Norberto Aníbal Napolitano, better known as Pappo or "El Carpo ," occupies a colossal place in the history of Spanish-language rock. A devastating guitarist, instinctive songwriter, singer with a raspy voice, and unfiltered neighborhood character, he became an emblem of Argentine blues, hard rock, and heavy metal . His life blended immense talent, obsessive work ethic, excess, motorcycles, cars, and a brutal consistency with his own unique understanding of rock.
From his early teenage jam sessions in Buenos Aires to playing as a guest of BB King at Madison Square Garden , and including stints with legendary bands like Los Abuelos de la Nada, Los Gatos, Pappo's Blues, Aeroblus, and Riff, his career is almost a parallel map of the evolution of Argentine rock. And although his death in a motorcycle accident left a huge void, his influence lives on in every guitarist who dares to tackle a heavy riff or a soulful blues solo.
Childhood, family and first contacts with music
Norberto Aníbal Napolitano was born on March 10, 1950 , in Villa General Mitre, in the city of Buenos Aires, in the family home at 1917 Artigas Street. He was the younger brother of Carlos, who died before he was born, and of Liliana Napolitano, a concert pianist , with whom he shared a room during his adolescence. His father was a metalworker and his mother a writer and poet; a mixture of occupation, neighborhood, and artistic sensibility that shaped his character.
In the same room where he slept with his grandmother and sister, there was a piano, and it was there that he began to immerse himself in classical music: Schubert, Liszt, Beethoven, Stravinsky, Bach . He didn't receive formal musical training, but that musical environment instilled in him a keen ear and a constant curiosity. At school, he learned some basic musical concepts and was introduced to folk music for the first time, although he would soon discover that his true calling lay elsewhere.
He got his first guitar when he was just eight years old . In the late 8s, he took lessons and became obsessed with the instrument. Years later, he would recall, in his characteristic blunt style, that one of the first electric guitars he ever held was "borrowed" from a neighbor: he took it promising to pay for it, moved to another neighborhood, and never saw him again. These kinds of anecdotes reveal a young, mischievous Pappo, completely captivated by the electric guitar.
The turning point came when he heard Little Richard on the radio . That energy propelled him headlong into rock. He bought his first electric guitar with an amplifier, and there was no turning back. At the same time, through records that trickled into Buenos Aires, he immersed himself in blues and Anglo-Saxon rock : Jimi Hendrix, Eric Clapton, B.B. King, Muddy Waters… they all became his true “school.”
Early bands: Los Buitres, Engranaje and the Plaza Francia scene
In his teens, Pappo took his first serious steps by forming his own band. At 16, he formed Los Buitres , his first group, with Miguel Laise on drums (his upholsterer cousin), Tito “Milanesa” (Alberto La Rosa) on vocals and guitar, and Beto (Humberto E. Marinucci) on bass and vocals. It was a neighborhood band, but there he began experimenting with riffs, solos, and a sound that was already moving away from the gentle beat, becoming more raw and bluesy.
Next came Engranaje , a band with Tito Milanesa on vocals, Pino on drums, Bocón on guitar, and Beto on bass. Although the lineup was short-lived due to member changes, it served as valuable experience for him to perform live and to solidify his musical identity. At the same time, he began frequenting Plaza Francia , a central hub of the hippie scene in Buenos Aires, where records were exchanged, jam sessions were organized, and musicians of all kinds met.
It was precisely through these exchanges that he discovered fundamental albums, such as “Blues Breakers with Eric Clapton ,” which blew his mind and reaffirmed his decision: his path would be heavy, direct, and uncompromising blues rock. His fame among colleagues began to grow for his ability to copy Clapton or Hendrix solos on a battered acoustic guitar , something that several witnesses of the time remember with amazement.
During those years he also worked as a roadie for the Uruguayan band Los Iracundos . There he struck up a relationship with Leonardo Franco, the group's lead guitarist, who gave him his first more systematic electric guitar lessons. The combination of street smarts, obsessive practice, and an experienced teacher refined his technique and stage presence.
