I wrote! Reader NotesGo to section
Luis Alberto Spinetta is a poet who said that “I do not feel poet but poetic” and modeled, from Bajo Belgrano, thousands of Argentine snapshots, “la ciudad la mambea a moment”, which allowed us to throw the wall and imagine. El Flaco is a self-taught musician and composer who invented sophisticated music of “rare” tones and chords that assembled with Surrealuism, those lyrics only his full of figurations and colloquialism Rioplatense, and a luminous voice, “I want to see you light of hummingbird.” And yet the songs in appearance “rare”, or “initiates”, possess the popular lyricism of “Girl (Paper Eyes)” or “Captain Beto's Ring”. Friend of his admired brothers Expósito or Cadícamo, the tango composers who created, paraphrasing a text by the artist of 1973, “music, which changes and changes, in an instinct of transformation”, Spinetta condenses traditions and avant-garde de los Gardel and Waldo de los Rios, from Maria Elena Walsh and Mercedes Sosa. That is ecumenical and challenging Argentine music. “ If I do not sing what I feel /I will die inside ” is the urgency of the creation of this warrior of light that breaks molds, the urge to sing the release of the chrysalis, something that encouraged and dreamed Spinetta, liberate from prisons, renegating from the system against system: “Reading garbage damages health — in reference to chimentos magazines and news — read books”. That's why we're still living with your love.
Born on January 23, 1950 , a few blocks from the River Plate stadium, which due to this influential and prolific artist, with 40 albums among his famous groups, soloists and live, remains in memory as the National Musician Day in Argentina . With a father Luis Santiago amateur tangos singer, author of “Hombre de luz”, present on Spinetta's last album in 2008, he starts in music in the tanguera shadow and learns to play guitar on his own: “ Almendra was brewing before the elements were... Emilio del Guercio And I went to the same school, the same division... we were continually at the handle... we were absolutely lyric,” Spinetta recalled from her teenage years, where she competed in a famous television contest and lost the end singing folklore in 1964. With the addition of Edelmiro Molinari and Rodolfo García, the latter drummer who suggests the name Almendra, begin to compose in the now famous father's house of Arribeños. After a meeting with Ricardo Kleiman, a renowned radio animator, they managed to record in 1968 the first single with “Tema de Pototo” and “El mundo entre las manos”, in the middle of the first wave of Argentine rock in Los Gatos and Manal. But Almendra's music was something else, more sophisticated, more personal, with less blues, and they immediately stand out from March 1969 with the debut at Instituto Di Tella —Spinetta's relationship is fruitful with the artists and even participates in a Marta Minujin album. Visual arts are another coordinate in the Spinettean universe, Luis Alberto eximio illustrator. The March 1970 appearance of Almendra , with the iconic image of the clown? and the sopapa in the head, the work of Spinetta, combined love, eroticism and the citizen chronicle with a mastery based on the refined country base and blues, a pinch beatle, and the lyricism of Spinetta's “feet almost on earth”, here on the Horacio Ferrer line of “Maria de Buenos Aires Aires”, the operita of Ástor Piazzolla “Girl (Eyes de papel)”, “Prayer of a sleeping child” —which Spinetta composed at the age of 15 —, “Ana does not sleep” or “Laura va” —with the bandoneon of Rodolfo Mederos sublime — were transformed into cla immediate sicos and the national press for the first time made reviews of an Argentine rock album. Commercial pressures on the group of the moment, and the first manifestations of Spinetta's anti-system positions with a desire for community life, lead to the constraint of the project of an opera-rock and the hasty edition of Almendra II , a concept album with country reminiscences containing one of the essential themes of local rock, “Rutas argentinas”, although the jewel here is “ Vete de me, cuervo negro”, which anticipated the poetics of “Artaud”, and the juggling of the language of intervero that the musician invents to sing rock in Spanish.
