The intense developed musical work for the accomplishment of the first disc were the foundations to the continuity and complexity of the second album.
They were at a stage searching for more maturity. This time all the tracks are sung - except for "El Proclive necesario / Inclined Necessary". The aspiration of their further development was to cultivate a more centered conscience, with their feet to the ground, more objective, and simultaneously, more cosmic.
The group approaches the Aplicadá Institute of Psychology, directed by Héctor Fernandez, to participate in various group therapies, to work with a variety of over 40 different people - a diversity of professionals, politicians, artists and musicians of all the ages with a goal for a spiritual adventure, in Gurdjieff style. The Aricá Institute is lead by Bolivian teacher Oscar Ichazo.
They had to practice a stage of much discipline, strict schedules, complex and beautiful spiritual exercises that demanded the maximum to body and soul. Oscar showed the participants the frightened ignorant abyss of the uprooting of our culture, showed serenity of meditation techniques for optimal fysical functioning, including demanding corporal exercises derived from an African system, the importance of humour and the celebration of everything and all the things and music.
They decided to live in community: the "Manchufela" blooms, in Av. Ossa together with Simón Bolivar. Rules of operation and coexistence settled down. Within this community there were many tasks that had to be fulfilled between the tests and exercises, from purchasing to cleaning jobs.
The mornings were celebrated, which can be heard in "Qué Lindas son las Mañanas / How pretty are the mornings", the opening track of the album. The seeking of a loving and caring natural alchemy can be heard in "Campos Verdes / Green Fields", "Tarde / Late", and in "Esencialmente Asi No Más / The essence is no more".
Once again the nature and our necessity to return to the unity that is connected with her arise in abundance can be heard in "El Rio Dónde Va / Where the Rio goes" and in "Pintando Azul el Mar / Painting Blue the Sea", songs of Julio, sung with poetry and humour, or in a tragicomic idea to reverse human history to feel back the inextricable inserts in the recycling of nature in "Rodandera".
Another introspection, both painful and joyful, marks "Pisándose la Cola / Stepping on the Tail", "Manchufela" and "Del Volar de las Palomas / the fly of the doves". Around all these tracks Juan Contreras build some flute arrangements, typical for Los Blops, and completed it with keyboards. Sergio Bezard did put the basic rhythm on it.
At this stage, having only fundamentally acoustic tracks of songs, the continuation was interrupted by two events. The performance of the Blops in the Festival of Vine of 1972, and the later the leaving of the group by Julio Villalobos, virtuous guitarist 1973.
Blops performed in Vine in the summer of 1972, in totally adverse circumstances generated by the political situation. It turned into a disaster. The result was that the subtlety of the worked songs was interrupted and booed in even implacable form at least twice a the day during three days. Which also contributed to this was the fact that the Blops appeared as they were, that is to say, with daily clothes, without disguises, devices nor artifices.
The group thought that good music should be transparent. The brutal aggression meant a complete break with the music style that Blops had developed until that moment and that was registered in its two first discs.
In steep form the group leaves the acoustic guitars, the songs and the letters, and enters a chaotic stage of total revolt, during which Blops submitted in an almost suicidal form to the scene only to improvise, starting off absolutely of zero every time, with unpredictable, sometimes sublime results, sometimes inferior, and before the total disagreement, or even fury, of those who they had contracted to us and that they wanted to hear "the classics".
Later, already without Julio Villalobos, Blops will return to the earlier concept to develop, this time only with electrical instruments, instrumental tracks with an aggressive, progressive rock style, which will lead to the third disc -"Locomotora "-, also published by BMG...
The second album "Del Volar de las Palomas / The flight of Doves", like the first album of Los Blops, was recorded and mixed in little than 12 hours, on a two track channel, monophonic, July of 1971.
It was produced by "Peña de los Parra". Just like what happened to the first album of the Blops, the tape ' master' of "Del Volar de las Palomas" disappears mysteriously and for always after the coup from September 1973.
It is for this reason that this album has been rescued from a vinyl disc, and remastered from it to obtain the best possible sound of a recording that to begin with has been made in the most precarious conditions that the technology of the time in Chile allowed.
The album was recorded in the 'Sello Peña' from the Parra family. Shortly after recording the album will they participate with Víctor Jara's "El Derecho de Vivir en Paz", on of the first discs in the Chilean 'Nueva Canción' style.
Los Blops - Manchufela:
01. Que Lindas Son Las Mañanas (04:32)
02. Pintando Azul El Mar (03:15)
03. Manchufela (04:21)
04. El Rio Donde Va (03:55)
05. Esencialmente Así No Más (03:58)
06. El Proclive Necesario (03:14)
07. La Rodandera (03:41)
08. Tarde (2:53)
09. Del Volar De Las Palomas (05:45)
10. Campos Verdes (04:11)
11. Pisándose La Cola (06:44)
12. Machulenco (03:17)[bonus track]
*Eduardo Gatti: Guitars, keyboards, percussion, vocals
*Julio Villalobos Guitars, accordion, vocals
*Juan Pablo Orrego: Bass, acoustic guitar, xylophone, vocals
*Juan Contreras: flutes, keyboards
*Sergio Bezard: Drums, percussion
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