LOS DELIRIOS DEL MARISCAL

"Los Delerios del Mariscal" was the second "must have" album released by CRUCIS. This carefully crafted symphonic prog rock album carries some of the most memorable passages from the 70's South American catalogue. Their sound is very elaborate and rich with great symphonic lustre and charm. This album features the duelling barrages of Kerpel's organ with Marrone's guitar solos. Every moment is impeccably tight and carries a continuous surge of creative energy. "Los Delerios del Mariscal" is without a doubt one of my personal favourite albums from South America and highly recommended by this progressive rock music lover.

As excellent as their debut is, that album proved the band needed lengthier compositions to allow the band to stretch out, and with "Los Delirios del Mariscal", this band out of Argentina delivers just that. This time around, Anibal Kerpal purchased a Fender Rhodes electric piano, giving the band a bit more of a fusion slant than their previous offering. What little DEEP PURPLE/ATOMIC ROOSTER influences had been thrown out the window here, in favor of that FOCUS/FINCH sound, with more of a PINK FLOYD or CAMEL feel. The vocals are now confined to only one cut, "No Me Separen de Mí", probably realizing vocals aren't their strong point, and it allows them to do what they do best: concentrate on instrumentals. And contrary to what some might say, I think this is an improvement over their debut.

The production, for one thing, is even better (although recorded at RCA Studios, presumably in Buenos Aires, it was mixed in Criteria Studios in Miami, yes the same studio well known acts like the BEE GEES and the EAGLES had recorded at). The opening cut, as mention, the only one with vocals, has more than a passing resemblance to Italian prog acts, like CORTE DEI MIRACOLI or NEW TROLLS. The vocal style reminds me a bit of PFM. The next cut is the title track, dominated by guitar and string synths, played in that FINCH (circa "Beyond Expression") and CAMEL manner. For some reason I am also reminded of ELOY's "Power of the Passion" (specifically "The Bells of Notre Dame"). The next two are the album's climax, that is "Pollo Frito" and "Abismo Terrenal". The former tends to be more fusion oriented, with Anabel Kerpal's electric piano dominating, and Pino Marrone playing guitar in a more fusion manner, but instead of a boring wankfest that I often level at fusion (I'm not big on fusion), it turns out to be an intense piece. And if that's not enough, the last piece harkens to the most intense moments of FINCH's "Glory of the Inner Force". Pino Marrone just goes overboard on his guitar, almost like if he never plays another note again... When the music calms down, it's more in that PINK FLOYD, CAMEL, and FOCUS manner. "Abismo Terranal" is without a doubt the greatest piece of music I've heard from a Latin American country. Highly recommended stuff, and without a doubt the best album I've heard from a Latin country.

I hesitate to gve it another half star (this would only be honorary anyway) but what a difference compared with their debut . Delerios is definitely more successful , more progressive more grandiose than Crucis. Only four tracks and two aside and every succeding number more impressive than its preceding tracks , this finishes in a really interesting finale giving you the envy to get up and turn over the disc and start again with side 1 - (unfortunately playing the Cd on the label side is always a little deceiving). The first two tracks are really good and sometimes reminds me of Focus and Finch but to me Purple and Rooster are still very present from their debut album. Track three , Pollo Frito (fried chicken) starts like a track from one of my fave album of all time Caravanserai (Santana's masterpiece) and one can hear this influence throughout this track and Abismo . Then comes probably my favourite Argentinian number (along with Bubu's Cortejo por Un Dia Amarillo) , Abismo Terrenal (Earth Abysm) which leaves me rather speechless but not enough as to not review the album.

With Crucis, I now close my first delving in South American 70's and early 80's prog (Mia , Bacamarte , Espiritu , Bubu ) but I would say that the better group I found is definitely the Chilean group Los Jaivas: they are not always all that prog - they are first and above all a folk group - but when they decided to be lyrical , grandiose , majestic , progressive , they are simply awesome. They also epitomize best South American spirit with that Andean Indian folk-laced- progressive music.