Los Abuelos de la Nada, Los Gatos and the connection with Manal
In mid-1967, Miguel Abuelo was putting together the first lineup of Los Abuelos de la Nada . The guitarist position was originally intended for Claudio Gabis, but since he couldn't join permanently due to his commitment to Manal, Pappo took his place. Even so, both recorded guitar parts for the group's first single, featuring the tracks "Diana divaga" and "Tema en flu sobre el planeta." Pappo played on the B-side, while Gabis handled the A-side.
Pappo also recorded all the guitar parts for what was to be the second single, featuring “Estoy aquí parado, sentado y acompañando” (I'm Here Standing, Sitting, and Lying Down) and the instrumental “Lloverá” (It Will Rain). However, these tracks remained unreleased until 1996, when they appeared on the compilation album “30 años de rock nacional” (30 Years of Argentine Rock) . His nickname, spelled “Papo” with a single “p,” first appeared in a 1968 CBS press release. Over time, the alias was altered to become the stylized “Pappo” that would make him famous.
The first phase of Los Abuelos de la Nada lasted less than a year. The band dissolved partly due to Miguel Abuelo's frustration when the record label shortened "Diana divaga" to make it more commercially viable. Miguel moved to Spain, and Pappo kept the group going for a while, steering it more towards the blues . During this period, he composed and recorded the blues song "La Estación," which remained unreleased until it was included on the compilation album "Mandioca Underground . "
Shortly after, his path crossed with Manal 's . In the summer of 1969, in Mar del Plata, the trio (Javier Martínez, Alejandro Medina, and Claudio Gabis) invited him to be a regular guest musician for the season. Pappo played guitar and piano, and even participated in the recording of the soundtrack for the film "Tiro de gracia," striking the piano strings for a dreamlike scene. This time spent with Manal strengthened his connection to the Buenos Aires blues scene.
Meanwhile, Jorge Álvarez, a key producer at the time, encouraged him to try a solo project. During the sessions for Manal's first album, he suggested recording a track, taking advantage of some spare studio time. This led to the creation of " Nunca lo sabrán " (1968), where Pappo sings and plays piano, accompanied by Luis Alberto Spinetta, Edelmiro Molinari, Rodolfo García, and Pomo. The song was later included on the compilation album "Pidamos peras a Mandioca" and was one of the first recordings in which Pappo appeared as the band's leader.
The Cats and the leap in quality
When the legendary pub La Cueva moved to Avenida Rivadavia, Litto Nebbia, leader of Los Gatos , used to jam there. One night in 1969, Pappo asked him to join them on stage, and his playing caught everyone's attention. Shortly after, it was agreed that he would join Los Gatos to replace guitarist Kay Galifi, who had moved to Brazil. The other members traveled to the United States to buy equipment, and upon their return, they met him formally: bassist Alfredo Toth gave him a Les Paul guitar that would become his signature sound.
With Los Gatos, Pappo recorded all the guitar solos on the albums “Beat Nº 1” (1969) and “Rock de la mujer perdida” (1970) . This material had a heavier sound than the group's previous recordings. Nebbia handled all the compositions and also added rhythm guitars because Pappo hadn't yet mastered certain chords, but the chemistry between them was excellent, and the atmosphere during the sessions was one of camaraderie and discovery.
During tours with Los Gatos, Pappo used his free time to jam in venues like Equinox in Mar del Plata , alongside Black Amaya, playing covers of Jimi Hendrix, Cream, and The Spencer Davis Group. This double life—a massively successful band on one hand, heavy blues jams on the other—shaped his musical identity. After a tour of Spain and a series of concerts at the Gran Rex, Los Gatos disbanded, and Pappo decided to take the next step: forming his own band.
