GRUPO EXPERIMENTAL SONORA DEL ICAIC CUBA RARE '72 Cuba Revolution Rock READ--
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GRUPO EXPERIMENTAL SONORA DEL ICAIC\ CUBA
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Disco Rebelde AM-03 RARE 72? Cuba? import. From NPR:
Fidel Castro didn't like rock music. Or hippies. In 1968, he launched a "revolutionary offensive" aimed at eliminating all remnants of capitalism. He also closed Havana's nightclubs for a year.
Castro aimed to cure Cuba once and for all of "ideological deviants," which included long-haired youth, homosexuals and any others the authorities simply had reason to mistrust. For Cuban authorities, The Beatles were viewed as harbingers of an imperialist offensive out to corrupt young Cuban minds.
Over the next two years, thousands of youth were swept up in a repressive crackdown. Among those caught in this burst of revolutionary fervor were two relatively unknown singer-songwriters whose names would become legendary a decade later: Silvio Rodríguez and Pablo Milanés.
The story of how these "deviants" were saved from oblivion and how, in turn, their music transformed the musical soul of revolutionary Cuba itself, is tied to the story of a short-lived rock fusion group, "Experimental Sound Collective of ICAIC" (ICAIC is Cuba's Film Institute), better known in Spanish as GESI.
Officially, GESI became the house band for the film institute, producing soundtracks for ICAIC's numerous projects. Unofficially, GESI served as a kind of cultural refuge for those whose artistic talents ran afoul of Cuba's ideological police. More fundamentally, GESI became a "musical think tank," as authors Deborah Pacini Hernandez and Reebee Garofalo have called the group. They were a diverse group of young, rebellious musicians at once committed to the revolution but determined to push against its aesthetically rigid ideological boundaries.
GESI formally existed from 1970 to 1978. Although prodigious in output, the group was initially barred from releasing its music on the radio or performing live. The idea was to contain these musical rebels, not reward them. As Rodríguez later lamented, the group was accused of making "songs with revolutionary texts and imperialist music." One such song is the sensational "Cuba Va!" This would translate as "Cuba Forward!" though English fails to convey the full exclamatory power of the Spanish.The song was originally written for the soundtrack to a feature-length documentary montage, Cuba Va! (1971), by the British activist filmmaker Felix Greene. While the lyrics clearly endorsed the Cuban revolution, they convey a sense of liberation that is more metaphorical than expressly political: "We're talking about love/We're building for love/One would even kill for love/In order to keep on working for love/Let no one interfere with the ritual/We want to love in peace/And to proclaim with a shout, Cuba Va!" This was true of many of the arrangements by GESI, and became characteristic of the "Nueva Trova" (New Troubadour) movement that grew out of this experience.
Nueva Trova was not a rock movement, though certain artists' indebtedness to a rock sensibility was clear. In spite of Castro's early efforts to squelch these artists' ideological transgressions, Nueva Trova came to embody Cuba's revolutionary sound, a sound that Castro would ironically come to embrace.
And that wailing electric lead guitar? It was played by the young American, Pablo Menéndez, who visited Cuba at age 14 in 1966 and stayed to join the revolution.
Jacket Grade: VG++ to NM- Little wear to cover art. No splits
Record Grade: Very clean VG++ Little to no visible play wear. A few light sleeve and surface marks.
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