[27], Spinetta was particularly influenced by his essays Heliogabalus; or, the Crowned Anarchist (French: "Héliogabale ou l'anarchiste couronné") and Van Gogh, The Man Suicided by Society (French: "Van Gogh le suicidé de la société"). [33] Journalist Walter Medina reflected: "I imagined our cultural history without Artaud and I did not need greater imaginary absences to reach the total certainty that, even with the richness that characterizes it, the history of Argentine music and culture would be [a whole different story] without the work of [Spinetta]. Featured on Artaud. [72] Santiago Giordano of La Voz del Interior felt that in the track, "Spinetta overcomes the formal schemes of the canción genre. [104] The reissue of Artaud was by far the best-selling vinyl of the bunch. [56] Spinetta wrote the song after she told him that she had doubts about continuing with pregnancy, which she eventually carried on. [1] Writing for the Argentine Rolling Stone in 2013, Fernando García considered the "arch-legendary star-shaped cover" to be a work of art, as it "breaks with the function of a design object" and "its geometry slowly pushes the record towards the margin of the useless, the unusable. "[53] Spinetta opens the song: "I know well you have heard about me/And today we see each other here/But the peace/In me you will never find it/If it is not in you/In me you will never find it" (Spanish: "Sé muy bien que has oído hablar de mí/Y hoy nos vemos aquí/Pero la paz/En mí nunca la encontrarás/Si no es en vos/En mí nunca la encontrarás").[50]. [1][42] Sergio Ariza Lázaro of Diariocrítico.com felt the track sounded like Almendra's second album. [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. [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. "[14] The use of the band's name has also been described as a contractual obligation. Today this release is a valued collector's item. [28][45][72] Eduardo Santos of Noisey described it in 2016 as "one of the key records in the history of Argentine and Latin American rock that, thanks to that journey between the real and the oneiric manifested in its nine songs, was engraved in the history of music. [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. Perhaps the "most accessible moment" on Artaud,[52] opener "Todas las hojas son del viento" (English: "All leaves belong to the wind") is a folk rock ballad[42] with a predominantly acoustic sound, although it contains an electric guitar solo at the end. [9] However, Lebón and López have denied that there was a plan to turn Pescado Rabioso into a blues band. [1] Spinetta composed and recorded almost the entire album with a Harptone acoustic guitar that he called "the Standel". [35] In a November 1972 Pescado Rabioso interview for Gente magazine, Spinetta discussed his affinity with poetry and described Rimbaud as "a rock guy a hundred years ago", as he "developed in a way to express his inner sensuality and to express his own energy in a luminous way". "[36] Artaud's influence has been linked to the "iconoclast and libertarian spirit" of the album. Pescado Rabioso 2. [37] He envisioned the album as an "antidote" to the nihilistic message and "contagion of pain" conveyed in Artaud's work. Listen to Pescado Rabioso now. [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. 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. "Todas las hojas son del viento / Superchería" Released: 1973; Artaud (French: ; commonly pronounced by hispanophones) is the third studio album credited to Argentine rock band Pescado Rabioso, released in October 1973 on Talent-Microfón.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. "[16] In the summer of 1973, underground art and press grew in dimension, with parks and alternative magazines being their means of communication. [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. More Pescado Rabioso. [32] Gustavo Spinetta told journalist Oscar Jalil in 2013: "We were crazy about Neil Young's Harvest which has a very homemade fluency. [54] It has been described as "perhaps Artaud's most accessible moment". [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". Play on Spotify. [84] Journalist and friend Miguel Grinberg helped promote the concert presentation of Artaud by interviewing Spinetta on Radio Municipal and by printing posters and banners. According to Rodolfo García, the songs were "practically made in the studio" and recorded in few takes. [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. We can't show you this lyrics snippet right now. "[15] A small photograph of the poet appears in its right upper angle. Listen … "[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. ", "Artaud 2019, una versión actual de uno de los mejores discos de Luis Alberto Spinetta", "El legado de Luis Alberto Spinetta sigue muy vivo", "Las habladurías del mundo no pueden atraparnos: a estética de Artaud como elemento de compreensão histórico-social da Argentina (1966-1973)", https://en.wikipedia.org/w/index.php?title=Artaud_(album)&oldid=985867178, Short description is different from Wikidata, Album articles lacking alt text for covers, Creative Commons Attribution-ShareAlike License, Carlos Gustavo Spinetta – drums in "Cementerio Club" and "Bajan", Emilio Del Guercio – bass in "Cementerio Club", "Superchería", "Bajan" and "Las Habladurías Del Mundo"; backing vocals in "Superchería" and "Las Habladurías Del Mundo", This page was last edited on 28 October 2020, at 12:25. Writer Juan Pablo Bertazza considered that the album "reaches the closest and most fertile and visceral point that there can be between music and poetry, or better: between music and literature. [89][90] Of these two recordings that circulate on the Internet, only that of October 28, 1973, is the real date of the second show. [23], The creation of the album was deeply influenced by changes in the musician's personal life. [...] 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. [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? "[61] When asked if the words responded to a hidden logic, Spinetta replied: "It is kind of a surreal logic. [79] Some publications continue to misuse this date to place the record's presentation. 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. [1] During that time, he was beginning a relationship with Patricia Salazar, with whom he would remain for over twenty-five years and have four children. [59][60][61] For instance, the poem begins: "Tree, leaf, jump, light, approximation, furniture, wool, taste, foot, tea, sea, gas, look" (Spanish: "Árbol, hoja, salto, luz, aproximación, mueble, lana, gusto, pie, té, mar, gas, mirada"). [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. Let us know what you think of the Last.fm website. [44], "La sed verdadera" (English: "The true thirst") has been considered "one of the most inspired, intimate, and personal tracks that Luis ever recorded. "[74], "Cantata de puentes amarillos" is the song in which the influence of Artaud's writings are most evident. [69] It has been described as a combination of Englishprogressive folk with Argentine folk music. Credits adapted from the liner notes of Artaud, except where otherwise noted. In this sense, it is considered that Artaud managed to unite these two opposite movements. 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. [53][45] In one of his letters,[75] van Gogh reflects on the suffering of a caged bird that has food and health, but still longs to be free like the other birds. Del disco Artaud. "[12] As a result, Spinetta enlisted his brother Gustavo and former Almendra members Emilio del Guercio and Rodolfo García to play in the album. Leave feedback. 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. [...] Artaud is completely out of order, because Pescado 2 is also one of the best-selling records, but Artaud greatly surpasses it. The album's original packaging is famous for its odd shape, which the record label initially resisted. "[28], CONICET's Sergio Pujol felt that the release of Artaud signified the culmination of a process of maturation and detachment from commercial preassures. "[32] La Tercera's Alejandro Jofré felt that "Por" "proves that Spinetta was a free and modern creator. [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. [27] At the time of Artaud's composition, the poète maudits and surrealist literature were a great influence on him. [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. [103] The series was released on May 21, 2015, and was a big success, with the reissues selling out in a few days. [93], Despite the imminence of his debut with Invisible, Spinetta presented the album again in December at the Atenas stadium in La Plata, the capital city of Buenos Aires Province. Cinco Décadas de Rock Argentino: Primera Década 1966 - 1976. The only way to raise the weight is with love. [34][27], Spinetta discovered Artaud through Jorge Pistocchi, a journalist and artist. 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. [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".
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