Pappo's Blues: the power of the trio
Encouraged by Jorge Álvarez, Pappo formed the project in the early 70s that would definitively make him a legend: Pappo's Blues . The initial lineup was completed with David Lebón on bass and Black Amaya on drums. Their debut album, “Pappo's Blues Volume 1” (1971), included tracks such as “Algo ha cambiado” (Something Has Changed), “¿Adónde está la libertad?” (Where Is Freedom?), “El hombre suburbano” (The Suburban Man), and “El viejo” (The Old Man), which already showcased that cocktail of dense blues, heavy rock, and urban lyrics.
Between 1971 and 1978, they recorded seven albums, with changing lineups but always with Pappo at the helm. Volume 2 featured the classic "Desconfío," on which he also played piano, and "Tren de las 16," with a memorable drum solo by Luis Gambolini. In 1973, Volume 3 was released , considered by many to be their masterpiece, with tracks like "Sucio y desprolijo," "Caras en el parque," and "Sándwiches de miga." Volume 4 and then "Triángulo" (Volume 5) showcased a more experimental side, with guest appearances by artists like León Gieco on "El buzo."
Meanwhile, Pappo was actively involved in the music scene of the time: he recorded guitar tracks for the early albums of Billy Bond and La Pesada del Rock and Roll , contributed to the song "Blues del éxodo" by Pedro y Pablo, and collaborated on David Lebón's solo album, where, in addition to playing piano on "32 macetas," he helped title the songs. He also appeared with Pappo's Blues in the film "Rock hasta que se ponga el sol ," a key film in Argentine rock history.
During these years, Pappo and Luis Alberto Spinetta maintained an intense and complex relationship. They collaborated on the album "Spinettalandia y sus amigos ," where Pappo contributed songs like "Castillo de piedra" and "Era de tontos," and together they formed the trio Agresivos. However, aesthetic and personal differences led to estrangement and mutual resentment, which gradually lessened over time. Decades later, Pappo would try to invite Spinetta to participate in "Pappo & Amigos," but the meeting never materialized.
Aeroblus and trips to England and Brazil
In the mid-70s, after recording "Triángulo," Pappo went to England for the second time. He worked as a dishwasher, lived however he could, and found a basement that served as a rehearsal space, where he stayed in exchange for keeping the place clean. There he witnessed the formation of the band that would later be called Motörhead and made contact with musicians like Lemmy Kilmister and with hard rock and heavy metal bands of the time.
In 1976, back in South America, Alejandro Medina invited him to Brazil to find a drummer and form a new heavy metal trio. They found Rolando Castello Junior , and Aeroblus was born in early 1977. The group debuted on January 6 of that year at the Teatro Premier in Buenos Aires, and although they initially received criticism for a supposed "lack of rehearsal," they quickly refined their sound and earned the respect of the heavier metal scene.
In May 1977, they entered the studio to record their only LP, " Aeroblus ," an album that blended heavy rock and power trio in the style of Pappo's Blues, but with an even more forceful approach. The delay in the album's release and the police pressure from the military dictatorship discouraged the drummer, who decided to return to Brazil. There was an attempt to revive the project in 1978 with Claudio Pesavento on keyboards and Gonzalo Farrugia on drums, but it didn't come to fruition.
Over the years, that album, which initially went largely unnoticed, became a cult classic and had a powerful influence on Argentine hard rock and heavy metal . Many musicians from later generations consider it a cornerstone of the national heavy metal sound.
Pappo's Blues' return, Europe and the birth of Riff
After the Aeroblus experience, Pappo returned to his main project. In the late 70s, he recorded Volume 7 of Pappo's Blues with Alejandro Medina and Darío Fernández, re-recording classics like "El hombre suburbano," "Gris y amarillo," "El viejo," and "Hay tiempo para elegir," and adding new instrumentals such as "El jugador" and "Detrás de la iglesia." They presented the album at the Teatro Estrellas and then toured with changing lineups.