The approach to Jorge Álvarez's artistic core, and Billy Bond's Mandioca label, redefine Spinetta's sounds and brings him closer to a more visceral rock, accentuated in a personal search that distances him from the media “new Gardel de los teens”. An initial trip through Europe reinforces Spinetta's introspection: “After all you are the only wall/if you don't skip you'll never take a single step/do you think? ” from “The search for the star”, appeared on the first solo album, Spinettalandia and her friends, announces the dirt, violence and the boundaries of the word broken from his back band, Pescado Rabioso, before passing through the ephemeral Thorax with Miguel Abuelo . The country also incited a state of mind that was cursed with the action of guerrilla groups, the repression of the dictatorship and the imminent return of Perón. Black Amaya and Bocón Frascino are the companions of Pescado Rabioso debut on May 5, 1972 at the Cine-Teatro Metro “Destormentandos” appears as an urgent hard rock, in a line close to Pappo and Claudio Gabis, and had a single preview “Despiértate Nena” in the voice by David Lebon (simple that was not included in the original vinyl and a brave assumption of femininity in a patriarchal society) Lebón and Carlos Cutaia joined the concerts in replacement of Frascino “The hair of torturers bleeds in my cart. We: untormenting us forever. PS: I love you Beatles” appeared in the inner envelope Spinetta's statement of principles of those violent times, which at that time shares the Skinny activities with Peronist youth.
Pescado Rabioso 2 is another double disc designed in continuity, the first album ends with “Petiribí” (recently sampled by the American rapper Eminen) and the second one starts with “16” by Petiribí”. All the art of envelopes that accompanies with profuse illustrations by Spinetta: “How to make this valley of hollows/no more climb for me? “, sang at the climax of “Cristalida”. The answer will be the next disk.
“Spinetta understood that — the French poet Antonín — Artaud had been a predecessor of what some called counterculture,” writes Sergio Pujol in “1973. The Year of Artaud””, and in an exact semblance of a musician consumed in contradictions between popularity and art: “That his liberating cry had had depth and authenticity to the extent of consuming his life. He watched his photographic portraits: that of the hopeful and haughty young man, that of the old madman and hairy. He scrutinized them with the same sharpness with which Artaud had probed Van Gogh's self-portraits. But above all, Spinetta was immersed in the unbridled word of the poet became essayist. He found there an untamed sonority... and contradiction: a luminous album based on a desperate poet? Why not? ”. There is the center of gravity of Spinetta's new release that dissolves Rabid Fish and records almost all the material in solitude, except the sporadic interventions of the ex-almonds, Guercio and García, and the battery of his brother, Gustavo. In the distance that 1973 production, with that cover deforms and uncomfortable, green and yellow “the colors of the decomposition of Artaud” by Juan Gatti, is the best album in the history of Argentine rock . The tenderness of “All the leaves are from the wind” coexists with the terminal blues of “Cementerio Club”, or an intoxicating “Bajan” (later recorded by Gustavo Cerati, the leader of Soda Stereo, another of his disciples, especially in singing and the impact of folklore) flies to “Por”, a song and a song written in the manner of the exquisite corpse of the poets of Dadaism, but with loose words instead of juxtaposed phrases, in bed next to Patricia, mother of her four children, Dante, Catarina, Valentino and Vera, “A Starosta, Ell idiot” is a great warning to endiose madness in the creators, perhaps a secret warning itself, which coexists with the masterpiece of the “Cantata de bridges yellow”, inspired equally in the letters of Van Gogh and the Creole Mass . A springboard tomorrow, never a sad balance of the past, “ Even if you force me, I will never tell you that every time in the past was better/ Tomorrow is better.”
