That is to say, not only because of the biological, critical sense, but because of its poetic and abyssal nature.[65][66]. [1][42] Sergio Ariza Lázaro of Diariocrí felt the track sounded like Almendra's second album. [6] The project experienced various line-up changes (a characteristic of almost every local rock band during that time)[7] and released two studio albums—Desatormentándonos (1972) and Pescado 2 (1973)—[6]before disbanding. According to Rodolfo García, the songs were "practically made in the studio" and recorded in few takes. [70] The title means "The chit-chat of the world" (habladurías: "gossip", "chit chat", "rumor", lit. [2][3] The short-lived Pescado Rabioso was a conscious shift from Spinetta's previous acoustic and melodic music, favoring a more violent,[4] "electric, raw and powerful style"[2] influenced by his new friendships within the "heavier" rock scene of Buenos Aires, which included acts such as Pappo's Blues, Manal and Tanguito. [99], The first CD issue of Artaud, released on Microfón in 1992, mistakenly included five songs by Nito Mestre. "[32] Spanish online newspaper Diariocrí included the album in its 2016 feature of "The 20 Best Records of Argentina", with journalist Sergio Ariza Lázaro describing it as "probably the best album on this list and one of the best rock albums made in Castilian. [91][92] Instead, the correct date may have been August 26 or September 23. Connect your Spotify account to your account and scrobble everything you listen to, from any Spotify app on any device or platform. [16] Journalist Miguel Grinberg described the sessions as "a very private ceremony". [27] They featured Spinetta accompanied only by his acoustic guitar, and before performing he projected the films The Cabinet of Dr. Caligari and An Andalusian Dog, in addition to giving each audience member a copy of his manifesto Rock: Música dura, la suicidada por la sociedad. Perhaps of all of us it was Luis who had the most cultural and perishable pretensions.[98]. For example, the "yellow bridges" (Spanish: "puentes amarillos") are presumedly inspired by Langlois Bridge at Arles, his only painting featuring a yellow bridge. It is essentially the second solo album by singer-songwriter Luis Alberto Spinetta, who used the group's name despite their disbandment earlier that year. After the results of Héctor Campora's triumph were known, I remember that there was a spirit of total liberation fervor. [96][97] Artaud's cover was based on a sketch by Spinetta and designed by Juan Gatti, who also did the artwork of several other Argentine rock artists of the 1970s, such as Moris, Crucis, Pappo's Blues, La Pesada del Rock and Roll and Sui Generis. Listen … Musically, that's Hendrix, for example. [30] These meetings, which managed to gather 500 people, have been described by as "a true experiment of community integration, [with] debates taking place between the people of the park and the occasional passers-by. [9] Amaya told Crítica Digital in 2009 that David Lebón and Carlos Cutaia left Pescado Rabioso to pursue their solo careers and that they communicated their disbandment to Spinetta in the Planeta theatre, which he took as a great offense. [47][48][49], Spinetta reflected in 2008 that the album "represents a very interesting return to the creative source of songs within [him]" and that it established the possibility of deconstructing his previous work with Pescado Rabioso to "keep growing". Among its fifty respondents were journalists Pipo Lernoud, Miguel Grinberg and Víctor Pintos; and musicians Charly García, Gustavo Cerati, Pappo, León Gieco, Oscar Moro and Litto Nebbia. [5] Spinetta himself referred to it as his "punk moment". [81][82] "Todas las hojas son del viento" was released alongside B-side "Superchería" as the album's only promotional single that same year. [40] Writing for Gibson's website in 2011, Kiko Jones described the album's sound: "Showing influences of progressive rock and touches of psychedelia alongside his singer-songwriter feel, Spinetta skillfully manages to create in Artaud a kind of musical bridge between the rock current of the late 60s and the beginning of the 70s. The song's lyrics deal with parenting from a countercultural perspective,[52] although Spinetta had yet to be a father. "[33] Spinetta was an avid reader and literature was a fundamental influence throughout