During this period, Pappo even took another trip to Europe with the band, but upon his return, a different idea began to take shape: to bring the raw energy of hard rock and heavy metal to the forefront, with a direct, streetwise, and more aggressive aesthetic . During a few shows in Rosario with Vitico and Carlos Cohen, they discussed changing their name and developing a new concept in a hotel room. With the addition of drummer Michel Peyronel, who had just returned from France, the plan began to take form.
On November 14, 1980, the show “ Goodbye Pappo's Blues, Welcome Riff ” took place at Sala Uno . They first performed as Pappo's Blues, and then Boff joined on rhythm guitar and Juan García Haymes on vocals. The initial idea was for Haymes to be the lead singer, but the audience didn't fully embrace it, and the lineup was adjusted so that Pappo could also resume lead vocals.
With Pappo on guitar and vocals, Vitico on bass and vocals, Michel Peyronel on drums and vocals, and Boff on second guitar, Riff was born , the band that would leave a lasting mark on Argentine heavy metal in the 80s.
Riff: metal wheels, Macadam and the explosion of heavy metal
In 1981, Riff released their first LP, "Ruedas de metal" (Metal Wheels) , through the Tonodisc label. The album, though featuring a rather raw studio sound, included tracks that became anthems: "Ruedas de metal," "No detenga su motor" (Don't Stop Your Engine), and "Necesitamos más acción" (We Need More Action), among others. Despite its technical limitations, the record received good airplay and was warmly embraced by the public. It was also one of the first Argentine rock albums to have music videos.
That same year they released “Macadam 3…2…1…0…” , a better-produced and more compact album. Between 1981 and 1983, Riff filled the Obras Sanitarias stadium several times, played in Uruguay and at Peñarol's stadium, and established themselves as the most important heavy metal band in the country . Also in 1982, they participated in the Latin American Solidarity Festival during the Falklands War, where Pappo joined them as a guest to play “Fiesta Cervezal.”
In November 1982, they performed at BA Rock, and in early 1983 they gave historic concerts at the La Falda Festival . However, the atmosphere of violence and repression of the time began to mix with the aggression of the audience. During Riff's shows, incidents, vandalism, and fights broke out, which the police used as an opportunity for a veritable witch hunt against heavy metal fans.
In 1983, they recorded the double live album " Riff en acción " at Obras. Despite the band's high level of performance, the police operation was fierce: dozens were arrested, further cementing the band's reputation for being "dangerous." Later that year, Riff's concert at Ferro, under the slogan "Riff ends the year without chains," also ended with serious incidents and property damage, which the band had to cover financially.
For all these reasons, Riff decided to disband after a tour along the Atlantic coast. Pappo resumed performing on his own at Obras, which resulted in the live album "Pappo en concierto" (1984), accompanied by Boff, Enrique Avellaneda, and Juan Espósito.
Diabolical Plan, Widow Maker and the international stage
In the mid-80s, Pappo traveled to Brazil again and reunited with Rolando Castello Junior, with whom he recorded guitar tracks for an album by the Brazilian band Patrulha do Espaço . In 1985, Riff returned with new lineups (featuring JAF and Oscar Moro at different times), filling Obras and releasing albums such as “Riff VII” and the live album “Riff 'N Roll,” recorded at the Paladium venue in 1986.
In 1987, Pappo released his first album under his own name, "Plan Diabólico ," under the moniker Pappo y Hoy no es Hoy. He was accompanied by Boff on second guitar, Juan "Locomotora" Espósito on drums, and RR on bass. This work embraced a heavy metal style with nods to Van Halen , featuring fast solos and modern riffs, but it didn't receive much airplay or commercial support at the time.
Shortly after, Pappo traveled to the United States to form a new band, The Widow Maker (or Widowmakers). He settled in Los Angeles, gathered local musicians, and toured some 24 US cities, in addition to performing in South America. Despite their efforts, the project didn't achieve the desired continuity, and its members ended up returning to the US, while Pappo went back to Argentina to help out at the family's auto repair shop, Napolitano Hermanos , as their financial situation was becoming dire.