While the performances are made at the Teatro Astral, Spinetta in long green gloves, the musician was already rehearsing the next step that would take him from the artists “suicide of society” Invisible would go another path, more in line with progressive music, and renewed confidence by Spinetta to integrate a band with the base of Pappo Blues, Machi Rufino and Pomo -Héctor Lorenzo- The lyrics became more intimate, the most ghostly landscapes, sometimes at risk of falling into hermeticism, but the audience quickly boosted the hits of the first two albums, with the stainless “Elmo Lesto's Theme” and “The Stewardess of the Ghost Train”, which included risky live performances with screenings and scenography that were a mark of Spinetta's recitals. Anyway the classic of the classics was “Elementales leches”, “What is and is not used will bring us down” The peak of creativity of this formation above in “The garden of the present” (1976), one of the best demonstrations of poetic excellence and Spinetta's musical (for example using bandoneons as if they were a section of Buenos Aires winds) “The ring of captain Beto”, “The books of good memory”, “You see heaven” and the prophetic “The swallows of Plaza de Mayo” exceed the limits in the wings of rock fusion that featured the previous album, “Durazno Sangrando”.
The late seventies and early eighties find Spinetta in a frantic activity, firing Invisible to 25,000 people, publishing a new solo album, “A 18 del sol” next to the jazzera Band of Spinetta, where he finds an everlasting collaborator Leo Sujatovich, and a book of poetry that is transformed into password against the dictatorship, “Black Guitar”, “I propose to forget every word as it is read” Record an album in the United States with the help of Guillermo Vilas, “Only love can sustain”, which Spinetta would then repudiate, and brings together his first group Almendra for a series of recitals and a new album, “The Inner Valley” Disgusted with the public's response, who just wanted to hear the old hit, performed between 1981 and 1982 a tour in universities and small theaters that would be the germ of “Kamikaze” (1982), a plate that closes a stage of his career. Unpublished songs from different eras are linked to all their repertoire, between zambas, sambas and a primitive rhythm and blues under the stripping, some melancholy, of “Barro perhaps” or “Ella too” Spinetta-Jade and his four albums, the maximum point of rock fusion of Spinetta with Lito Vitale and Pedro Aznar, inaugurated a twist in Spinetta's lyricism that begins to lower the barrel at the height of the feet, lyricism becomes hallucinated chronicle. Music is also made progressively more accessible with beat machines and pop melodies. “Bajo Belgrano” (1983) with “Maribel fell asleep”, dedicated to the Mothers of Plaza de Mayo, and “Abstract Buenos Aires”, citizen cadres imbued in discepopolian distress, are transformed into an inventory of lost souls in a broken country.
Dissolved Spinetta-Jade after “Mother in Light Years”, where he meets another great collaborator, Juan Mono Fontana, the musician embarks on collaborative projects that are frustrated, one with Charly García, “we were both very idols to play together,” Charly would say “I pray for vos” is the huge document of a duel of titans of the national song. If the collaboration with Fito Páez, a musician emerged from the rosarina trova of the eighties, and in 1986 appears the violent and erotic “La la la”, which was boycotted by the label. 35 years later it is an essential double plate of Argentine rock with the dark version from “Gricel”, a classic of the tango by Mores and Contursi, and “A child is born”, “Cities are falling/A child is born... and the laws are changing/ and a child is nate/... Why then so fear/so much flight in the world? ” The influence of new social theories via Michel Foucault, and the paranoia of the extension of the control society, in the midst of a society that lived a flimsy democracy, “only reason proposes us to audestruct/only reason old face of the end of the century” in & ldquo; Gas snake” The idea of the body as a battlefield will be evident in “Tester of Violence” (1987), which continues musically to techno rock of “Privé” last year, but which is flooded by the pain of violent death of the relatives of Paez and the social debacle prior to the 1989 hyperinflation and the military raids, “I want you to know /hiding in my inside/equal bodies for an experiment” in “The light of the apple” “The lost bengal”, referring to the death by a flare of a fan on the court of Boca Juniors, &ldquo ; culture and power are this bajón porn”, and “The tremendous monkey”, debut by children Dante Spinetta and Emmanuel Horvilleur, future Illya Kuryaki and the Valderramas, are the high-rotation themes of the summer of 1988.
