[32][38] Spinetta told author Eduardo Berti in 1988: "Whoever has read him can not escape a quota of desperation. He also gave each audience member a copy of his manifesto Rock: Música dura, la suicidada por la sociedad ), in which he defended his vision about the countercultural Argentine rock movement. "[98] In the album's entry of the magazine's 2007 list of the 100 Best Albums of Argentine Rock, Pablo Schanton analyzed the cover: ... the object-record was a misfit: it denounced with its deformity the quadrature, the lack of freedom and the submission to the industrial geometry of the rest. [1] Edelmiro Molinari formed Color Humano, Rodolfo García and Edelmiro Molinari created Aquelarre, and Luis Alberto Spinetta put together Pescado Rabioso along with drummer Black Amaya and bass guitarist Osvaldo Frascino. It starts with a waltz-like, triple meter cadence, with Spinetta singing the lyric "Superstition" (Spanish: "Superstición") and a kind of scatting. Despite the sustained growth that the rock nacional movement had been experiencing, venues were made available sporadically and only in the morning or late night hours, as the genre had yet to "reach the necessary status to deserve the central schedules. [23], The creation of the album was deeply influenced by changes in the musician's personal life. Some user-contributed text on this page is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. [2][8] By the time Pescado 2 was released in March 1973, the band had already split up. "[41] Likewise, American music journalist Richie Unterberger noted: "If it's something of a progressive/psychedelic record, it has more to do with the juxtaposition of late-'60s and early-'70s styles on display than it has to do with the music itself. [45], The album's "complex" songs denoted a marked harmonic incorporation of jazz in Spinetta's music, prefiguring its central influence in the following years. "[88] In addition to Spinetta as a soloist and alongside Pescado Rabioso and later Invisible, other acts that performed at Teatro Astral during those years include Manal, Moris, Color Humano, Sui Géneris and Crucis. "[61] When asked if the words responded to a hidden logic, Spinetta replied: "It is kind of a surreal logic. "[32] Spanish online newspaper Diariocrítico.com 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. [116], In the 2017 book Los 138 discos que nadie te recomendó, writers Sergio Coscia and Ernesto Gontrán Castrillón felt that "Cantata de puentes amarillos" "could well be an alternative national anthem". For example, the "yellow bridges" (Spanish: "puentes amarillos") are presumedly inspired by Langlois Bridge at Arles, his only painting featuring a yellow bridge. [32], The album required a different kind of exhibition, usually nailed to the wall or hanging. [43] Artaud has been linked to a period of "reflexive psychedelia" in Argentine rock during the 1970s, evident in the lyrics of Molinari, Pappo and Vox Dei's Nacho Smilari. [119], Clarín's Diego Huerta described it in 2012 as "a revolutionary, countercultural work. [...] Since the music was already written, it was all a matter of the words entering right into the metric. Spinetta noted that "while the modules of 'Cristálida' are repeated in a rotating way, those of 'Cantata' are different from each other. "[32] La Tercera's Alejandro Jofré felt that "Por" "proves that Spinetta was a free and modern creator. Featured on Artaud. [80], The Teatro Astral show is considered "one of the most legendary concerts" in Argentine rock history. [10] One of the reasons was that Oscar López, their manager at the time, wanted Lebón to become the lead singer and guitarist and for Spinetta to play bass. Play on Spotify. [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. [104] The reissue of Artaud was by far the best-selling vinyl of the bunch. (Spanish: "Oye, dime nena, ¿adónde ves, ahora algo en mí, que no detestes?"). "[27] In 2007, the magazine eventually ranked it number one in its list of the "100 Best Albums of Argentine Rock". "[56] Pablo Schanton compared the song to Graham Nash's "Teach Your Children" and Pink Floyd, as it "provides light instructions for rockers who mature and form families, and must face paternity while being antipaternal. A new version of Last.fm is available, to keep everything running smoothly, please reload the site. Sony Music Argentina president Damián Amanto attributed this to the fact that the rerelease reproduced the record's historical artwork, which had made the original 1973 release one of the most demanded albums by collectors. [27] In addition to Antonin Artaud, Spinetta read other French poets such as Arthur Rimbaud, René Daumal, Charles Baudelaire, Jean Cocteau, André Breton and Comte de Lautréamont. [115] In its entry, Pablo Schanton describes it as "a liberating cultural event" and "an aura of something unrepeatable [...] The aura of doing and being rock in a more direct, more artistic, more handcrafted and less massive manner. [100][101] The company decided not to remove these CDs from circulation, but to wait for them to be sold completely before correcting the error. Artaud (French: [aʁto]; commonly pronounced [aɾ.