For a while, he had to put music on the back burner to put on overalls and work as a mechanic , something that had always been one of his passions: cars, motorcycles, metal. But, as expected, it didn't take long for him to return to the stage.
Local Blues, the collaboration with BB King and the consecration
In 1992, through the Radio Tripoli label, Pappo released "Blues Local ," one of the most celebrated albums of his career. Although the cover title "Pappo's Blues Local" might be misleading, it is considered a solo album . The record includes a tremendous version of "Casa con diez pinos" (a song by Javier Martínez of Manal) and, above all, "Mi vieja," a composition by Eduardo Frigerio and Sebastián Borensztein, initially recorded for Tato Bores's radio program, which ended up being his first major solo hit.
The recording featured familiar faces: Black Amaya on drums, Yulie Ruth on bass, “Pato Lucas” Frasca on keyboards, Luis Robinson on harmonica, Vitico, Javier Martínez, Alejandro Medina, and Juanse, among others. There was some internal controversy because “Mi vieja” was originally intended as a bonus track, but the label decided to place it as the second track, something Pappo wasn't happy about, although the public embraced it immediately.
That same year, Pappo's Blues opened for B.B. King during his visit to Argentina. The King of the Blues was impressed by the Argentinian and invited him to play with him at the end of the show. A year later, on August 10, 1993, B.B. King introduced him at Madison Square Garden in New York as "a special guest from Argentina, Pappo, one of the greats in the world." From then on, they shared several dates on a benefit tour for the House of Blues in Chicago.
During his time in the United States, Pappo formed a true blues band with Deacon Jones, Ron Maldonado, Ken Bowie, and Michael Parker . Some of these performances were recorded on the live album "Pappo sigue vivo" (1994), which captured his raw energy live, blending classics from his repertoire with blues standards.
Case Closed, The Red Car and Pappo & Friends
In 1995, he returned to using the name Pappo's Blues to record Volume 8, "Caso cerrado" (Case Closed) , where his version of "Ruta 66" (Route 66) was particularly noteworthy. That same year, Riff briefly reappeared, even opening for the Rolling Stones and playing at the Rock & Horses festival. The live album "Riff en vivo – En La Plata" (recorded in 1995) was released, and later, in 1997, they launched the studio album "Que sea rock" (Let It Be Rock) , another key piece of Argentine heavy rock.
In 1999, with the stable lineup of Yulie Ruth on bass and Gustavo “Bolsa” González on drums, Pappo's Blues released “El auto rojo” through the independent label De la Buena Estrella. The album, recorded at “Pichón” Dal Ponte's studio, was a huge success and achieved Gold status, selling over 30.000 copies—a remarkable feat given the crisis in the music industry at the time.
That same label almost immediately launched an ambitious project: “Pappo & Friends .” Pappo set only one condition: “We’ll do it, but only with friends.” Recorded between December 1999 and March 2000 at Del Abasto al Pasto studios, it featured over 40 songs and an impressive list of guests : La Renga, Almafuerte, La Mississippi, Viejas Locas, Divididos, Moris, Andrés Calamaro, Ricardo Iorio, Adrián Otero, Andrés Ciro, Alejandro Medina, Omar Mollo, Vicentico, ANIMAL, Flavio, and his own son Luciano, among many others.
The double album sold over 45.000 copies amidst one of Argentina's worst economic crises, when piracy and MP3 downloads were rampant. For many, "Pappo & Amigos" was a tribute to his career and confirmation that, within Argentine rock, almost everyone owed something to El Carpo.
