BUBU

Well the present album is not as good as the best works from After Crying for instance (a band with a similar orientation, even though coming from Hungary and being even more versatile than the Argentinian ensemble), but it's anyway very interesting and original too...ok, I don't like the vocalism by Petty Guelache, but it's not their main target: take their experimental side (reminding me of Magma a bit) and that one in the vein of Zappa (mixed all together with King Crimson) and you can understand their personal music path! Eduardo Rogatti at the guitar (with an heavily distorted tone, often replaced by delicate tones) is not so original in his approach, but his support in the economy of the band is important. Otherwise the guitarist is not the main composer here (unlike for instance Mario Neto within Bacamarte); nevertheless you can find some strings and even a tenor sax inside, almost making this work an emulation of the experimental Canterburian albums from the UK, which you can't forget after all, as moreover all these instruments are perfectly "coupled" with the guitar! Despite of finding a few remarkable arrangements here (especially regarding the use of three voices in the vein of Gentle Giant), the output is not convincing me at all, right now. In fact- as you probably already know- I prefer the polyphonic and above all well defined "armonization" of some different voices for example inside the albums "Suffocating the bloom" and "As the world" by Echolyn, being my personal "benchmark"- along with some Gentle Giant and Yes works- before starting to evaluate this specific important aspect within "Anabelas"...and when I listen to the Argentinian BUBU I can't remark such a small defect; but the other features are well defined.

At the end the present work is not essential at all, if you have already collected for example the albums by After Crying (or also by Zappa), Echolyn (especially the only mentioned above albums regarding these latter and some Yes albums), Anglagaard (or also King Crimson) and Magma; but if you don't think of the derivative aspects inside their music you could change idea...perhaps there's one star to add in the final evalution!

Make your own choice!!

Possibly one of most popular South American prog album. And possibly one of their best one.

Just three long compositions filled with strings-arranged symphonic rock. Plenty guitar sounds and other rock attributes are melted with quite symphonic sound of strings instruments. Sound density is high, you will hardly find airy moments on this records.

Many jazz-rock elements (a-la RTF) are presented as well. Melodies are not of the first importance, so compositions aren't cheese or too sweet at all. Some choral singing is added as well.

There are some quite attractive pieces, as violin and flute interplays, etc. Vocal is classic-like, and in fact all sound is something in between of rock-opera and symphonic fusion. Not such sweet or melodic as many RPI works, but obviously has characteristic Latin sound - warm, soft, melodic, classically arranged, with roots in symphonic music.

I believe this album should be very attractive for symphonic prog lovers, as well as for heavily orchestrated instrumental music fans. Strong work from late 70-s.

It is not often an album lives completely up to the hype it receives. And the over zealous commentators here on this website occasionally get it right. This IS a masterpiece.

Bubu's one and only album has become legendary as one of the best things to come out of Argentina besides Evita. I can only review this as I hear it as it is so complex and it is difficult to remember all the subtle nuances of musical complexity. We begin with the epic 'El Cortejo de un Dia Amarillo'. You have to love the side long vinyl. As the manic drums fade in at the start on side A we are taken by surprise by a freakout orgiastic wash of saxophone, violin, relentless bass lines and a myriad of other sounds, wonderfully juxtaposed into some semblance of order but chaotic enough to keep any metronome swinging wildly. The metrical shapes and percussive patterns are astounding as far as drumming goes and is reminiscent of the type of work from Bill Bruford. There are some angular Fripp like guitar passages, so early King Crimson springs immediately to mind with a strange blend of Soft Machine and Mahavishnu Orchestra. Get the picture? Descriptions cannot do it justice as the music takes on a whole new meaning with each listen and must be experienced and interpreted on a personal level. The side long track is masterfully executed and shifts from light to dark textures, occasionally brutal and disturbing to light and upbeat, truly emotional music. The way the music builds to a crescendo towards the end transfixes on each listen, and then there is an improv section with cold wah wah guitar wailing while a sad tortured violin cries. Simply a wonderful instrumental and one of the best I have heard.

