“At that time I kept few things, but two or three tapes that had a special value for me, both professionally and emotionally, I always carried with me. Among them, the first time we played with Patrulla del Espacio, or that jam with Pappo and Medina, from which I managed to make a cassette from the original open tape”. Castello Jr. is in São Paulo preparing to revive Patrulla del Espacio, which at the time formed with top Brazilian rock musicians from bands like Os Mutantes and Secos & Molhados, and which in its reincarnation as Patrulla ’85, from the year to which As the name refers, it also had the presence of Norberto “Pappo” Napolitano, although that is another story. Now Castello is proud of having managed to polish that rough diamond that is the brand new album “Aeroblus – Pappo, Medina, Castello, Archivos secretos captured alive in Buenos Aires -1977”, which has just been released on vinyl in Argentina and Brazil and has sold out. in the act. The CD edition is underway, which is also produced by the Edifier speaker company, which coordinates, through its producer, Segio Katsuren, the presence of the album on digital platforms.
Legend
“I did not know the legend about Pappo, but only had references to him through a few Argentine rock records from the early ’70s that had reached Brazil, such as ‘Alejandro Medina y la Pesada’ and ‘Pappo’s Blues Vol. 3’” says Castello. “Through a friend I met in São Paulo in the ’70s I listened to those records. I was playing in a very big rock band, Made In Brasil, and with them we were two weeks in a row in a theater in Rio; One night Alejandro Medina appeared there, whom I also admired for Manal, and they introduced him to me, then I never heard from him again. You have to think that at that time there was little or no communication between the two countries. But a while later, Medina came looking for me and he told me that he was with Pappo in a place in Campo Limpo Paulista, a place in the middle of nowhere. To this day I don’t know what they were doing there, anchored in 1976, except that Pappo came from London, and maybe it’s better not to know. But the truth is that they were both wanting to put something together and as soon as I sat down at a drum kit it was as if we had been playing for a lifetime; that’s what the three of us felt after those first rehearsals.”
Of course, then we had to go to an Argentine sound studio to record, and the time didn’t help; “As soon as the coup d’état came in Argentina, the first thing we Brazilian musicians found out was that Vinicius’s pianist, who was playing in Buenos Aires at the time, and had a beard and long hair, went out to buy cigarettes and never more appeared. So I was afraid to travel, no matter how much I wanted to play in Aeroblus, but they insisted and I ended up taking a plane. It was not a good time to do anything, much less hard rock. I was afraid and I spent the time locked in an apartment on Calle Paraguay, without opening the shutter; Alone or sometimes with Pappo we listened to a few albums each, for example Zeppelin’s ‘Physical Graffiti’, or Black Sabath’s ‘Technical Ecstasy’, which undoubtedly influenced what we recorded on the Aeroblus album”. Castello acknowledges that over the years he has heard fans say that the interesting thing about that album is that it is a missing link between the Carpo of “Pappo’s Blues” and the metalhead Pappo of Riff.
“The album had different nuances that can be perceived in these raw versions of ‘Archivos Secretos’”, says Castello, who even composed some songs, for example “Sofisticuatro” which shows unique sounds in Pappo’s discography: “It’s that I I’ve made him listen to a lot of jazz rock, especially Jeff Beck with the Jan Hammer Group, and that’s why that song has an original root. A great quality of Pappo was knowing how to listen to music like few others and appreciate a good musician, especially if he was a guitarist, regardless of the musical genre to which he was dedicated. That’s why I met a different Pappo from the one that remained in the legend, nothing to do with the violent type that many describe. We all drank at a party, but I never saw him lose control. He was a guy whose mere presence commanded respect and it is also true that the assholes that are everywhere bothered him. Once we were at a party and one of them started shouting, I’m God! I am god! Pappo approached him and said ‘If you are God this is not going to do anything to you’ and gave him a royal punch”.
The producer of the Aeroblus album, Sergio Katsuren, an Argentinian son of Japanese parents who moved to São Paulo in 1999 and ended up representing the company Edifier -sponsor of the project- explains that, for many people, Aeroblus is a revelation since the album by study of the trio had very little commercial success, and was never reissued in our country, although for those mysteries of rock it circulated as a pirate in Mexico. “Rolando was very demanding so that, despite the poor sound of an old audio cassette, the new album sounds as good as possible and for that he had to dedicate hours of mastering it. I’m trying to convince him to do a Volume 2 because there’s more material, including gems like Aeroblus doing Deep Purple covers like ‘Child in Time.’”
Source: Ambito
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