In this sense, it is considered that Artaud managed to unite these two opposite movements. Scrobbling is when tracks the music you listen to and automatically adds it to your music profile. After the 1970 dissolution of Almendra—a foundational band of the burgeouing Argentine rock movement along with Manal and Los Gatos—three new groups emerged as its former members sought to create new projects. "[27] In 2007, the magazine eventually ranked it number one in its list of the "100 Best Albums of Argentine Rock". A new version of is available, to keep everything running smoothly, please reload the site. [79] Some publications continue to misuse this date to place the record's presentation. [1] He also recalled in 2013: "The album I think was more a conclusion of Luis that was super excited with Artaud and before the record we were already talking about him and other French poets. [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. [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. I believe that only if we worry about healing the soul we will avoid social distortions and fascist behavior, unjust doctrines and totalitarianism, absurd policies and deplorable wars. [55] Pedro Ogrodnik C. of Colombian magazine Rockaxis noted the simplicity and "warm climate" of the short track, and felt it was very reminiscent of Sui Generis' work. [118], Ramón Garibaldo Valdéz and Mario Bahena Urióstegui argue that its release made Argentine rock the largest dissident musical movement on the continent. [117], American magazine Al Borde ranked "Todas las hojas son del viento" 220th in its 2007 list of "The 500 [Songs] of Ibero-American Rock". [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". [88], One of the Teatro Astral presentations took place before the album was released and the other one was done some time later, although the exact dates of these concerts are not known. [11], In Ezequiel Abalos' 1995 book Historias del rock de acá, Amaya recalled: "He felt abandoned because he wanted to continue playing with the band, as he was left alone and it was still pending to record another album with Microfón, he recorded Artaud with the songs he had for Pescado Rabioso. He described it as a "typical" rock track that features "rhythmic and climatic cuts" that bring it closer to jazz. And he is one of the best sellers in that format, if not the most. Connect your Spotify account to your account and scrobble everything you listen to, from any Spotify app on any device or platform. [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". He went accompanied by Grinberg, Robertone and brother Gustavo, who had also helped him in the Astral concerts. [53][76], "Bajan" has been considered Spinetta's most Beatlesque song since the Almendra years. [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. It starts with a waltz-like, triple meter cadence, with Spinetta singing the lyric "Superstition" (Spanish: "Superstición") and a kind of scatting. [2][8] By the time Pescado 2 was released in March 1973, the band had already split up. "[72] He considered "Cantata de puentes amarillos" to be a "pulverization of the pop song", linking it to "Cristálida" and the Beatles' "A Day in the Life" (from Sgt. [23], The creation of the album was deeply influenced by changes in the musician's personal life. [16] Journalist Miguel Grinberg described the sessions as "a very private ceremony". "[1] The track has been described as a "maximum disarticulation of the poetic discourse",[32] a "rupture of the syntagma"[59] and "perhaps [Spinetta's] most radicalized and surrealist song. [79], The original album cover is notorious for its unique "irregular trapezoid" shape,[53] featuring a green and yellow composition that alludes to a phrase written by Antonin Artaud 1937, which can be read in the record's booklet: "Are not green and yellow each of the opposite colors of death, green for resurrection and yellow for decomposition and decay? [119], Clarín's Diego Huerta described it in 2012 as "a revolutionary, countercultural work. "[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. "[45], Spinetta leaves his acoustic vein in "Superchería" (English: "superstition"[63] "quack" "swindle" (particularly practiced on the ignorant) "trickery"), a song that according to journalist Walter Gazzo, would "fit very well" in Pescado Rabioso's previous albums. "[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. [64] The "true thirst" of the title refers to what Spinetta described as the urge "to cover, recognize and make the universe familiar". "[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. "[15] A small photograph of the poet appears in its right upper angle. [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. Spinetta y Las Bandas Eternas . [24] His brother Gustavo Spinetta stated in 2009 that the music and lyrics in Artaud were the result of the "climate of much love" in which Luis Alberto and Salazar lived. [30] Spinetta took part in Sunday youth gatherings that Miguel Grinberg organized in Parque Centenario through his radio program El son progresivo,[16] where people formed groups dedicated to rock nacional, poetry, theater, psychology and plastic arts; and edited a magazine made collectively every Sunday. "[16] Music journalist Claudio Kleiman felt that John Lennon's 1970 album John Lennon/Plastic Ono Band was an antecedent of Artaud because of its "emotional and musical nudity", while also noting similarities in their "stripped instrumentation" and the fact that both Spinetta and Lennon chose to record with a few old friends. Play on Spotify. Listen … The album is named after and dedicated to French poet Antonin Artaud, and was conceived as a reaction to his writings. Let us know what you think of the website. To him the answer of man is madness; to [John] Lennon it is love. [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"). More by Pescado Rabioso. 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. The only way to raise the weight is with love. [...] Artaud is completely out of order, because Pescado 2 is also one of the best-selling records, but Artaud greatly surpasses it. [37] He envisioned the album as an "antidote" to the nihilistic message and "contagion of pain" conveyed in Artaud's work. 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". 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. "[74], "Cantata de puentes amarillos" is the song in which the influence of Artaud's writings are most evident. [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.
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