Side B is two songs, rather than instrumentals, that are of accomplished musicianship on every level. Even injecting some vocals into the mix does not detract from the music, in fact the vocals are distant and estranged, a part of the musical soundscape. 'Sueños de Maniqui' begins softly with twinkling piano and quiet vocals. It would sound like a normal song except the time signature is all over the place. The strong guitar crashes in and over the relentless piano motif it whines and howls beautifully. Then the track launches in to a freakout jam with blasts of sax and there is even a flute Jethro Tull style. The guitars are heavier and then suddenly there is an Argentinian break away. The guitar solo is crazy fret melting runs and an out of control violin that fires up demonically. The sound builds higher and higher up the scale and explodes with frenetic high pitched violin over more violin and heart pounding drums. It stops flat maggot dead. The vocals sing again on a slow paced section that lets us catch our breath. After this verse there are staccato stabs of woodwind, flute sax, the lot, then an even more bizarre time sig, till finally the voice sings the last verse. The violin now knifes across the strings as a guitar motif is heard repeating and the choral voices return. Once again the song goes wildly out of control, a psychedelica freakout that finally settles down with a finely crafted sax and it fades. This is the best track on the album and it gets better after each listen. Ferociously original and layered with a plethora of instruments transferred into an emotional resonance unlike anything I have heard. This is how I like my prog; complex, hard to pin down and challenging but totally compelling.

'El Viaje De Anabelas' opens with a choral chant and off kilter violin and sax that compete with each other but seems to be on the same page as far as timing but this feels dark, and the instruments are speaking to each other. The bass line changes the direction, and there is a great sax solo over an incessant violin. The flute adds a beauty and is providing a melody similar to the sax, then the fast paced section sends the rack on another detour. The surprisingly calm vocals chime in, the Argentinian language sounds sad and melancholy, perhaps reflective. The music slows and speeds up at intervals. When the vocals stop for a moment the pace picks up considerably, erratic drumming driving it to a mid section that focuses on violin played with precision. The sax is as good as any I have heard sounding at times like early VDGG. The textures are darker at about 5 minutes into the track, the sombre sax has become angry and the music sounds frustrated as if it wants to burst forth from the speakers like a caged animal. At 7 mins in the Argentine flavour is prevalent and there is a rock beat driving it with a rock vocal, another new thing to savour on this album. At 9 mins there is a sublime violin solo and then a strange saxophone that is jazz oriented. Another great track to enjoy, no doubt about it.

Therefore we have a masterpiece. All killer, no filler and I wish other bands would take a listen to this and learn how to play music. There are so many musical styles it is impossible to name them all but they are here all on one album; jazz fusion, avante garde, zeuhl, folk, psych prog, Argentinian traditional, AOR, and symphonic, among others. The tension created by the musical fusion of jazz and rock is compelling, never dull, and the mesmirising music becomes an entity that wraps itself around you and refuses to let go. It seems that one instrument wants to go off in a new direction but there is always another instrument striving to reign it back in. This tension continues throughout the whole album and you find yourself wanting more after it all ends. Alas, Bubu are history now with one penultimate album but it is quintessential to prog. So dig deep in the prog goldmine and unearth this buried treasure. *****

ANABELAS is an album where you either need to be very persistent or pretty lucky in order to obtain. I fell into the latter category here.

Bubu is a rare kind of group that could only poop out one album in their lifetime. Judging by the markedly positive reviews on this site, Bubu made that statement well worthwhile, and I can't do anything but agree.

It's got that ''Close to the Edge'' type of structure with the big epic coming first and two shorter songs right after, but in my mind, the comparisons to Yes stop there. One big thing to understand is that the group is sans a keyboard player minus the piano played in ''Suenos de Maniqui''. To compensate, there's one violin, one saxophone, and a flute player (possibly the three favourite non-traditional-rock instruments of the prog world) that mesh together quite well. There's a spot in the middle of the big epic where each of the violin, flute and saxophone (that order) takes their turn going beserk only to produce a calm immediately thereafter.

The only unfortunate is that while the compositions are well thought-out and well executed, it's hard for me to attach certain themes to certain pieces unless I've bashed at it fifteen times consecutively. There's not much of ''El Viaje de Anabelas'' that sticks out long after I've listened to it other than a Kansas-esque march in the middle (but done with enough of a twist to make it sound original). ''Suenos de Maniqui'' is a slight exception to this as the controlled chaos can go from tantalisingly soft to crashingly brutal (not in a heavy metal context) almost poetically.

