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Alas Import

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Alas
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Audio CD, Import, August 11, 1997
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$11.57 & FREE Shipping on orders over $35. Details Only 2 left in stock. Sold by Fulfillment Express US and Fulfilled by Amazon. Gift-wrap available.

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Editorial Reviews

ALAS ALAS

1. Buenos Aires Sólo Es Piedra: Tango/Sueño/Recuerdo/Trompetango/Tanguito/
2. La Muerte Contó El Dinero: Vidala/Smog/Galope/Mal-ambo/Vidala Again/Ama
3. Aire Surgente [*]
4. Rincón, Mi Viejo Rincón [*]

Product Details

  • Audio CD (August 11, 1997)
  • Number of Discs: 1
  • Format: Import
  • Label: EMI Argentina
  • ASIN: B000VVLYGM
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #399,051 in Music (See Top 100 in Music)

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Most Helpful Customer Reviews

5 of 5 people found the following review helpful By BENJAMIN MILER on October 29, 2007
Format: Audio CD Verified Purchase
Alas was a three piece prog rock band from Argentina that managed two albums, their self-entitled 1976 debut, and Pinta tu Aldea which was recorded in 1977, but because likely of political turmoil of Argentina at the time (smack in the middle of the Jorge Rafael Videla regime), that album didn't see the light of day until 1983, both albums released on EMI.

On this debut, the group consisted of keyboardist Gustavo Moretto, bassist Alex Zucker, and drummer Carlos Riganti. Moretto also played trumpet, flute and violin, plus did vocal duties. His keyboard gear included electric piano, ARP 2600, Minimoog, ARP String Ensemble and Hammond organ. This is some really incredible keyboard-drived prog rock with fusion elements. It's like how ELP might have ended up if they were more fusion-influenced, or Crucis without guitar, or Bubu with keyboards in place of wind instruments. As for the tango influence, it's really much more present on Pinta tu Aldea as that album features bandoneon (but not forsaking the prog/fusion sound of the group), the tango influences are much more subdued on their debut. The album consists of two side-length cuts, "Buenos Aires Sólo es Piedra" and "La Muerta Contó el Dinero" featuring lots of creative keyboard arrangements, some highly experimental passages, and that rare example of a trumpet solo in a prog album (the trumpet solo is very rare in prog albums, and even in fusion). Vocals (in Spanish) are used on occasions, which work great in my book. This album is so good that you can even forgive the drum solo that's tagged near the end of "La Muerta Contó el Dinero".
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3 of 3 people found the following review helpful By Jeffrey J.Park VINE VOICE on March 21, 2008
Format: Audio CD Verified Purchase
The overwhelming complexity of the music on this 1976 release by Argentinian proggers Alas completely and utterly floored me. Indeed, it took me several listens to fully appreciate what these guys were up to and this album now ranks up there with some of my favorite classic prog albums.

The lineup on this album includes the trio of Carlos Riganti (drums and percussion), Alex Zucker (Rickenbacker bass and electric guitars) and Gustavo Moretto (piano, synthesizers, electric piano, Hammond organ, violin, flute, trumpet, violin and vocals). These guys are simply top shelf players and the ensemble work is breathtakingly complex. I especially like the trebly tone of the Rickenbacker bass and the synthesizer tone colors that Gustavo selects. Gustavo also plays a mean Hammond organ; the style of which is largely influenced by Keith Emerson, and his trumpet playing is excellent. I guess it is worth noting that these guys were not alone when it came to working the sounds of the trumpet into the mix and the English group Jonesy is another impressive example.

The two tracks on the album are arranged as lengthy suites with Buenos Aires Solo es Piedra clocking in at 15:48 and La Muerte Conto el Dinero clocking in at 17:36. Musically, this is very sophisticated symphonic progressive rock, with touches of jazz rock here and there. The most distinctive aspects of this album however, include the experimental sections; many of which have neither a rhythmic nor tonal center and are essentially free form "freak outs". In fact, the quieter, psychedelic experimentation on the piece Moonchild (King Crimson, 1969) comes to mind, although there are heavier sections that feature simply wild bass playing. Grounding this sheer instrumental virtuosity and wildness are nice vocal sections.
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By Henry Jenry on September 23, 2010
Format: Audio CD Verified Purchase
This is really good stuff. So much jam packed into two songs. Really intricate yet pleasant to listen too. A lot of jazzy flavor and latin influences. Do yourself a favor and pick this one up.
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