A short-lived band with a noticeable King Crimson influence, Coto En Pel were comprised of a quartet of skilled Spanish musicians who produced the lone album "Holocaust". The band's music is characterized by long, languid instrumental works with understated Catalan vocals and mild crescendos. The music is characterized by heavy use of keyboards, particularly mellotron, and lazy guitar arpeggios spread across lengthy tracks.
An underrated late '60s album, this one has sometimes been overlooked because it seemed like a generic throwaway. But it included some outstanding song…
“This album titled “4to LP” by León Gieco.
But, Who is this singer? First, is Argentine and his the country-rock style. Somewhere I read that is the “Bob Dylan of South America”. If I could make a comparison would be with Neil Young (Band’s instrumentation, guitar, harmonica, etc).
What I like about Gieco? His voice, completely outside to the model of most Argentine groups and soloists, as Luis A. Spinetta and Charly García, model to follow.
This LP, in my opinion, is the highlight of the Gieco’s discography. I bought it for the song “Solo le pido a Dios (I only ask to God)” and a part taken from a recital in which appears the beautiful ballad “Canción de amor para Francisca”.
This version of The Queen of Spades was originally recorded in 1974 and made available as a special import; it was then generally released by Philips in 1988. Reviewing it at the time, AB gave a level account of its strengths, but had little difficulty in preferring the Tchakarov set when it was issued in 1990. Deleted by Philips, the Ermler performance has now been restored to the Melodiya catalogue. I cannot see anyone dissenting from AB's view: certainly I do not, except perhaps to regard him as being over-generous in his account of Atlantov's Herman in calling it ''loud and unsubtle''. Stronger words would also be appropriate, especially when Atlantov is compared with the sensitive Wieslaw Ochman on the Tchakarov set. Valentina Levko is a good Countess in what is a well-established Russian tradition of responses to the role: AB thought the old lady's reminiscences not so pointedly delivered as by some other singers, and I would add that she would certainly have acquired a better French accent during her long sojourn as the Venus of Paris.