It's had several comparisons to the Italian prog scene, but I cannot stamp an opinion here merely because I have not enough experience with the RPI scene to tell you. It's crazier and not as symphonic as your traditional output of prog bands like Genesis or Kansas but not as off-the-wall compared to say Koenjihyakkei. If you're sick of the big name prog bands but are too timid to really branch out, this will fill that void.

Excuse my little bit skeptical approach to one of the most well known regarded prog albums. For me, it's like tremendous rock & classical music jam session, perfectly conducted and performed, but not much more. It's OK, because most people will be pleased by what they'll hear in this record. It touches me, it really do. Beautiful cover also helps, but I can't enjoy it as masterpiece. It's not overrated, not at all. I would see it as

4(+), but this one star is important. I can't imagine why someone would rate this lower, but the main reason can be perhaps it's strange sound. There are links between parts, more complex than casual listener (even casual prog listener) can get at first, second, any try, you name it. You have to be careful and listen closely here. But even I'm trying to find it, i can't.

Simply reminding me unmelodic RPI most of the times. So it IS masterpiece, but not for everyone. And most important - not for me. Even I don't like certain parts (middle part of last track, the crazy ones), I have great respect for this album.

Talk about one shot wonders! Stemming from the land of gauchos, tangos and tin-pot caudillos, this highly rated Argentine opus is no fluke -fly by night -stab in the dark progressive release, veering rather towards a pulsating lava flow of various moods and tones, bubbling rhythms, devious saxophone and flute, gritty violins and splendid keyboard and guitar work. This is one of those rebellious oddities that take multiple listens, each time peeling off a new layer of discovery and amazement. The sexy artwork not withstanding, 'I could scarcely believe all the pleasures inside' (quote from David Cousins of the Strawbs on Out in the Cold), showcasing a whopping maelstrom of exuberant audacity with splashes of early King Crimson discord, hints of Magma-esque darkness, some Genesis romanticism intertwined with heady aromas of RPI and some blistering Mahavishnu storm clouds. Three long pieces of unmitigated adventurism, paved with unrelenting experimentation that still pleases the ear and warms the soul. "El Cortejo?" is a nearly 20 minute odyssey of sonorous cacophony, adorned with jazzy sax flirts, some vicious bass performances and monstrous drumming throughout. The electric guitar remains unusually slippery with some brief riffing as well, winking amorously at Frippian delights and abetted by some coarse violin slashes. The flute also arrives careening out of the blue, so each soloist can participate with equal glee. Certainly not for the faint of heart, the piece rolls on feverishly like some crazed out of control machine. The neo-classical violins provide momentary calm when you least expect it, keeping the listener enthralled, enthused and somewhat confused (poetic lyric, no?). There are some apparent yearnings for dissonance, adding a quasi-Soft Machine like aura to the mix, a mid-section that meanders into reed land, flutes and saxes deeply intertwined like two lovers in a cheek to cheek tango, an ominous vocal choir massed in the sonic audience takes a bow and a blaring whistle to further jar the senses. The celestial choir returns, a sultry sax in tow, all underpinned with some bottom end gusto, until the lead guitar swoops through the foliage and ripples effervescently, like some burning firecracker. Bassist Edgardo Folino weaves some trebly waveforms, encouraged by some rabid drumming courtesy of Senor Eduardo Corbella , all focused on providing the platform for the soloists to explore dimensions that were VERY new at the time. Just plain, WOW! The 11 minute "El Viaje de Anabelas" has a female chorus inviting a Mahavisnu-esque jazz-rock promenade, violin and flute working in unison to create enough density for the first lead vocals, that have an obviously close kinship with Italian Prog but here sung in Spanish. The sax blows with exalted passion, honking at the massed voices that further egg on the ensemble to deeply forage into style and class. The violin spotlights brilliantly the classical fervor that always seems to challenge the rock and jazz sensibilities, a daring attitude at the time. "Suenos de Maniqui" has a Fripp-like blister to open things up, a furious romp ensues that rages in all directions, the rhythm section keeping things ablaze, full of stop and go onslaughts that bedevil. There are some delirious moments as well, hyperactive lead instruments that halt on a dime, then urgently resume some manic direction, tossing in some impassioned lead vocals that surprise and please. The disc ends on some oblique manifestations that instill a sense of ominous doom, perhaps aware of their imminent disappearance and putting their disappointment into musical shapes.

Yes, as sinkadotentree correctly opined, this may be the best ever prog recording from Argentina. 4.5 Yogi bears

A pure prog rock album if there was ever one!!

