(Heavy Psych/Blues-Rock) Manal - Manal - 1975, MP3 (tracks), 320 kbps

Manal were an early argentine rock group, one of the three along with Almendra and Los Gatos dubbed the fouding trilogy of rock in that country.
Whereas Almendra brought an Argentine identity to the sound and Los Gatos the electric guitar, influenced by Cream Manal brought the blues to Argentina's rock conscience. Their early years where spent in regular gigs at the mythic "La Cueva" club, birthplace of the first generation of Argentine rock groups.
Manal is an Arabic name that means can get hold of it and there is well known phrase is Arabic that includes this name: "sa'ab al Manal" which means very difficut to reach. - Wikipedia
Javier Martinez - one of the founders of Argentine rock movement - was a regular at club La Cueva, the legendary cradle of many rock artists. There he met bass player Alejandro Medina (ex-The Seasons) and guitarist Claudio Gabis. They formed a trio called Ricota (a type of soft cheese) after the famous British band Cream. Martinez's main ambition was to sing the blues in Spanish (something unheard of at that time).
Manal was the first act to sign to Mandioca, the pioneer label created by producers Jorge Бlvarez and Pedro Pujу. The label debuted by releasing three singles (by Manal, Miguel Abuelo and Cristina Plate) on November 12th, 1968. These 7"s featured unique luxury fold out picture sleeves. Manal's a-side featured a 6 (six!) minute song ("Quй pena me das!") and the b-side included "Para ser un hombre mбs", with an excellent fuzz guitar. Though extremely rare, this single is very recommended.
In the summertime, a venue called Mandioca opened at the Beach City of Mar del Plata. Pappo used to play piano with the trio, promoted as "blues and psychedelic-soul"! (This venue closed at the end of the summer, due to economic reasons).
In the middle of 1969 a second brilliant single was released -"No pibe" b/w "Necesito un amor"- and by the end of the year their first album hit the stores.
The LP is now a classic. The lyrics have a lot of urban references, almost modern tango. The music - mostly rock and blues- is superb as well. The most remarkable moments are "Jugo de Tomate" (Manal's most popular song), "Avenida Rivadavia"(about the longest avenue in Buenos Aires), "Una casa con diez pinos", "Informe de un dнa" and "Avellaneda blues" (a tango-blues about the suburbs). The trio sounds great and Gabisґ performance is brilliant. A must have album, although original copies are extremely hard to get in good condition. (Two songs from the album were released on a single).
Also in 1970, Mandioca released a various artists album called Pidamos Peras a Mandioca (Mandioca MLP 335) featuring the original version of "Elena", a song that Manal re-recorded for their second album.
El León - a more rock oriented LP- was not as good as its processor. Anyway, it features great songs like "Blues de la amenaza nocturna", "Paula" or "Si no hablo de mн". A single with two non-album tracks was also released.
Shortly afterwards Manal split. Medina and Gabis went to La Pesada and released solo albums. Martнnez left Argentina, until in 1981 (due to Almendra's successful comeback) he returned for Manal's own comeback! They toured and released two new forgettable albums (one recorded live). Despite the lack of artistic success, they actually insisted on reuniting again in 1995 for yet another live comeback and another live album! (No comment).
In 1972, El León was reissued with extra tracks as Manal (RCA Vik LZ-1225). In 1973 an excellent double LP set was released featuring the first Mandioca album, all Mandioca singles and unreleased tracks. It was given the innovative title... Manal (Talent SE 386/7) (better known as "Manal double album"). - The Magic Land, A guide to Beat, Psychedelic and Progressive Rock music between 1966 & 1977 in Argentina and Uruguay
In 1968 after their demos being rejected by multiple record labels, the band approached long time friend and producer Jorge Alvarez. In order for Manal to get material recorded, it was necessary to build a new label. So Alvarez teamed up with Pedro Pujo and created the Mandioca Label, event of high historical importance as it would become the first label exclusively dedicated to Argentine rock.
Under the fledgling label, Manal released their first two singles in 1968. But their consummate moment came at the 1969 Pinap Festival. On the back of their near daily performances throughout the year, the group's tightness was apparent. Argentine rock lore says delirious fans at the festival that day ended up doing choruses and singing along with Manal's three members, who resorted to vocals as their bass and drumbs 'broke' down from overuse.
Following this event Manal released the full-length blues rock debut in 1970, self-titled as it was customary in Argentine rock at the time. It was certainly not at the level of English-language counterparts but it is nevertheless an enjoyable listen, and as such the album did well. This prompted RCA to approach the band with a contract, which Manal accepted. Their major label debut El Leon (1971) proved not as successful as Manal, but was a decent record.
By 1972 however, musical tastes in Argentine rock had changed. Acoustic Argentine rock was on the verge of its explosion, and heavy rock had become the dominant blues oriented rock form, with rock first and blues later. Blues-rock was not favored, and Manal coudn't make a transition. Furthermore their third album in 1972 was poor in material. It would all lead to the break-up of Manal in 1972, the worst ending of all the three trilogy bands.
However, history would eventually offer the band redemption, and a more deserving send-off. In 1980 Argentine rock was caught up in a revival period of rock from the late 60s, with Almendra successfully reuniting. Producers asked Manal to do the same which they did, and even produced one last LP in 1981's aptly named Reunion.
Instead of the almost ignominious early 70s exit, Manal performed well-attended last concerts in major cities across Argentina which led to a live album, and corrected what would have otherwise been an unfortunate way to end an encyclopedic entry on one of the fundamental groups of early Rock en Espanol.
Today they are credited with bringing the grittier form of blues-rock to Argentine rock,[3] and few at the time could foresee how influential many years later this would be when the suburban rock explosion took place in the mid 1990s. - Wikipedia