Second masterpiece in Crucis' résumé: "Los Delirios del Mariscal" finds the band exploring their jazzy trend further, in this way, allowing all musicians to expand on their own individual inputs while maintaining a robust sonic unity. The keyboard department is benefited from a major presence of synthesizer parts: for the band as a whole, this specific factor helps it to achieve a larger degree of energy in their performances (an energy that had already been awesome in their epnymous album). Actually, the album kicks off with a symphonic-oriented sung track, 'No Me Separen de Mí', which may give the fresh listener a wrong impression about the album's overall direction. This pleasant existentialist song has a similar mood to "Moon Madness"-era Camel, and it mostly serves as an initial, refreshing relief before the impressive catalogue that lies ahead in the immediate horizon. The 10-minute title track is an ethereal progressive journey authored by keyboardist Kerpel. Things flow very smoothly while the band expands itself through the evocative reiterations of the recurring main motif, with Marrone providing delicately soaring leads that beautifully complement the string synth layers - he sounds a bit like Santana-meets-Akkerman. After 7 and a half minutes, there is a clever shift that leads to a new motif, a more energetic one, which sounds almost like a soundtrack for a Western movie. This motif is punctuated by Marrone's precise harmonic soloing and Kerpel's inventive adornments, while the rhythm duo sustains it with clever staccato and syncopation. 'Pollo Frito' and 'Abismo Terrenal' occupied the B- side of the vinyl edition, and may I add that these two tracks contain (arguably) the most inspired performances ever produced by these astonishing musicians. The former of these two has a more constructed frame, since it is based on the fluid articulation of some well-defined motifs; the improvisations never lose touch with the logic inherent to the specific musical ideas. On the other hand, 'Abismo Terrenal' is a fiery 12 ½ minute tour-de-force that is structurally sustained by a minimal series of main motifs - the whole extra stuff is alternately left for each individual musician to develop while stealing the momentary limelight, most of the times with the other partners following through, or, as it happens in the case of Montesano and Farrugia's solo moments, in which they shine alone (particularly, the latter). There is a large dose of self-indulgence here, no doubt about it, but the solidness of all performances is ultimately founded on the interaction between all band members, so the pyrotechnics never falls into the void of chaos: somehow, a sense of order prevails all over this display of free expression and technical exhibitionism. The repertoire of this album is less structured than that of the debut, since as - I stated before - the band is now more determined to focus on jamming and improvisation. This sense of mutual challenge helps "Los Delirios del Mariscal" to provide an excellent testimony of what these excellent musicians could do for themselves and for each other at their prime - yet another masterpiece of Latin American 70s prog.

Argentina has produced some fine progrock gems like Banana, Bubu, Esperitu, Pablo El Enterrador and of course Mia. But my favorite band is Crusis, they made two fine albums in the mid-Seventies. Crusis featured Gustavo Montesano (bass/vocals), Anibel Kerpel (keyboards), Pino Marrone (guitar/vocals) and a drummer from Uruguay named Gonzalo Farrugia (from the known progrock band Psiglo). They existed from '74 until '77 and made two records: "Crusis" from '76 and "Los delerios de mariscal" from '77. The music has a typcial Seventies sound with echoes from THE NICE and FOCUS. The music is half instrumental/half with strong Spanish vocals and the emphasis is on the keybaords (organ, string-ensemble, synthesizers, Steinway - and Fender Rhodes piano), the rhythm-section sounds powerful and adventurous. The compositions are strong and dynamic with surprising breaks and the interplay between the electric guitar (often spectacular wah- wah) and keyboards is captivating. On their second album the tracks are longer with more solos and a stronger influence from jazzrock and Dutch masters FOCUS. The titletrack from "Los delirios del mariscal" starts with soaring strings, then a soft and tender electric guitar joins in a slow rhythm. Gradually the guitar becomes more fiery, accompanied by beautiful swelling strings. The fiery and sensitive electric guitar brings Jan Akkerman (Focus) and Joop van Nimwegen (Finch) to my mind. Indeed, two fellow Dutchmen! The long and strongly build up guitarsolo is accompanied by soft waves of organ and a powerful rhythm-section. It's great to hear such a wonderful guitarsolo from Argentina (almost the end of the world) with those obvious echoes from famous Dutch guitarists! Then there's a sudden change of climate with swinging electric piano, a phaser drenched guitar and fiery electric guitar runs, to continue up-tempo with great guitarplay and flashy synthesizer flights. The final part contains a lush atmosphere led by captivating electric guitar and synthesizer interplay.

A VERY PLEASANT 'EPIC' FROM A GREAT, IN MY OPINION, SLIGHTLY UNDERRATED PROGROCK BAND.