Sadly enough , Anabelas was the only release to come out from this cult band named Bubu. The band's style is incredibly varied and may please both the symphonic prog lovers or the more avant ones. The music within Anabelas is incredibly complex and changes from minute to minute. I can heard lots of influences from many prog acts like bits of Magma , Dun ( yes , even before Eros was released!!) Zappa and mainly King Crimson from ITCOTCK to Red.

The fun thing about Bubu is that Anabelas was first composed by Daniel Andreoli. Then he started to find the musicians whom he thought were most suitable to interprete his music. From that point on , the band rehearsed separately. Andreoli put major importance into the rhythm section and you can really tell that when listening to Anabelas: Both the drumming and bass playing are top notch , remiscent of Bill Bruford and John Wetton in that order. Bob Fripp's fans will be also pleased with this record since Eduardo Rogatti was encouraged by Andreoli to give a frippish tone to his playing.

Side A contains the overwhelming "El cortejo de un dia amarillo". Note that with "Anabelas" I will always make reference to the different tracks as "pieces of music" or "compositions" since the word "song" may even sound insulting. That being said , the first piece of music is in my opinion really close to academical works. It starts with some dissonant flute and saxophone , then it builds up with some incredible drums and bass lines taking the shape of one of those Egiptian-like tunes but without sounding cliched. It can be described as Henry Cow meets King Crimson meets Dun. At the 14 minute mark the song changes dramatically and it starts sounding a bit like "Kreuhn Kohrmann iss the Hundin" (MDK's grand finale) for a brief moment. Finally , the song ends reworking the theme from the beggining but with much more guitar prescence. The second composition " El viaje de Anabelas" starts with some dramatic violin and has hints of the most pastoral RPI moments ,there is also some beautiful flute as well. This song features Miguel Zabaleta's vocals which are also remiscent of the Italian brand of prog. Suddenly the song turns into avant mode mainly due to the saxophone and the astounding choral-like vocals. Little ofter that moment there is a little section that is very similar to MDK or Lizard era KC. The song is always powerful and energetic: Bubu is complex but never losses tightness or cohesion. I am impressed when I hear impresive Zeuhlish vocals as well.

The last composition is called " Sueños de Maniqui" and it starts similar to " Out Bloddy Rageous" by the Soft Machine but then features some fast drumming with impressive bass lines. Bubu may be the only band in which I can hear a proto Thrash metal riff accompanied by flute and violins and that's quite a compliment in my book. After this chaotic section Zabaleta's operatic vocals start again. The song keeps drifting from subtle parts to argressive and plain weird ones before the choral vocals come in again and give a bombastic ending to the tune.

Listening to "Anabelas" was one of the most thrilling experiences I had while discovering any kind of music. Period. I don't think that any other phrase can do justice to this masterpiece from my country.

Too bad they only released one album of this eclectic gold!

I have had contact Bubu's debut and only album only recently, but i already consider it a masterpiece of progressive rock. Though the music the band present us is not easily digested by a normal person or someone that does not knows or likes this kind of music, a music filled with dissonances and atonalism, apart from the usual experimentation and innovation that is characterizes progressive rock, it took me little time to like this piece. Probably that is because i am venturing myself deeper into the eclectic and the avant-garde genres of progressive rock lately, but why i like this kind of music does not matters for this review: it only matters why this album is so good, and that is why i will try to show here.

Bubu's influences shown here are very wide. They go from international prog bands an artists, such as Frank Zappa, King Crimson and Gentle Giant, passing through other broader genres of music (that may influence the already said international bands) such as classical music, jazz, spanish music and tango to some smaller influences, such as various kinds South American folk music.

About the songs, musicianship and other features, there are somethings i would like to state:

The instrumental work here is absolutely amazing. All instruments do their job perfectly and though in many parts (if not in most parts) throughout the album a complex technical work is very noticeable, much like Gentle Giant but jazzy, the album is not a simple display of musical notes being played at random occasions, it is cohere and senseful.

The ever present bass, as in most albums of the genre, is a must here and it, much like in Gentle Giant, supports the whole band wile having a complex melody line itself. The drums are masterfully played with a jazzy touch, much like Bill Bruford whenever. The drums and the bass are the most present instruments of the whole album, maybe because they support the whole band. The sax, the flutes and the violin also fit very well here, as they give the album both a jazzy touch and a tango touch to the music. The guitar, unlike most part of rock music, does not have the central role here because that role is divided upon the sax, the guitars, the violin and the flutes. The vocals are very well worked and dramatic, much like the tango vocals.

