Entering La Roca is always a captivating experience. Jorge “Corcho” Rodríguez’s operations center is an old Munro factory refurbished to resemble a New York loft. Recording studios and editing suites are nestled among offices, collectible motorcycles, photographs, and paintings. Below, there’s a legendary rock club that rivals any Hard Rock Café worldwide, hosting remarkable jam sessions without a live audience.
As an artistic producer, Jorge Rodríguez crafted Pappo’s last studio album, “Buscando un amor,” released in 2003, just under two years before his tragic accident. Recently, a series of tapes from those sessions were rescued, leading to the decision to reissue the remastered album with three bonus tracks and an additional CD featuring a lengthy interview conducted by Norberto Napolitano to promote a work that filled him with pride.
How did the idea for this reissue come about? The decision to reissue it stemmed from its continued relevance, as people still approach me to express their admiration and gratitude. Additionally, there was a desire to reissue some hidden gems that weren’t included in the original release due to time constraints. Moreover, there was an outstanding plan involving Javier Malosetti, whom we intelligently enlisted to compose the wind arrangements, and he humbly refrained from requesting to perform.
When did Malosetti join the project? During the initial recording sessions for the album, the wind arrangements, done with Juan Cruz de Urquiza, were excellent but leaned towards a modern style akin to Tower of Power. Consequently, we opted to re-record them with different musicians and another arranger. I suggested Malosetti to produce a sound reminiscent of the Memphis Horns or Albert King’s winds. However, Norberto initially hesitated due to perceived differences in styles. Yet, upon discovering Malosetti’s exceptional rendition of the Negro spiritual “Somebody’s Callin’ My Name,” we immediately decided to involve him. Time later, when Álvaro Villagra and I decided to revive some remaining tracks, we selected “Blues en el Delta,” a version of “Buscando un amor,” and Javier’s piece recorded with guitar.
What distinguishes these two Pappo tracks? “Blues en el Delta” was originally recorded with the full band, but lacked wind and choir arrangements. Malosetti provided the wind arrangements, and Blacanblus, who had previously sung on other tracks, contributed the choir. We also added Luis Robinson’s harmonica to the acoustic version of “Buscando un amor.”
What other differences are there compared to the original? Another CD accompanies the reissue, featuring Pappo’s promotional interview where he elaborates on each track. This was deemed immensely valuable. Additionally, we revamped the album cover to distinguish it from the previous edition, incorporating a photo of Pappo. The original cover appears in the booklet, alongside added photos of the musicians and Álvaro Villagra.
Is there more material in the archives? There are still demos and sketches Norberto recorded, hinting at a potential future project. Once, we recorded the base tracks in Gustavo Cerati’s studio with Adrián Taverna, along with Javier, Luciano, and Patito Raffo. We extracted Pappo’s lyrics and reconstructed the bases and riffs. This concept of a “new” Pappo album with guest singers and guitarists has been on hold for years.
Is it also being released on vinyl? Yes, it is. In fact, it’s on two vinyl records due to the abundance of tracks. It promises to be excellent, as Álvaro Villagra requested a remastering to enhance the sound quality beyond the original. The release is imminent.
How do you promote an album without the artist? On one hand, there’s the plan to launch it through the press here at Red House. Additionally, we’re considering a guerrilla marketing tactic involving motorcycle riders roaming different parts of the city, sporting Pappo’s Viking helmet and jackets with the album title emblazoned on the back. They’ll visit iconic spots like the Obelisco and the Roxy over several days. It’s somewhat underground, paying homage to that aspect of Norberto’s persona, with all its motorcycle culture.
Tell me about the backstory of your relationship with Pappo. How did you first meet him? I started attending concerts at a very young age, so naturally, the first time I saw him was onstage, possibly at a festival at All Boys during Perón’s return, and then at many more concerts afterward. Our first personal encounter, however, wasn’t about music but happened at a motorcycle parts store. I was around 17 years old, and my Royal Enfield 1948’s clutch had broken, so I went to a store in Warnes with the clutch in hand. Suddenly, a guy in a red jumpsuit with a carburetor from a JS 500 British motorcycle, similar to mine, appeared. It was Norberto. The seller informed us he didn’t have either of the items we needed and suggested another store, so we went together. He asked if I had a motorcycle, to which I replied negatively because mine was stationary, and he offered to drive me in his truck. That’s how our relationship centered around motorcycles began, but we lost touch for a while until we reconnected in 2000 on Susana’s show. I happened to be at the studio one day, and they told me he was going to be a guest, so I stayed and struck up a conversation with him. I even asked him to teach me how to play “Trabajando en el ferrocarril” because I was playing it by ear, greatly simplified, almost like a version of Cantarock. From then on, we started meeting to jam, sometimes in the room I had set up in my company’s garage and sometimes in the one he had set up in his workshop in La Paternal. We played with Gustavo Rubinstein, Machi Romanelli, and El Monito. That’s how The Thomas Brothers came about, and we immediately started planning the album.