Excellent album. I would have never expected anything like this from a band from Argentina. This is a MUST HAVE for all Symphonic Prog fans. After two or three listens I absolutely fell in love with this album and can say that it is virually flawless - the musicanship is superb, tunes are great and the quality in general in very good. My personal favourite track is a title track "Los Delirios Del Mariscal" which starts off beautifully with a mellow tune then proceeding to Floyd-like solo and eventually goes to the faster part - excellent. Other three tracks deserve 4.5/5. SUMMARY: essential for a Symphonic Prog fan.

Except the first song this is an instrumental album. The music is a perfect mix of technicality and melody. I don't know too many bands which combine in such a good manner their skills. This is a symphonic progressive album as should be. Every instrument is clearly distinguishable without really going in front of the other instruments. If on the first two songs the band shows what they are capable of on the last two songs (Pollo Frito and Abismo Terrenal) they simply unleashed themselves.

The best song from here is Abismo Terrenal which fully deserves 5 stars. It is a perfect combination of jazz-rock fusion/space rock/symphonic progressive with fast tempos and improvisations. Overall this album could be easily rated with 4.5 stars without making a mistake. Take this note as a mix of originality rated with 4 stars (and it looks like they were largely influenced by Finch or Camel) and the musicianship of the band for which they must be rated with 5 stars. However I cannot imagine somebody who likes symphonic progressive genre that would not appreciate this album because contains that kind of music which captures very fast your attention.

I have a strange feeling when I'm thinking about bands which released only 1 or 2 albums (like Crucis, Anglagard or Bacamarte). They are like good memories in life. Not so many but when you remember about them it always make you regret that those moments are gone. In progressive genre albums like this are like a jewel which really have a special meaning like those memories I was talking about.

After slightly panning their debut, it's my turn to be mollified by a great, well-rounded album.

"Los Delirios del Mariscal" shows Crucis at their most together, revealing that they have the ability to pace themselves and to massage their music into the listener's ears instead of yelling excerpts of it at random, ala their debut. All four tracks are strong this time, and mostly know and obey their own boundaries. The opening track is actually outstanding, and I wouldn't change a thing about it, from the funky-frosty beginning to it's sensitive, meter-optional verse-chorus component, right up to its proud finale. The best thing is that, although I have my personal favourite, each track balances the others and nothing steals the show - the good material is spread evenly across the album, so be thankful.

There are still moments where too much soloing is happening over a lazy groove, or where the guitarist is wearing his Gilmour mask a little too much, but perhaps that's a plus point for you proto/psyche-heads. A lot of repitition occurs, and "Abismo Terrenal" - the longest piece - can feel a lot like an Eloy instrumental, where a very long bluesy solo is disguised by the shifting dynamics provided by the guitarist's bandmates.

The best way nowadays to hear this album is to buy the package "Kronologia" which comprises both of Crucis' albums. Although I had harsh things to say about their debut, each of those older songs makes a suitable appetiser to the more refined work they precede.

No me separen de mi, nunca mas!!!

I know i have to write in English but there are some phrases that stand in your head when the album has finished, or even when you simply remember the album, as you can imagine when i think in Crucis the first thing that comes to my mind is that phrase, and i wont bother to translate it to English because it would lost it´s essence.

Actually, i dont really remember how was my first meeting with Crucis, i dont know who introduced me to them or why do i have suddenly an album by them, probably i was introduced by a friend of mine, but its strange that i cannot remember correctly because i (almost) always have a personal story of how did i discover a band, etc. The fact is, that i am truly grateful with that person or whoever introduced me to Crucis, because it was simply another hidden band that made me fall in love with their music, the fact of being a South American band, in this case from Argentina, made me want to pay a bit more attention, since i am Latin American, support and love the bands from this side of the globe, and because Argentina particularly have had exquisite prog rock bands through the years (see Bubu, Sui Generis, Nexus, etc), and i was right, Crucis is another band that every progrock lover should check.

So here i am trying to review another awesome album by this band, the first one, the self-titled album was an amazing debut, maybe i should review that first but anyway, i have started with the second one, which is called "Los Delirios del Mariscal", and features 4 great songs with a 35-minute lenght, a short album but here we will find a lot of quality, instead of quantity.

It kicks off with my personal favorite song named "No me Separen de mi" which starts with a nice and friendly sound of guitars and drums, then they stopped and vocals enter with a nice and melodic voice, i actually love that part and love to sing it, then it changes to a faster and symphonic sound, notable guitar lines, great drumming and a magnific keywords work, great song!