his career; such as Julio Cortázar in Almendra, Carlos Castaneda in Spinetta Jade and Carl Jung and Chinese philosophy in Invisible. The album is named after and dedicated to French poet Antonin Artaud, and was conceived as a reaction to his writings. [23], The creation of the album was deeply influenced by changes in the musician's personal life. The song seems to explore or tap into feelings of metaphysical angst related to being/creating vs nothingness: "About your living room or outside of it/You're not there/But there's someone who's there/And it's not me/I'm only talking to you from here/He must be/The music that you never made" (Spanish: "Por tu living o fuera de allí no estás/Pero hay otro que está/Y yo no soy/Yo sólo te hablo desde aquí/Él debe ser/La música que nunca hiciste"), "The lights leaping in the distance/are not waiting for you to turn them off/Ever" (Spanish: "Las luces que saltan a lo lejos/No esperan que vayas a apagarlas/Jamás"), The acoustic 9-minute "Cantata de puentes amarillos" (English: "Cantata of yellow bridges") is the album's centerpiece[44][67] and "most impactful" song. [103] The series was released on May 21, 2015, and was a big success, with the reissues selling out in a few days. [13] Spinetta explained to Berti that he decided to release the album under Pescado Rabioso's name because he felt using his own would be "too pompous", and "to prove to the former members of the group that Pescado Rabioso was [him]. "[32], Walter Gazzo of MDZ Online described "Cementerio Club" as "a track in blues rock fashion, very electric and sharp, that contains enigmatic and depressive lyrics". "[78] In the psychedelic interlude, towards the end a small portion of the recording of "She loves you" by The Beatles can be heard, Richie Unterberger described it as "a taut Latin-flavored rocker vaguely reminiscent of early Santana". Let us know what you think of the website. [1], Written alongside partner Patricia Salazar, the lyrics of "Por" (a Spanish preposition) are one of the most atypical in Spinetta's career, consisting of forty seven loose nouns chosen to fit the pre-existing melodic lines. [69] It has been described as a combination of Englishprogressive folk with Argentine folk music. [9] According to Spinetta, his fellow band members did not share the more "lyrical" vision that he was developing, and wanted to change the style of the band into rock and roll and blues. [1] Due to his reading of Artaud's Van Gogh, The Man Suicided by Society, Spinetta came into contact with van Gogh's letters to his brother Theo and incorporated several images from them into the song's lyrics. More Pescado Rabioso. Play on Spotify. [102] Artaud was the "spearhead" of this series of reissues, which included titles by Soda Stereo, Virus, Charly García and several of Spinetta's bands. Twenty-three-year-old Spinetta considered that it was time to settle down and stay away from the excesses, so he decided to return to his parents' house in Belgrano. He again demonstrated it magically in Artaud. And he is one of the best sellers in that format, if not the most. [53][76], "Bajan" has been considered Spinetta's most Beatlesque song since the Almendra years. [9] Spinetta told Eduardo Berti in 1988: I experienced that as a great paradox: Pescado Rabioso was me, and I could have had those musicians like others; I wanted to play my songs, express how I felt, and it seemed like a deformity to start to make rock and blues songs as if it were the time of Manal. [94] The recordings were mastered by engineer Mariano López, and the album cover features drawings by Spinetta that were taken from the flyers of the show. The vibes that Artaud threw for other men to understand were thinking, you see, thinking and thinking, really thinking about what it is that happens. [34][27], Spinetta discovered Artaud through Jorge Pistocchi, a journalist and artist. "[28], CONICET's Sergio Pujol felt that the release of Artaud signified the culmination of a process of maturation and detachment from commercial preassures. Go directly to shout page. "[39], The album has been described as "a monumental piece of psychedelic and pastoral folk". [32] Gustavo Spinetta told journalist Oscar Jalil in 2013: "We were crazy about Neil Young's Harvest which has a very homemade fluency.
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