Coti Sorokin Albums (4)
'Malditas Canciones'
Release Date 1/1/2009
Tracks 21
Label Universal Spain S.L.
See Album Tracklist and Review
What The Critics Say
As usual, with Malditas Canciones, the first thing that inevitably impresses the listener about Argentine-born but Spain-based Coti Sorokin is his downright eerie resemblance to friend and mentor Andrés Calamaro. Granted, he is not alone: both in Argentina and Spain flocks of bands -- Los Tipitos, Pereza, Fito & Fitipaldis, Los Enanitos Verdes, to name but a few -- have modeled themselves after Calamaro. Still, Coti is almost clone-like in his sharing of every aspect of Calamaro's sound and poetics, from songwriting and singing style to musical influences, tone of voice, and thematic preoccupations. However, once one manages to get past the resemblance, it is only fair, as well as easy, to give Coti his due. He is, without a doubt, a thoroughly accomplished pop songwriter. It certainly shows in Malditas Canciones, an album Coti spent two years in the making, as he meticulously arranged, produced, and recorded almost all instruments and voices, all by himself. There are no surprises here, only further verification. The sound, expertly mixed by Tom Lord-Alge (Coldplay, Oasis, Aerosmith, Rolling Stones), recalls early Elvis Costello & the Attractions and 1980s Rolling Stones, as distilled by Calamaro and Ariel Rot, or their bands Los Rodríguez and Tequila. The lyrics deal with a rock & roll life of being on the road and writing songs, and its romantic and ideological hopes and disappointments, including a tribute to Argentine rock legend Charly García. Coti may never reach the unpredictable brilliance of Calamaro, but he makes up for it with sheer consistency. There is no filler or self-indulgence in Malditas Canciones, just a collection of very good, simple, but perfectly realized pop songs. A fine example of contemporary rock en español (as well as of the recent hybridization between Argentina and Spain's pop music), Malditas Canciones virtually becomes a double album in its online version, as it adds seven tracks to the original ten. ~ Mariano Prunes, All Music Guide
'Gatos y Palomas'
Release Date 4/3/2007
Tracks 14
Label Universal Latino
See Album Tracklist and Review
'Esta Mañana y Otros Cuentos'
Release Date 5/30/2005
Tracks 16
Label Universal
See Album Tracklist and Review
What The Critics Say
A pleasant live recording highlighted by some superstar guests, Esta Mañana y Otros Cuentos was a welcome if curious way for Coti to follow up his 2004 album, Canciones Para Llevar. Curious because its release came only six months after the bonus-track-bolstered February 2005 re-release of Canciones Para Llevar. That was a nice little album of well-written and well-produced, if perhaps a little blandly performed, songs. It features a few really great songs, namely "Otra Vez," "Bailemos," and "Oleada," yet it wasn't as well received commercially as it probably should have been, considering its quality (and too, considering Coti's status as one of Latin music's leading hitmakers). Hence the value-added re-release as well as this live album, which seem intended by Universal Music Latino to push Coti onto music consumers a bit harder this go-round. Esta Mañana y Otros Cuentos does include several songs not previously released on Canciones Para Llevar, which is a draw, but the superstar guests who pop up on a number of songs are the real draw here. Chief among these guests are Julieta Venegas and Paulina Rubio, two grateful recipients of Coti's hitmaking talent. The two beautiful ladies duet with Coti individually and, best of all, they also join him on "Nada Fue un Error" for an all-star trio performance. While this song is far and away the best moment on Esta Mañana y Otros Cuentos -- and no doubt the reason why a great many people will seek out this particular release in the first place -- this is an album full of golden moments. Coti really is a great songwriter, and he pulls out all the standout songs from his debut album, most especially "Otra Vez," which he sings in conjunction with Rubio. As mentioned earlier, Coti's not the most colorful performer, which is why his music isn't as well appreciated as it probably should be, but if you don't expect fireworks from him as a performer, it's easy to enjoy him as a songwriter. And while that's fine, the fireworks brought to the overall performance by the assortment of guests do make Esta Mañana y Otros Cuentos an exceptional release by Coti. The all-star performance of "Nada Fue un Error" alone makes this release an event and thus more engaging than the sometimes ho-hum stretches of Canciones Para Llevar. ~ Jason Birchmeier, All Music Guide