ˈto] by hispanophones) is the third studio album credited to Argentine rock band Pescado Rabioso, released in October 1973 on Talent-Microfón. Superchería By Pescado Rabioso. [120], In June 2019, Argentine label RGS released a CD tribute album titled Artaud: un homenaje a un gran disco (English: "Artaud, an homage to a great record"), which replicates the original artwork and includes the nine tracks in the same order, each versioned by a different artist. [44], The album was produced at a time when there was a rivalry within Argentine rock, between those who played acoustic music and those who favored an electric, "heavier" style. 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. [112][113] The album was further revalued over time;[114] and in the 67th number of the Argentine edition of Rolling Stone, issued in October 2003, Oscar Jalil wrote: "Above any revisionism, Artaud is the perfect work of rock culture, loaded with arrows directed to different artistic disciplines. [77] It is perhaps the most optimistic song on the record, referring to the passage of time from the place of youth with lyrics such as "I have time to know/if my dreams end up in something" (Spanish: "Tengo tiempo para saber/Si lo que sueño concluye en algo"). Credits adapted from the liner notes of Artaud, except where otherwise noted. [9] However, Lebón and López have denied that there was a plan to turn Pescado Rabioso into a blues band. [88] After years of circulating online, the October 28, 1973, bootleg—made by a young fan with a monaural Philips recorder—finally received its official release as a live album in 2020, titled Presentación Artaud 1973. [70] The title means "The chit-chat of the world" (habladurías: "gossip", "chit chat", "rumor", lit. [...] For the neurosis of collectors, it is impossible to find an original Artaud cover without worn ends: that challenge to the geometric and industrial patrons (parents)[nb 3] was paid with degradation. [64] He explained: Not only man is made of the universe because the molecules are created in the universe, which is incumbent on the Earth and all the planets, but also, having his star soul is what makes the being speak of its inner immensity. [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. [121], On January 23, 2020, Google celebrated what would have been Spinetta's 70th birthday with a Doodle which, besides Argentina, appeared in Austria, Bolivia, Bulgaria, Chile, Colombia, Ecuador, Germany, Iceland, Italy, Paraguay, Peru, Spain, Switzerland, Uruguay and Vietnam. "Artaud, el mejor disco de la historia del rock argentino", "Jorge Álvarez: "Me hubiera gustado ser un mafioso, "Jorge Álvarez, talento para descubrir talento", "Jorge Alvarez, el hombre que pensó el rock nacional", "Escúchame, alúmbrame. [58], In addition to choosing the words to fit the song, the duo also did so because of their meaning. He had "sealed the relationship" with Bustamante in "Blues de Cris", a track included in Pescado Rabioso's 1972 debut album, but they continued to see each other. Pescado Rabioso was a psychedelic rock band from Buenos Aires, Argentina, formed by musician Luis Alberto Spinetta, from 1971 to 1973, right after the breakup of his previous band Almendra.The band also consisted originally of Black Amaya, Osvaldo Frascino. "[39], The album has been described as "a monumental piece of psychedelic and pastoral folk". The song's lyrics deal with parenting from a countercultural perspective,[52] although Spinetta had yet to be a father. [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. 'Gesticulator' (Spanish: 'gesticulador'), for example, is set to fit in. He described it as a "typical" rock track that features "rhythmic and climatic cuts" that bring it closer to jazz. [103] The series was released on May 21, 2015, and was a big success, with the reissues selling out in a few days. He told Berti: "I wrote 'Todas las hojas son del viento' because at that moment she was like a leaf in the wind, having to decide such a thing. [98][32] Gatti has said that the aim was to make "a disturbing and uncomfortable object, something that annoys", and has described it as a product of its time, when feelings of challenging the established were prevalent among the youth. More Pescado Rabioso. 