The only drawback that i can notice is that the ending of the song El Cortejo de un Día Amarillo is not as good as the rest of the song.

Grade and Final Thoughts

Awesome music, terrific vocals and amazing final product (that product being the album), what else do you want? This album may not be so important for the bigger scene, but who cares? It is a masterpiece and deserves to have a grade that corresponds to that. 5 stars and nothing less.

This is one of the most amazing albums i have ever heard.BUBU were a seven piece band from Argentina with an additional guest piano player making it eight for this record.The sound is so rich and varied as they take us through different climates and moods.This is complex yet melodic as we go from ANGLAGARD/SINKADUS like passages to dark haunting soundscapes to jazzy energetic passages to experimental avant-gard sections.This is all over the place yet it is so seemless.Simply brilliant.The vocals bring the Italian classics to mind,while the guitar lights it up at times and at other times is angular ala Fripp.Violin,sax and flute are prominant and there are female vocal melodies as well.I have to give Logan a thankyou because i read his glowing appreciation for this record on one of his posts which caused me to put it to the front of the line sort of speak. "El Cortejo De Un Dia Amarillo" is perhaps the greatest side long suite i have ever heard.It opens with some impressive jazzy moves as bass,flute,drums and sax lead the way.The sax is dissonant at times.It changes quickly 1 1/2 minutes in to a section that left my jaw hanging open as it sounded so much like SINKADUS and ANGLAGARD.Yet this was before those two bands ever existed.The guitar then takes off blazing it's own path as bass continues to throb and drums pound.Awesome sound! I'm pinching myself at this point seeing if i'm dreaming or not. The sound is so rich as sax,violin and flute add to the pleasure.After 6 minutes it is so uplifting and emotional.The tempo then picks up with flute then violin leading the way.Sax takes a turn as it rips it up.It settles down with some angular guitar before 8 minutes.We get some chamber music after 9 minutes.It starts to build before 12 minutes as vocal melodies join in.Flute and sax lead the way for a while then a calm before 13 1/2 minutes.Powerful vocal melodies a minute later with acoustic guitar.Nice.Sax comes in and it's incredible.Next up is the guitar as the sax stops.This guy can play as he fires off some blistering melodies.The drums and bass are fantastic as they both become more prominant.The flute is back 17 1/2 minutes in before guitar returns. "El Viaje De Anabelas" opens with vocal melodies before an outburst of drums.This happens again before flute,sax and violin come in beautifully.The violin recalls MAHAVISHNU ORCHESTRA after 1 1/2 minutes.Vocals before 3 minutes with bass and acoustic guitar is outstanding.Flute and sax a minute later as vocals stop.Violin comes in.Guitar comes and goes.Vocals return before 8 minutes.Mournful violin before 10 minutes with vocal melodies taking over quickly.Then check out the dark,angular guitar as sax joins in. "Suenos De Maniqui" opens with piano then reserved vocals.A heavy,dark mood arrives with angular guitar crying out as piano continues.The song kicks in after 1 1/2 minutes with flute leading the way.Then the guitar takes the lead as drums pound away.This is uptempo with sax also involved.It settles down with sax,flute and angular guitar then speeds up with violin.The tempo shifts are frequent.This is such a display of both band interplay and incredible instrumental work.Vocals are back before 5 minutes sounding very Italian.Vocals and this section end 7 minutes in and are replaced by an intense passage of guitar,violin and sax as vocal melodies come in.Sax gets dissonant to end it. Perhaps the greatest recording to ever come out of Argentina.

“Anabelas” is a definitive album for Eclectic Prog. From heavy SABBATHian riffs to CRIMSONian cacophonic jamming, from GENESIS-like melodies to Italian Prog-like complexness, from GENTLE GIANTish polyphony to Canterburish mood. The side A is almost flawless, all filled with almost 20-min long instrumental journey. The side B is a bit losing I think in comparison to the side A, both tracks on it have some nice moments but sound a bit artificial, a bit forced and overloaded. Nevertheless this is solid and very hard-to-find record, I wholeheartedly recommend it. Any Proghead is able to enjoy it, and it’s not to be missed for sure!!!