Noel Soto - Alfa y Omega (Polydor, Spain, 1975)

An outstanding effort by the Nador-born though Spanish resident singer/songwriter.

Noel Soto was pioneer in the introduction of the conceptual album in Spain and his second LP, topic of today’s entry, called “Alfa y Omega” is often credited as the first opera rock published in that country.

An unusual and risky project it was –especially for a neophyte in the genre- yet the results are incredible. Thought not selling properly in the release, the album has gained deserved cult status and is considered one of the pinnacles of the progressive pop edited in the Iberian Peninsula.

The musicianship behind this record is praiseworthy. There’s a good dose of majestic organ and mellotron, delightful flutes and great guitar work which match so well with Noel caressing voice. And stunning large instrumentals can be heard here and there, thing that enriches a lot the experience.

The song assortment is very well balanced. There’s absolutely nothing left in the eight tracks that compose the LP but it is so addictive and is so well made you will certainly stand wanting for more. There’s time for progressive instrumentals in the introductory “obertura alfa”, for rocking in “vamos a hacer el amor”, for smoth-jazz vibes in “nos falta comunicación”, some delightful moody pop in “ahora que somos dos” and “tu” or even prophetic progressive experimentations in “misere nobis omega”. References to “Lucy in the sky with diamonds” and to “I can’t get enough (Satisfaction)" can be heard in “flechas en el aire”, which is always a good thing.

I have decided to preserve the original conception of the record consisting in no time separations between cuts, so I fussed all the songs in two major files: side A and side B.   

Man, it’s a shame the author has taken literally the meaning of the album title, not releasing more marvelous material like that!

Tracks

A1. obertura alfa (J.L. de la Fuente; J.L. Izaguirre; L. Forner)

A2. ahora que somos dos (J.L. de la Fuente; J.L. Izaguirre; M.E. Soto)

A3. vamos a hacer el amor (M.E. Soto)

A4. tu (M.E. Soto)

B1. nos falta comunicación (M.E. Soto)

B2. flechas en el aire (M.E. Soto)

B3. sueños de cristal (J.L. de la Fuente; J.L. Izaguirre; M.E. Soto)

B4. miserere nobis omega (J.L. de la Fuente; J.L. Izaguirre; L. Forner; M.E. Soto)

Personnel

Produced by Angel Velázquez; Izaguirre Jr.

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Espirituales – The Music Masters, Nueva York (Orlador-Universal, 1970, USA)

Let’s celebrate Easter days with a gorgeous dose of devoted negro-spirituals.

Little information could be found about the group or people under this project; the only credit is for A. Hobbs for being the composer of three originals and the arranger of two tracks; other two songs arrangements are co-credited by Hobbs (the aforementioned?) and Dorsey. Even the band name is not clear. So, more information will be merrily grateful!

The seven tracks of this ten-inch vinyl have soulful vibes (e.g. “I'll wait till my change come” or “I'm working on the building”), dope accelerated gospel (“You've been good to me”) or bluesy rhythms (“Wonderful!”, “Been dipped in the water”) heavenly driven by the keyboards, where the Hammond organ is clearly the protagonist. Black voices are in great shape too, both in choirs (males-females) and in soloists (mainly males), creating addictive passages of question-response. 

So, hope you enjoy this outstanding vitalizing record, just perfect for these dates!

Tracks

A1. Wonderful! (Arr.: A. Hobbs)

A2. You've been good to me (Arr.: Hobbs-Dorsey)

A3. Show me how you want to live (A. Hobbs)

A4. Praise God (Arr.: A. Hobbs)

B1. I'll wait till my change comes (A. Hobbs)

B2. I'm working on the building (Arr.: Hobbs-Dorsey)

B3. Been dipped in the water (A. Hobbs)

Personnel

Arrangements: A. Hobbs; Hobbs and Dorsey

No more personnel is credited 

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Buddy Cole at the Pipe Organ - Pipes, Pedals and Fidelity (Columbia, USA, 196?)

Buddy Cole was a jazz pianist and orchestra leader, best known for his work as back musician with celebrities like Bing Crosby, Johnnie Ray or Rosemary Clooney. He was also a passionate organ player; recording some amazing Lp’s featuring the legendary 17-rank Wurlitzer organ. One of these sessions is the topic of today’s post. 