Looking for love, recent years and Cosquín Rock
In 2003, Pappo released what would be his last studio album during his lifetime, "Buscando un amor" (Looking for Love) , released by Sony Music. The album included songs that would become instant classics, such as "Rock and Roll y Fiebre" (Rock and Roll and Fever), "Juntos a la Par" (Together Side by Side), "Ella es un Ángel" (She's an Angel), and a "Tribute to B.B. King," as well as a cover of "The Thrill Is Gone." On the cover, Pappo appears seated at a poker table alongside Muddy Waters, Stevie Ray Vaughan, Robert Johnson, John Lee Hooker, and Jimi Hendrix , all with angel wings: a graphic statement of the league he aspired to belong to.
“Buscando un amor” was presented on tours throughout the country, with notable dates such as a show at El Teatro in Buenos Aires and television appearances on programs like Mar de Fondo and cable music series like CM Vivo. The album was reissued in 2017 as a double CD and vinyl, including the previously unreleased track “Blues en el delta” and an acoustic version of the title track.
In early February 2005, Pappo gave a historic performance at Cosquín Rock , where he shared the stage with Charly García, who joined him on keyboards for “Desconfío de la vida,” “Popotitos,” and “Sucio y desprolijo.” That concert was recorded and, years later, in 2021, released as “Vivo Cosquín Rock ,” featuring 16 tracks that capture the raw energy of his live performance in one of his last great shows.
His last solo concert took place in Villa Mercedes, San Luis , just two days before the accident that took his life. Despite the fatigue and years on the road, he continued to play with the same intensity as in his early days.
Accident, farewell and tributes
On the night of February 24, 2005 , after having dinner at a restaurant, Pappo was riding his Harley Davidson motorcycle on Provincial Route 5, near Jáuregui, in the Luján district. Behind him, on another motorcycle, were his son Luciano and his daughter-in-law. According to the police report, the motorcycles grazed each other, Pappo lost control, fell to the pavement, and was run over by a Renault Clio traveling in the opposite direction. He died almost instantly, at the age of 54.
At the site of the accident, a monolith with a bronze guitar was erected , which became a pilgrimage site for fans. His remains were laid to rest the following day in the SADAIC musicians' pantheon at La Chacarita Cemetery in Buenos Aires, before a crowd that sang his songs nonstop. Two years later, he was cremated, and his ashes were placed in Roque Sáenz Peña Square in La Paternal, beneath a monument created by the sculptor Virginia Caramés.
Over time, the plaza and its surroundings became filled with references to Pappo. In 2011, controversy arose when a supermarket erased a mural dedicated to him, a work by Alejandro Amaro, which included symbols from songs like “El tren de las 16” (The 4 PM Train), his black Gibson Les Paul, the Cadillac from “Susy Cadillac,” and the triangle from Volume 5 of Pappo's Blues. Luciano Napolitano spearheaded a project to preserve the artwork and officially rename the space “Plaza Pappo” (Pappo Plaza).
Also in Buenos Aires, the radio station FM Rock & Pop inaugurated a studio named after him in 2008, chosen by a listener vote. In 2016, the Metrobús on Avenida San Martín opened the “Pappo Napolitano” stop , and in 2019 Luciano organized a traveling exhibition, “Museo de Pappo,” featuring the guitarist's personal belongings. Posthumous recordings continued to be released, such as “Juanito y el Carposaurio” (recorded in 1992 with Juanse and released in 2021) and “Blues acústico en El Living” with Botafogo.
Awards, controversies, and personal life
Throughout his career, Pappo received several Konex Awards : in 1985 and 1995 as an instrumentalist and rock band, and in 2005—posthumously—as a male rock soloist. He was also nominated for Carlos Gardel Awards (for catalog collections such as “Pappo Live. Lives in His Friends!” and “Pappo's Blues”) and for Martín Fierro Awards (as a breakthrough artist for his participation in the series “Carola Casini,” where he appeared playing with Riff).