"Los Delirios del Mariscal", is the first out of two over 10 minutes song, it starts slowly, very soft and calm, the first two minutes are the same until the guitar enters and the song is progressing constantly, here the guitar playing is magnific, showing us the quality of this musician, and i agree with Erik´s comments, it has a very 70´s sound ala Focus, great maybe relaxing instrumental song, you will enjoy it for sure.

"Pollo Frito" is another excellent song, this contrary to the previous ones has a more intense and powerful start with guitars and drums, then it turns slower but again returns to that raw guitar sound which makes it good, and then it has again that Focus- style, this one is another instrumental song and the shortest of them all, nice musicianship and superb guitar riffs at the end, reminding me a bit to Mahavishnu Orchestra.

"Abismo Terrenal" is the last and longest song of the album, it is an strong song, since the beginning you will hear that guitar riffs, this song has a psychedelic spirit, you will notice it through the minutes and it will make you have a nice trip , keyboards, drums and guitars are totally stunning, the first 5 minutes are the "heavy" ones, then it has a sudden change it turns slower but with the same psych feeling, a superb song with superb musicians, what a better song to finish this magnific album.

Actually i didn´t mention anything bad about this album, so it would make it a 5 star album, believe me i think it may deserve it, but doing a silly comparision, when i reviewed Anabelas by Bubu i had my 5-star grade since the very first word i wrote, here that feeling is missing and though i really love this album, i believe the most accurate grade it deserves is 4 stars, magnific album and highly recommendable to any prog lover!!

Enjoy it!

One of my critics of their first album was the fact that the tracks were too short, almost unfinished.

It seems that it won't be the case with their second (and last) one. Even if this album is extremely short, clocking at less than thirty-five minutes, it only holds four songs which leaves sufficient timing for developing their ideas in a more appropriate way.

And it is exactly what happens. While listening to the excellent opener "No Me Separen De Mi", one is fully surrounded with gorgeous music. Almost Italian symph: delicate, complex and very much Latin since this Argentinean band decided to sing in their native language (but this song is the only one with vocals). The first highlight.

But this album is full of great things. The wonderful instrumental and title track (clocking at just over ten minutes) is a sublime combination of guitar and keyboards. The spacey and long intro is particularly well crafted. It investigates some more jazzy influences later on, and the musicianship featured here is truly magnífica! Estupenda. My dear friend Carlos is not far away in terms of skills, passion and melody. Another highlight.

The strangely titled "Pollo Frito" is more a jazz-rock affair. Virtuosity and skills but the magic of the first two songs is not there. "Just" a decent number. But you might know about my relation with jazz-rock music.

"Abismo Terrenal" has the definite mood of "Caravanserai". Same warmth, same beat, same emotion. Great drumming to give the change to a wonderful guitar work. Again, Pino Morone shows his talent but not only him. This is a true band song during which all the elements flow nicely the one into each other.

But the rhythmic section is outstanding and dramatically sustains the impeccable organ play. "Abismo" is another highlight of course. Three out of four songs. Not bad at all. An excellent album which should please not only prog fans but the old Santana freaks like myself as well. This is by far my favourite song from the band even if the bass and drum solo could have been avoided.

Four solid stars.

The musical adventure of Crucis will stop after this album. A pity IMO.

You have to love the way these guys play, and on this their second album they give us longer songs with much more instrumental music. I thought the drummer was amazing on their debut, but he really does top that performance on this recording. Lots of long guitar solos as well on this one. More keys but less organ. Jazzier too.

"No Me Separen De Mi" is the only track with vocals. Keys then drums lead off as synths then mellow vocals follow (reminding me of an Italian band that slips my mind). Some solid drumming 3 minutes in and a fuller sound comes and goes. "Los Delirios Del Mariscal" opens with barely audible percussion as synths follow. This is such a beautiful piece of music. It builds slowly as drums come in followed by bass, then guitar arrives before 3 minutes. The drums sound incredible. Check out the guitar 6 minutes in. This has to be my favourite song on the album.

"Pollo Frito" opens with a nice drum solo as other instruments join in quickly. The tempo and mood changes often. Some good guitar after 2 minutes. Jazzy 3 1/2 minutes in before guitar comes ripping back in. Keys lead the way before guitar dominates again. Back and forth they go. "Abismo Terrenal" opens with light drums before some excellent guitar joins in. The sound becomes fuller. Great melodic sound at this point. Turns jazzy after 2 minutes. Some fast paced guitar 4 1/2 minutes in is so fluid. The guitar really steals the show 6 minutes in for over 3 minutes, then we get a bass solo. Nice. That solo continues (1 1/2 minutes) until almost 10 1/2 minutes in when it's the drummers turn to show his chops. And that he does for a minute then the main melody returns.

