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Aucan Brotes Del Alba album cover
2.68 | 18 ratings | 1 reviews | 11% 5 stars

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Studio Album, released in 1980

Songs / Tracks Listing

1. Llegando A Casa (3:35)
2. Primavera De Una Esquina (6:45)
3. Cancion De Mi Padre (3:40)
4. Hacia El Destierro (5:10)
5. Tres De Octubre (6:40)
6. Mi Amor Y Yo Contra Todos Los Que Rayen (3:15)
7. Misterio Azul (6:45)

Total Time: 35:50

Line-up / Musicians

- Eugenio J. Perez / vocals, keyboards, acoustic guitar, charango
- Diego J. Perez / drums, percussion
- Guillermo Franchetti / vocals, guitar
- Pablo C. Perez / vocals, bass, keyboards, cello

- Charley Garcia / mini-moog on 7
- Leon Gieco / harmonica on 1,
- Migel Perez / baroque flute on 5, 6
- Dino Saluzz / bandneon on 3, 7
- Tucuta Gordillo / sikus on 4
- Leon Mames / oboe on 2, English horn on 2

Releases information

LP Sazam / CD Music Hall 10.042

Thanks to ProgLucky for the addition
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Buy AUCAN Brotes Del Alba Music

Aucan/Brotes Del AlbaAucan/Brotes Del Alba
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Brotes Del AlbaBrotes Del Alba
Music Hall 1992
$21.29 (used)

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AUCAN Brotes Del Alba ratings distribution

(18 ratings)
Essential: a masterpiece of progressive rock music(11%)
Excellent addition to any prog rock music collection(44%)
Good, but non-essential (17%)
Collectors/fans only (28%)
Poor. Only for completionists (0%)

AUCAN Brotes Del Alba reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by ClemofNazareth
2 stars There are things about the second and final Aucan album that are an improvement over their rather austere debut, but in some respects I think the band took a step backward as well.

The inclusion of a number of guest musicians means the music tends to be more robust and varied than their first release. “Primavera de una Esquina” includes an oboe and English horn, although they are not very prominent as near as I can tell. “Cancion de mi Padre” includes a bandneon (uh… accordion), which to me sounds a little bit like a viola with harmonica accompaniment. Not sure if that was the intent or not, but that’s what I hear. And “Hacia el Destierro” features the mondo-flute sikus, but the real interesting bit of this song is the wailing guitar that reminds me a lot of Kerry Livgren. All these are positive improvements, however slightly they end up affecting the overall sound.

But the biggest disappointment comes with the reduced role of the cello, an instrument that featured very prominently on the first album but is largely reduced to a supporting role here. Too bad, because that is one of the things that gave the band’s music a certain special appeal and helped to separate it from the many other British-influenced Latin acts of the late seventies. There is also a noticeable increase in synthesized keyboard usage on this album, and for a band that I thought was supposed to be emphasizing their folk leanings, this is a not very welcome addition.

There are no real standout tracks on this album, and although the closing “Misterio Azul” is the longest track and most ambitious in terms of its arrangement; this one is also the most obvious clue that the band recorded this album at the end of the seventies and when synthesized music and overly brash electric guitars were more en vogue than stylish and intricate folk-inspired music.

This is a collectors-only piece, although if you are interested in the band this one is easier to find than the debut and for that reason (and probably only that reason) you might feel like hunting it down. Not particularly recommended though.


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