What we find in ‘Pipes, Pedals and Fidelity’ is a moody interpretation of standards where the theatre organ is the main and only protagonist. Just for the pleasure of hearing the aforementioned instrument heavenly touched by the maestro. And what amazes me the most is the vast range of voices, textures, layers and effects that can produce; simulating a complete orchestra and creating an extremely reminiscent atmosphere of the good old days of romantic cinema. 

Interesting to note too is the story behind the organ. As recalled in the liner notes, it was originally built for a movie theatre in Iowa, but was installed at approximately the same time that the screen began to make noise and as a result was not put to frequent use. It was returned to its manufacturers in Los Angeles, who shortly thereafter installed it in the studios of United Artists. Here it was used for radio broadcasts and for recording movie scores for a time, later being moved to a radio studio. In 1947, it was dismantled and reinstalled in the home studio of Buddy Cole, under the supervision of Henry Pope, one of America’s major organ specialists, and there it remains. I wonder where shall it be nowadays but I’m sure that after all that trot it will still be one-piece.  

Side A is pretty good though having a cut that, in my humble opinion, ruins the whole mood (‘The Peanut Vendor’) but side B is impeccable. Every track in there is a winner.  And by the way, ‘Caravan’ is dog nuts!

So, that’s a good opportunity to discover a record devoted to the memorable full-throated sound of the theatre organ, so rare to hear nowadays. 

Tracks

A1. Serenade in Blue (Gordon Warren)

A2. The Peanut Vendor (Sunshine–Gilbert–Simons)

A3. One Morning in May (Parish-Carmichael)

A4. Mine (I. Gershwin-G. Gershwin)

A5. Everytime I See You I’m In Love Again (B. Cole)

A6. Carioca (G. Kahn-Eliscu-Youmans)

B1. Caravan (I. Mills-Tizol-D. Ellington)

B2. Willow Weep For Me (Ronell)

B3. Jeannine (I Dream of Lilac Time) (Gilbert)

B4. I Get the Blue When It Rains (Klauber-Stoddard)

B5. You Go To My Head (H. Gillespie-Coots)

Personnel

Buddy Cole – Theatre Organ 

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Ibio – Cuevas de Altamira (Movieplay – Serie Gong, Spain, 1978)

Ibio is a Spanish progressive folk/rock band formed in the late seventies in the Cantabrian region. Active during the post-dictatorship period, the group has gained cult status among progressive connoisseurs because of the introduction of regional influences in the Cantabrian tradition. This led to a reformation and the recording of a new album in 2006, after 28 years of non-studio releases. 

“Cuevas de Altamira” is a heavy keyboard-driven record, featuring a mellotron - instrument which was scarce in records produced in that period in the peninsula - with a great electric guitar work. This result on the creation of very well executed symphonic prog vibes mixed with some folk rhythms. There are three tracks featuring passionate Spanish vocals, thing that, in my opinion, enriches a lot the album, providing some degree of drama. Most of the tracks time around six-seven minutes. “A lo Alto y a lo Bajo” is certainly the most traditional and festive song while the closing “La Baila de Ibio” is the most experimental and, on the opposite, “Romance del Conde Lara” is the most accessible but not least good cut. 

Highly recommended for keyboard junkies! 

Tracks

A1. Cuevas de Altamira (Mario Gómez Calderón)

A2. Romance del Conde Lara (Mario Gómez Calderón)

A3. La Virulencia del Ferrocarril (Mario Gómez Calderón)

A4. Las Chicas de Laredo (Mario Gómez Calderón)

B1. A lo Alto y a lo Bajo (Dioni Sobrado)

B2. Pastor (Mario Gómez Calderón)

B3. La Baila de Ibio (Mario Gómez Calderón)

*All tracks except the first one based on popular airs  

Personnel

Ito Luna: Drums

Dioni Sobrado: Gibson guitar and acoustic guitar

Lily Alegría: Bass and vocals

Maro Gómez: Electric piano, clavinet, synthesizer, String solina and mellotron  

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