As I said in my review of their debut, I do prefer it to this one.The more I listen to them both the more that becomes clear to me. Both are excellent though and great examples of some of the best prog that Argentina has to offer.

For my money Crucis, along with Ave Rock and MIA, represent the gold standard as far as progressive music coming out of Argentina. Each of the three bands was loaded with talented musicians and songwriters, yet each produced only a handful of albums before sadly fading away as the musically prolific seventies wound to an end. Too bad in each case, as I think all of these guys could have produced many more albums of quality progressive music has they been able to survive the eighties.

I would say Crucis is distinguished from the other two bands mentioned here (as well as from most of their Argentinean brethren) thanks to the level of complexity present in their music and the attention to detail applied to every note. It surprised me how rich the songs on this album end up sounding considering there are only four guys playing here, and half of them make up the bass/drum rhythm section. So what does that leave? Well, guitar and keyboards of course, and both are leveraged to the hilt. Keyboardist Anibal Kerpel both alternates and layers Moog, Hammond and a newly-added Fender Rhodes throughout, which combined with Pino Marrone’s guitar accompaniment ends up at times sounding vaguely like mid-seventies Santana music, but without the heavy emphasis on Afro-Caribbean rhythm and percussion. At other times there’s more of a symphonic sound ala Salem Hill or MIA. Throughout the album the arrangements the music takes on a mild fusion edge, but especially on the title track and toward the end of “Pollo Frito”.

The band’s one weakness is there vocals as they have no dedicated or accomplished singer at their disposal. That was a mild annoyance on the debut album but is largely eliminated as a problem here since three of the four tracks are instrumentals, and what singing there is on “No me Separen de Mi” is deemphasized and wisely brief.

The heavy-hitter here is the more than twelve-minute “Abismo Terrenal”, a lengthy yet high-energy that is basically an extended yet carefully arranged ‘jam’ session that really only has one tempo shift to drum/bass around the ten minute mark before returning to the main guitar riff and a regrettably cheesy blues rock-like finish. I would have liked to have heard something more representative of the band’s considerable compositional talent reflected in the weak ending, but this is a great example of the potential of these four musicians.

There are a few things that work against this being worth considering as any kind of masterpiece. First, although there is limited singing on the album, what is there is somewhat flat and unexceptional. The lack of continuity in the music’s complexity on “Abismo Terrenal” and the title track is a very minor issue but bears noting. And finally the very short length of the album (thirty-four minutes) is a disappointment. I’m not sure if they couldn’t afford more studio time or simply didn’t have enough ideas to fill am entire record, but the four tracks here just don’t feel like a whole album. They had the same problem on their first album.

I love Crucis’ music and would certainly recommend you buy this one if you ever stumble across it, but I think the nineties compilation CD ‘Kronologia’ (which features both of their studio albums in their entirety) is a much better bargain than the two separate studio releases. In any case a rating system fails us again as this is a very clear 3.5 star recording; but considering the cumulative weight of the aforementioned detractors for the album I’m going to round down and say this is a very strong three star release.

peace

As far as I recall, Crucis has been the most recalled band frome the Argentinian progressive movement. There are two main things that probably got me to listen this band with particular attention.

The first is the relationship between Gustavo Montesano and Charly García (Sui Generis, La Máquina de Hacer Pájaros, Serú Girán). It is ussually said that García invested in the recording of Crucis's first album. Indeed, I knew Pino Marrone a few years ago and he affirmed this rumour, and he said how haigly-viewed the band was among certain musicians Argentina had back then.

Later on, I´ve also heard that this first album was recorded alive in Rosario, Argentina. Unfortunately, I couldn´t find out if that´s a fact. Listening to it, that doesn´t make much sense. However, I would appreciate to get any information about it.

I am pretty sure this album, and of course, Los Delirios del Mariscal also, are, if not the best, one of the most accurate examples of progressive rock in Argentina; not only regarding the exquisite expression of all the musicians, bat also because the quality of that record, practically unheard in that days in Argentina.