His private life had its difficult moments. In 1973, his son Luciano Napolitano was born , whom he didn't meet until 20 years later, something he himself acknowledged as one of the consequences of having sacrificed almost everything for music. In a 2004 interview on the program "Tiene la palabra," he commented that his career had been very demanding and that he postponed almost his entire social life, studies, and fatherhood to dedicate himself to rock music.
His career was not without controversy. In 1986, journalist Alicia Barrios denounced him on television, on her program "Noche de brujas" (Night of the Witches), for an attempted sexual assault that allegedly occurred four years earlier at Luna Park. Live on air, Pappo did not deny the accusation and, with a phrase that is absolutely unacceptable today, said that he always wanted to repeat such experiences "with such beautiful women." Barrios recounted that he and his musicians cornered her in a bathroom in the stadium's basement; a dark episode in his biography that continues to generate outrage.
In terms of public opinion, Pappo declared himself against drugs and in favor of the death penalty , something that also stirred up a lot of controversy. He used to argue that a kid who "smokes from a can" and has a gun could kill himself without understanding what he's doing, and that rapists and murderers should go to the electric chair. These positions, combined with his brutal honesty, helped reinforce his image as a controversial figure, both on and off stage.
In 2011, Luciano published a public letter criticizing Sergio Marchi's biography, "Pappo, the Suburban Man," accusing him of profiting from sensationalist versions of his father's death and spreading falsehoods about little-known details of the accident. Pappo's family, in general, has been very protective of his memory and how his story is told.
Documentaries, recent albums and cultural legacy
Two decades after his death, interest in Pappo has only grown. In April 2025, coinciding with the 20th anniversary of his passing, the documentary “Something Has Changed: A Quixotic Journey to the Local Blues,” directed by Sergio “Chapete” Bonacci Lapalma, premiered at BAFICI. The 130-minute film explores Pappo’s impact on American blues during the 90s, his integration into B.B. King’s “Blues Mafia,” and his contribution to blues in Spanish.
The documentary includes testimonials from musicians such as Gilby Clarke (Guns N' Roses), Carmine Appice, Larry McCray, Good Time Charlie Bretchel , and Melvyn “Deacon” Jones himself, who recorded with him in Los Angeles. For the premiere, Pam Stovall Hill (Deacon Jones's widow) and drummer Tony Coleman , a longtime collaborator of B.B. King, traveled to Buenos Aires to perform concerts and give a masterclass. Part of these events was documented by director José Celestino Campusano.
The local press described the film as one of the festival's biggest revelations, highlighting that it reveals previously unseen anecdotes about the Argentine guitarist's international career. Meanwhile, versions, tributes, and reinterpretations of his songs have continued to be released: versions of "Era de tontos" by Willy Quiroga and Jota Salaberry, reinterpretations of "Rock and roll y fiebre" by Juanse, and new albums like "PAPPO X JUANSE," where Juanse revisits Pappo classics with renewed energy.
His discography has been reissued in multiple formats: from the Pappo's Blues volumes (1 through 8, plus "El auto rojo") to his work with Aeroblus and Riff (Ruedas de metal, Macadam 3…2…1…0…, Contenidos, VII, Zona de nadie, Que sea rock, and a long list of live albums). In addition, there are his solo works such as "Pappo en concierto," "Blues Local," "Pappo sigue vivo," "Pappo & Amigos," "Buscando un amor," and the aforementioned posthumous recordings.
Taken together, Pappo's figure encapsulates the history of hard rock made in Spanish from the Southern Cone : a guitarist revered by colleagues and audiences alike, capable of playing with BB King in New York while simultaneously grilling sausages at a neighborhood barbecue, who fiercely defended his vision of rock. His riffs in "El tren de las 16," "Desconfío," "Sucio y desprolijo," "Ruedas de metal," and "Que sea rock" continue to resonate with generations of musicians, and every time one of those distorted guitars is heard, it's hard not to feel that, in some way, Carpo is still there, alive in every saturated amplifier.