Bardo are a great revue style band of ex-pat Argentinians, and they put out an energetic and festive Christmas treat for the Latinos resident here. And for the curious seekers of tasty Rock’n’roll.
Gabriel El Brujo Cuello on guitar could be the leader, going on body language.
Lead singers Octavio Comito and Marcos Weht. The one wearing dark shades has a striking resemblance to George Michaels.
Key instruments to their charged sound. Axel Monte de Oca on saxophone, and Juan Ottonello on harmonica.
All important engine room and the rhythmic centre, Gaston Philippens drums and Juan Asenio bass.
The venue fills quickly with hot young females and males bringing their distinctive carnivale atmosphere. Scattered around are those who look like aging hipster jazzbo types looking for a new fix. I can count myself amongst that.
A smaller club version of the crowd that went to see J Bavin at the Spark Arena in September this year. It was booty shaking their money-maker all night for a break-out Reggaeton performer with Colombian roots.
Obviously more than five believers for this South Americana Bop.
I understand they are primarily a covers band for South American Rock bands. That’ s fine with me, being a fan of tribute bands. Especially since they jettison any baggage the originals always carry.
The seven-piece start in snappy Garage Rock with songs which may be called Next Week and Vamos LA. With the R’n’B accents especially from the sax and harp, they could be a Latin version of Mitch Ryder and the Detroit Wheels. Sung in Spanish
There is a setlist, but it’s written in abbreviations and shorthand, so I won’t rely on it.
The next brace of tunes has clear Rock’n’roll and R’n’B hearts in the vocal phrasing with the Latin rhythm overriding.
What is the connection to the classic sound of East LA Chicano Rock? Mexican immigrants crossing the contentious southern border into Texas and Southern California to the East Los Angeles barrios.
That’s Richie Valens (Valenzuela) and a host of others like the Premiers, Cannibal and the Headhunters (Land of 1000 Dances), Thee Midniters, Sam the Sham and the Pharoahs (Woolly Bully), Sir Douglas Quintet and all the way up to Linda Ronstadt.
You can hear echoes of those in their tight and disciplined performance.
When they call for a dance, which could be Me Gosas, they can lay out swinging R’n’B reminiscent of Los Lobos.
There is some Latin Rap. More like dancehall toasting and it sounds like Los Del Rio’s Macarena, dare I say it.
Minu Viera is brought up for one song heavier into Rock, which buries her vocals.
I’ll label another one Ala Deuta. Starts with the riff from Nutbush City Limits. A tempo change takes it toward Born to Be Wild.
Half the room has become a Latino mosh pit without the implied violence of flailing arms and legs. Another shift and we get buzzsaw motorik guitar riffs, going back to Steppenwolf. Changes all signalled by the drums.
More toasting Rap and Here We Come sounds like the Beastie Boys.
Jennifer ha a Disco bass lead. Followed immediately by what can only be called Latino Garage Rock.
A raucous chant of shake it baby shake it. The song borrows a little from the Animals Baby Let Me Take You Home.
Mona is the one which sounds the most Brazilian Carnivale in style.
The shout goes up. Let’s dance! There follows a general rave-up as it’s time to twist again like we did last summer.
That’s the finale. But Bardo don some Santa hats to finish on a Punk attack. Lots of young girls have piled on stage to celebrate with them.
Great South Americana!
Rev. Orange Peel
