Today this release is a valued collector's item. Start the wiki. [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. [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. [...] Since the music was already written, it was all a matter of the words entering right into the metric. 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. [58], In addition to choosing the words to fit the song, the duo also did so because of their meaning. This inspired Spinetta's lyrics: "Look at the bird, it dies in its cage" (Spanish: "Mira el pájaro, se muere en su jaula"). [104] The reissue of Artaud was by far the best-selling vinyl of the bunch. [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". [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. "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. [27] At the time of Artaud's composition, the poète maudits and surrealist literature were a great influence on him. "[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. He went accompanied by Grinberg, Robertone and brother Gustavo, who had also helped him in the Astral concerts. [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. Scrobbling is when tracks the music you listen to and automatically adds it to your music profile. [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. [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. Artaud contained a large booklet that also set it apart from other records; it was inspired by medical leaflets, something that has been linkened to the album's aim at being a "remedy" to the French poet's writings. 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. 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. "[68][73] CONICET's Jorge Monteleone described the song in 2010: "the voice of Spinetta is articulated solitarily in unexpected harmonic resolutions of the acoustic guitar and alternates rhythms where the images and the enunciative registers [...] overlap in modules, different from each other. [82], 1973 studio album by Pescado Rabioso, (Luis Alberto Spinetta), "Todas las hojas son del viento / Superchería". "[74], "Cantata de puentes amarillos" is the song in which the influence of Artaud's writings are most evident. [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. "[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. [119], Clarín's Diego Huerta described it in 2012 as "a revolutionary, countercultural work. [99], The first CD issue of Artaud, released on Microfón in 1992, mistakenly included five songs by Nito Mestre. [81][82] "Todas las hojas son del viento" was released alongside B-side "Superchería" as the album's only promotional single that same year. 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. [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. "[102][105], Artaud is considered Spinetta's masterpiece,[106] as well as one of the most revolutionary and influential albums of Argentine rock,[107] having been regarded as the greatest album in the history of the genre on several occasions. More Pescado Rabioso. 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. "[36] Artaud's influence has been linked to the "iconoclast and libertarian spirit" of the album.
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