I find all the songs very intresting in general and, not surprisingly, with a very high political commitment. For example, I recommend you to check la triste visión del entierro propio, where Montesano make a certain parody of the militar goverment ruling on those days.

I hope Crucis gets a well-deserved place between the hall of fame of south american prog bands.

There isn't too much albums that are optimistic all the time at all costs. Because that would be something I would like a lot. Let me correct myself, that's something I like a lot here, because this album is prime example (and Moon Safari's two albums I've heard so far too).

Using various types of Symphonic goodies, this album can stand in front of all these bands from South America and shout: "Choose me, I'm the best one here". Maybe not the best, but for sure good, this album is short, but providing enough joy to fill the hearts of of demanding listeners. Even it leaves you wanting for more. There's rule that first half of this album is better than second (better structures/melodies, it gives me better impression at all).

Not perfect, but good enough. Even somehow "typical". I have, however, no problem with that.

4(+) I suppose, there's not much to be said about negatives, except that second side is slowly getting worse. Not much though.

I actually don't like the mostly-instrumental Los Delirios del Mariscal quite as much as I do the band's debut - it's an engaging enough and competently performed prog album in a similarly keyboard-led mode, but none of the tracks particularly stand out and the band's performance isn't quite as energetic and vibrant as it was first time around. Still, the reduced prominence of the vocals will come as a pleasant bonus to many listeners, and if you were particularly taken with their debut album Los Delirios is hardly an embarrassment. It's another significant album from the Argentine prog scene (such as it was), but it's not the groundbreaking effort its predecessor was.

3.5 again

Their follow up from one yar later from 1976 named Los delirios del mariscal transled approximate The Marshal's delusions is a more intristing and much better in manner of composing. Clocking around 35 min with only 4 pieces, totday it would be like for an EP, Crucis developed their sound into much more polished one and with more elaborated sections. The combination of instrumental passages with emphasis on long instrumental parts specially the keyboards and guitar have an important role here that goes somewhere between symph prog and heavy prog are succesful here, the musicianship is top notch, but again I don't know why I can't give more then3-3.5 stars. Is to much improvised passages and aswell this album is less dynamic then their forst one. I prefere No Me Separen de Mi , I think is the best track of the album , the guitar and specialy the drummer is excellent. So, another fairly good album, not a weak moment here, but nothing excelent aswell, at least for me, even they iprove their sound with more elaborated passages , the album is date it in places. 3-3.5 stars, both albums are more then ok.

An outrageously good slice of Argentine prog-rock, this second release from Crucis finds the group on seriously breathtaking form, channelling elements of symphonic rock, jazz, funk and folk into a blistering whole that truly defies expectation. Featuring Gustavo Montesano(bass, vocals), Anibal Kerpel(keyboards), Pino Marrone(guitar) and Gonzalo Farruiga(drums), this four-piece existed for a brief while during the mid-seventies, a time which saw a clutch of talented groups emerge from the countries folk-inflected past. Crucis, alongside the likes of Invisible, La Maquina De Hacer Parajos, Alas, Aquelarre and Espiritu, formed the core of a remarkable scene that failed to find an international foothold at the time yet has since become more and more popular with fans of more obscure progressive music. Made up of just four extended and mainly instrumental tracks, 'Los Delirios Del Mariscal' is the pick of the bunch, an album filled with virtuoso musicianship, razor-sharp guitars, shimmering synthesizers and some beautifully serene momente sof blissed-out latin prog. Highlights include the superb ten-minute title-track and it's gorgeous acoustic embellishments and the intensely epic closer' Abismo Terrenal', a piece which features a strong dose of jazz-fusion layered over the carefully-crafted progressive melodies. Simply put: A genuine masterpiece of the highest order. STEFAN TURNER, STOKE NEWINGTON, 2012

I feel different emotions to remember about this album. A very dark and sad time in my country had begun. Music has no relation to what. Actually the only song with linguistic content is No Me Separen de Mí (No separate me from me).

The whole work is imaginative and with local touches, especially Pollo Frito (Fried chicken).

The production is very clear. It was mixed and mastered by Jack Adams in Miami. Each member plays an important and significant role.

The two lengthy instrumentals are the best musical group contribution in his short career. I find most original and moving the title track to the album, Los Delirios del Mariscal (Delusions of Marshal), with his pace and mesmerizing beauty.

