01. ¿Qué Hago Yo Aquí? — 4:49
02. Doce Caras — 4:21
03. Tu Forma Real — 9:36
04. Vamos Al Campo — 3:18
05. Flotando — 5:45
06. Dueña Del Confort — 8:14
07. Tema De Los Devotos — 6:50
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08. Suéltate Rock And Roll (Single A-Side, 1975) — 3:31
09. Vamos Tranquilos (Single B-Side, 1975) — 3:33
10. Oye Dios Que Me Has Dado (Single A-Side, 1976) — 3:46
11. Buzios Blues (Single B-Side, 1976) — 5:19

Rinaldo Roberto Rafanelli — vocals, bass, guitar, Moog synthesizer, organ
Oscar David Lebón — vocals, guitar, electric piano, mellotron, percussion
Juan Jorge Rodríguez — drums, percussion
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Ciro Fogliatta — vocals, piano, electric piano, organ, mellotron, clarinet

Short-lived Argentinian supergroup, that came to life in 1975 after the demise of Sui Generis.Initially Polifemo started as a Blues Rock trio with Sui Generis's Rinaldo Rafanelli on bass and Juan Rodriguez on bass along with guitarist David Lebón (ex-Pappo's Blues and a bandmate of Rinaldo Rafanelli in Color Humano).After a first single in 1975 the trio was joined by Espíritu's keyboardist Ciro Fogliatta and Polifemo, who had already singed with EMI, debuted in May 1976 with a self-titled debut.

While the basis of Polifemo's music was still a standard well-played Blues Rock, the presence of Fogliatta and the anxious spirits of the rest of the band make ''Polifemo'' much more than a rock release full of bluesy solos and grooves.The short tracks of course are just Hard/Blues Rock pieces with strong guitar moves, expressive vocals and jazzy piano parts, very catchy and with typical song structures.As the compositions get longer though, things become more complicated.The guitars become sharper and the riffing monsterous and attacking like in the long ''Tu Forma Real'', while the rhythm section sounds a bit more powerful.Moreover the work of Fogliatta on keys becomes a main component of Polifemo's approach.Dirty organ themes, soft piano themes and suprisingly some lovely moog synth solos (am I the only one to hear some evident Italian Prog resemblances in these parts?) make the music enganging and more progressive, while the arrangements are definitely demanding with long instrumental parts and a fair amount of breaks.

While this should'nt be listed among the best Argentinian Prog releases, ''Polifemo'' is an album filled with nice moments of bluesy Progressive Rock with a touch of Classic Prog in the keyboard work.We should'nt expect less from such a talented line-up.Recommended and notice that EMI's CD reissue contains all four tracks of Polifemo's couple of early singes as bonus material. ---apps79, progarchives.com

Este trío era el habitual grupo soporte de Sui Generis, hasta que decidieron presentarse por separado, un par de meses antes de la disolución del dúo de Charly García y Nito Mestre. El éxito llegó con los simples "Suéltate rock and roll" y "Oye Dios, qué me has dado".

Fueron el grupo revelación del verano de 1976 y su popularidad se afianzó con los numerosos shows que brindaban. Para la grabación del primer álbum se incorporó el tecladista Ciro Fogliatta (ex Los Gatos). Esta placa fue presentada con Pappo como guitarrista invitado, en el Luna Park, en agosto de 1976. Tanto el disco como el recital recibieron muy duras críticas de parte de la prensa especializada, con lo que la estabilidad de la banda comenzó a decaer. Cuando salió a la calle "Volumen 2" (1977), el cuarteto estaba virtualmente disuelto. --- rock.com.ar

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01. El Sueño Terminó — 7:56
02. Viene Del Sol — 7:34
03. Superhombre — 5:09
04. Trópico De Cáncer — 8:33
05. Dualidad — 4:22
06. Pie — 7:56

Rinaldo Roberto Rafanelli — vocals, bass, keyboards
Oscar David Lebón — vocals, guitars
Juan Jorge Rodríguez — drums, percussion
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Ciro Fogliatta — Hammond organ, electric piano, synthesizer, mellotron, celesta

With their second album, Polifemo reached their artistic peak in terms of versatility, in the framed context of rock'n'roll and blues-rock that marked the band's very essence. Two things happened in the minds of Lebón and Rafanelli, the two main writers: the former was interested in exploring the melancholic side of melodic rock, while the later became momentarily obsessed with bands such as Return to Forever and Mahavishnu Orchestra, an obsession that he eventually translated into the writing of long instrumentals. Between these two sonic columns, the one of introspective atmospheres and the one of extroverted colors, the general feeling in the band was that the band was losing focus. Of course, this situation can be better appreciated by the average prog-rock fan, and since this is what I am, I think that this is the album that justifies Polifemo's entry in the Archives. 'El Sueño Terminó' is a long blues-rocker that may remind us of Poco, Doobie Brothers and Allman Brothers, while 'Súper Hombre' sets a compromise between heavy prog (a la Ave Rock) and symphonic rock (a la Espíritu), with a little more emphasis on the former trend: the 5 minute span is properly worked on through the varying moods and tempos. Between the two is 'Viene el Sol', a mid-tempo rock ballad that included enough ornaments as to meet the artsy standards that were infiltrating the band's creative process at that point. The proggiest things are encapsulated in 'Trópico de Cáncer' and 'Pie'. 'Trópico de Cáncer' is very permeable to the inclusion of jazz-rock and funky overtones in many cadences and many places of the rhythm section, with the final result sounding quite close to a hybrid of "Agitor Lucens V"-era Arco Iris with pre-"Romantic Warrior"-era Return to Forever. There is a recognizable opening motif that will only be reprised for the closing section. Rafanelli displays an enthusiastic bass solo somewhere in the middle, taking full advantage of the jam-track's friendly nature. 'Pie' is more emphatically jam-based than the aforesaid track: a very attractive excursion that shows, more than any other track in the album, what a proficient drummer Juan Rodríguez is. These two tracks, plus 'Dualidad' and 'Súper Hombre', are accountable for what Polifemo does offer to the art- rock lover. 'Dualidad' is the other Lebón-penned ballad, reiterating the melancholic mood of track 2 and even reinforcing it until a fast-paced jazz-rock coda settles in with an effective attitude. This song's mood bears an undisputed family resemblance to most of the songs that he will eventually write during his Serú Girán tenure. By the time you listen to the final notes of 'Pie', you will be reliving the band's final moments: by the time this album was in the post-production phase, Polifemo was almost officially terminated. ---Cesar Inca, progarchives.com

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