Old rockers never die, I think they don’t say anything about the young and middle-aged but we will take it for granted. hotel Specify its origin and choose the red planet, that of spiders, that of Tim Burton or perhaps the one proposed by the Grateful Dead in the always well received seventies. The fact is that the quintet has a new name and returns with new compositions, an unequivocal sign that David R. Jones was right because Lennon is on sale again.
The decalogue of the Zaragozans begins with a riff approved by Stevie Wonder and his acolytes. Jesús Pérez follows the line of the Franciscan lyric (make no mistake, the only valid San Francisco is the one that contains beautiful girls with flowers in their hair) and captures it in the ten cuts of the album full of winks to the Stones, Creedence and God Bowie, always present. The dry winding guitar asphalt shows up in San Francisco and we miss those slopes full of wandering souls in search of the daily allowance. There is room for delta rock in Do not look back, hit the table to say that the best ballads are in the key of rock and roll. And we will talk about national groups such as M-Clan, Los Zigarros or the extinct Sol Lagarto but we will not forget the fathers of the country and we will cry with Clapton’s guitar thinking that the bars were better with ash on the ground and sawdust on the bars.
There is time for pinwheels and for Lasaosa to shine on the lead guitars in Plomo en el Vacuum, a brilliant halftime in which Pérez’s broken voice is accompanied by Beatriz Pérez’s Hammond, always present in the high moments of an elegant album like a suite at the Los Angeles hotel. Harrison also makes an appearance in Let Your Dreams Fly, as if an extension of Revolver were about the theme, it acquires Hindu overtones from the beginning and gives way to Latin psychedelia with the entry of Borja Téllez to the congas. And is that Mars Hotel it is a greatests hits of winks to his teachers with time and delight for a listener who craves the electricity of the direct, of Prohibition, of Rock and Blues and of so many other battlefields of the city.
Eric’s sonic bustle and the dragged blues of the Vaughan method (Stevie Ray) give packaging to a continuity album with that Tiempo de Luz (2014) when the only existing confinement was that of the bar patrons. Los Angeles Caídos (with the collaboration of Eduardo Escobar on pedal Steel and Cope Gutiérrez on piano) sounds like a brotherhood anthem and Bailas, with a Latin aroma, shows that the rhythmic section under the command of Hector Salvador and Luis Gómez supports the weight of each composition. The Hotel de Marte closes the recording in a forceful and heavy way leaving the residue of good coffee and the image of a loft with velvet sofas and checkered floors. Madness will save us from madness and death will find us in the most elegant suit and distortion of a Gibson.