4,5 rating

This is a truly magnificent album. Except for the first song, the rest are instrumental and I think their strength lies on that part. I didn't like much the voices used, but the music is superb. The song Los Delirios del Mariscal (the same name of the album) contains symphonic prog elements and the progressions are really adequate. Pollo Frito is a short but nice song, with very good progressive movements, some jazzy elements are shown here. Finally, the epic track Abismo Terrenal is excellent, with glorious guitar and bass guitar solos, and drum parts, this track sounds sometimes full of psychedelic elements and jazz touches. Crucis, a band you should hear!

I'll make it known once again: I love Argentinian prog. The guys were the masters of making the stuff, back in the 70's and even today. And Crucis was just one part of a greater national mosaic of fantastic music. After a very blues rock- influenced debut, "Los Delirios Del Mariscal" saw the band experimenting more with longer song structures; the album only contains 4 tracks, two of which are instrumentals spanning over 10 minutes apiece. And with more breathing room to develop their music, we arrive at a spacier, and at times more symphonic, listening experience.

I won't bother going into a "track-by-track", since I feel that the whole album really gels together as a single unit. What really defines the album's sound, though? Bluesy space rock jams, a vast cosmic vibe carved out with lush synths, blistering rhythmic firepower, there's really no other band out there that can so cleverly blend the dichotomies of spacey and contemplative, aggressive and exciting. Crucis really are masters of gradual build-ups; this can especially be heard on the title track and the closing "Abismo terrenal", where quiet synth vistas give way to breakneck guitar solos, sexy in their grooviness and fiery in their intensity. The last two minutes of the title track alone are a perfect representation of this, and make the album worth buying to hear them alone.

This album really fills a niche in Argentinian prog that not many of their contemporaries even attempted, and works splendidly from start to finish. The only minor complaint I might entertain is the fact that the longer tracks can sometimes get a little repetitive; for an album of under 35 minutes, you shouldn't have to strain yourself to "bulk up" something that's already so short. Having said that, this is still an excellent prog classic that ranks up there as one of the top prog albums of the late 70's. An excellent, excellent, excellent addition to any prog collection and an easy 5 stars!

One of the best progressive albums to ever come out of Argentina (together with MIA - Cornonstipicum). Excellent musicianship, great amount of enthusiasm and energy, stunning playing and good sound underline the 5-star rating. Luckily, this is mainly an instrumental effort.

The album starts with the least strong piece containing also vocals. It doesn't blow away but set the minimum acceptance criteria for this highly over-average album. The title track is the most elaborate composition equally accessible to demanding and more straightforward prog fans. It has clear Focus/Finch signatures, emotional main motive and a lot of emotions with graduating tension. Keyboard layers and excellent guitar solo bring the main quality. Just when you think it will stay a calm song with repeated motive, the more energetic Rhodes driven passage with great synths/drums.

"Pollo frito" features explosive drumming, a lot of time signature changes, nice mellow quiet section, absolutely Finch-emotionally coloured guitar solo a la their second album. Shortly after mid-section, we have a furious fusion jam with keyboard/bass/guitar soloing and typical 70's American fusion drumming. "Abismo terrenal" is played in the same vein when it comes to drumming and soloing. This time, we have 12 minutes which is ample time for keyboard atmospheric synth solo, agressive and acrobatic guitar solo replaced by an emotional melodic guitar. Then come the less fitting bass and drum solos to stay fair. The end could have been better developed as it ends quite abruptly.

The bonus tracks are less essential as they are less elaborate. All in all, an essential prog-rock masterpiece.

Recently I listened to a new live CD by Nexus featuring tracks from the two studio-albums by Crusis, what a joy, a top notch current Argentine band playing Argentine prog legend Crusis, wow! It inspired me to listen to Crusis their highly acclaimed second album Los Delirios Del Mariscal (from 1977).

The music is partly instrumental and partly with strong Spanish vocals. The emphasis is on the vintage keyboards, from Hammond organ and Solina string-ensemble to a range of synthesizers, and Steinway - and Fender Rhodes piano. The rhythm-section sounds powerful and adventurous. The compositions are strong and dynamic with surprising breaks and the interplay between the electric guitar (lots of wah- wah drenched soli) and varied keyboards is captivating. On their second album the tracks are longer with more soli and a stronger influence from jazz rock, and Dutch prog legend Focus. Highlights are the epic titletrack and Abismo Terrenal, in my opinion the best ever prog from (often overlooked) Latin- America!

Highly recommended!