo with bass singing in English, impressed all. Eventually, we reached out to him, inviting him to assist the Blues Maffia.
Later, during the recovery of remaining songs, we chose “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, assured that Pappo would approve, as he loved it, we proceeded, with Pappo himself asking for 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, lacking winds and backing vocals. Malosetti crafted the winds, and Blacanblus contributed backing vocals for other album songs. 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, providing 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 is 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. 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