The live album “Exactas”, recorded in Ciudad Universitaria, and more than one hundred thousand people on 9 de Julio Avenue, performed as a prelude to Spinetta's most massive period and was crowned with one of the ten basic songs of the Argentine rock songbook, “ Keep living without your love” from “Pelusón of milk” (1991), a record of the entrecasa del Flaco that celebrates the life at times of the birth of his last daughter, Vera. They are not songs to think but it is a “selection of material for it to be understood”, among which appears “La montaña”, in homage to the disappeared, and the electronic ballad “Lago de forma mia” Spinetta, which had dabbed soundtracks in 1987 with Fernando Spiner, in “Fuego Gris” (1993) composes for a surreal film “drama rock” by Pablo César inspired by the Spinettean factor, in the words of Pablo Schanton, and that tells a porteña subjectivity unplaced, rare as lit, in “Escape towards the soul” or “Penumbra”
The last two decades of the Flaco start in the mid-nineties with the power trio of Spinetta and Los Socios del Desierto, which only by conflicts with the discography would hit the bats in 1997 — and which was quickly discontinued despite gems of the beauty of “My dream” ; or today” or the electric power of “La luz fée te” “San Cristóforo” and “Los ojos” are the following productions with this hard rock band that Spinetta dissolved in 1999, partly because he thinks that the political and social criticism that sustained the proposal concluded with the end of the neoliberal government of Menem.
The following years he would edit productions focused on a private world, on a “respect for life”, which creates moving musical landscapes in “Silver Sorgo” (2001) and “Pan” (2006), the latter an ode to joy, and the little things, which also filtered in cover Skinny's passion for cooking in that tablecloth in our grandmothers' kitchens. There is also widespread recognition with recitals at the Teatro Colón, the unforgettable five hours at the Vélez stadium (registered in “Spinetta and the Eternas”, where he played with all the formations that accompanied him the guests Páez, García, Cerati, Juanse and Ricardo Mollo) and Casa Rosada, where he chooses an unpublished zamba from 1983, “Nueva Luna (world arjo)” , “As soon the day comes, so soon it will burst/And why does all poetry and all life not come together here? /... And this land that trembles when speaking? /World arjo of argentum and pain” because Spinetta considered that was Argentina. This song would then appear on the post mortem album “Ya no mirés backwards” in 2020, which continued to the first appeared after the death of the Flaco on February 8, 2012 from lung cancer, “Los amigo” (2015) According to the family there is a extensive collection of songs, poems and drawings that will be published in the following years.
“ Spinetta's time: every morning is a morning ” says Professor Jorge Monteleone, who defines Skinaco as a “lay mystic”, “and get on the lightning... to go” sings with the voice of Creole birds, with the wisdom of a Zen Buddhist, in the & ldquo; Almendra II” “Un tomorrow” is the final album of official studio although Spinetta's latest recording is a bolero by Alberto Pulido, “Total Delivery”, for the charity of the NGO “Casa de Cultura de la Calle”, “ Take us/if possible/up to the same eternity/where our love endure/because you are all my happiness”, is heard with a thread of voice in 2011 to Flaco, who dealt with several solidarity actions in his last years. In the beauty of Spinetta's work we are all leaves of the wind, started from dawn, crossing the storm and with his love we will never know what loneliness is.
Sources: Gasparini, S. (comp) Begin of dawn. Six essays and an epilogue on Luis Alberto Spinetta . Buenos Aires: Light Years Editor. 2015; Abalos, E. Rock of Acá 1 and 2. Buenos Aires: Author's Edition. 2011; Berti, E. Spinetta: chronicle and illuminations . Buenos Aires: Editor 12. 1988; Schanton, P. “The Spinetta Factor: The Scars of the Imagination ” in La Mano magazine No. 25. All Spinetta. Buenos Aires; Kleiman, C. “ A spice of magic. The artist who inspired all national rock” in Rolling Stone magazine year 14 nro. 168. Buenos Aires.
Publication Date: 05/04/2021
We suggest you continue reading the following notes:
Every small action around the carnival has its explanation and history. In this note we tell you the...
Years after serving as a diplomat in Costa Rica, Oscar López Salaberry is a true tango ambassador in...
We tell you the story of an icon of the Entrerriana society. A woman who revolutionized society and...
Recently deceased, the Chaco writer with only two books has a prominent place within the national le...