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 stated that in "Superchería" and "Las habladurías del mundo", "the concept with which the tracks were created was similar: to play them with absolute freedom [and] the biggest swing of which we capable". [27] At the time of Artaud's composition, the poète maudits and surrealist literature were a great influence on him. All tracks are written by Luis Alberto Spinetta. [1], Writers often analyze Artaud in relation to the convulsive sociopolitical context of Argentina in 1973,[26] with the fall of the military dictatorship, Héctor José Cámpora's electoral win and the news of Perón's return bringing "a hope of liberty in the midst of oppression. "[70] Chilean newspaper La Tercera ranked Artaud second in its 2017 list of "The 20 Best Albums of Argentine Rock". "[42] Germán Arrascaeta of La Voz del Interior described the album's content in 2015 as "abrasive psychedelia". Desatormentándonos. More by Pescado Rabioso. At that time there was still that mania to play rhythm & blues, but shortly after David [Lebón] released his solo album and it was not only in that style. Spinetta presented Artaud with two morning shows at the Teatro Astral on Avenida Corrientes, which featured him accompanied only by his acoustic guitar. "[28], CONICET's Sergio Pujol felt that the release of Artaud signified the culmination of a process of maturation and detachment from commercial preassures. [44] Spinetta once again refers to nature, with images like "the old oak", "the day that sits to die", "the night that clouds endlessly", and the sun and the moon as two ideal faces of the human. "[44], (English "To Starosta, the idiot") In the final verses of the song, Spinetta sings "The idiot/there's nothing else I can do for him/He will burn/staring at the sun/And this is the story of he who is waiting/to awake/Let's quit from here" (Spanish: "El idiota/ya nada puedo hacer por él/él se quemará/mirando al sol/y es esta la historia del que espera/para despertar/vámnos de aquí"). [nb 1] Lyricist Roberto Mouro has claimed that Spinetta used a Hagström electric guitar in "Todas las hojas son del viento",[18] while journalist Juan Carlos Diez recalled that the musician told him that he recorded the whole album with a mahogany-colored acoustic Gibson guitar. Although that is not exactly what I was looking for, to narrate something, but to have the words go with the music and talk [about something]. Álvarez had founded Microfón after the 1970 closure of his company Mandioca, the first independent record label of Argentine rock. Pescado Rabioso 2. Beyond the quality of his music I could not tell you the reason why. "[16] In the summer of 1973, underground art and press grew in dimension, with parks and alternative magazines being their means of communication. [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. "sayings") and part of the lyrics say "I see I see words are never the best/to stop us being naked ("Veo veo las palabras nunca son/lo mejor para no/andar desnudos") with veo-veo (lit. Let us know what you think of the Last.fm website. [61] The technique has been compared to concrete poetry[62] and the Dadaist exquisite corpse. The only way to raise the weight is with love. The album is named after and dedicated to French poet Antonin Artaud, and was conceived as a reaction to his writings. [37] He envisioned the album as an "antidote" to the nihilistic message and "contagion of pain" conveyed in Artaud's work. "[87], Spinetta presented Artaud with two morning shows at the Teatro Astral on Avenida Corrientes, one of the few and most emblematic venues where Argentine rock artists could perform during the early 1970s. Another way to talk about the tragic fate of Artaud. And he is one of the best sellers in that format, if not the most. [28][29] Discussing the social context in which Spinetta produced "Artaud", Grinberg told Rolling Stone: "At that time we were all Peronists. [53] Jazz influences have been noted,[57][52] particularly for "the harmonic choice, in a minor scale, as well as the enhancement of weak times". "[86] In its following issue, the magazine stated: "If he wanted, Spinetta could develop a large part of his wealth of creative material as a soloist. The album's original packaging is famous for its odd shape, which the record label initially resisted.
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