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[58], In addition to choosing the words to fit the song, the duo also did so because of their meaning. "[42] Germán Arrascaeta of La Voz del Interior described the album's content in 2015 as "abrasive psychedelia". The album is named after and dedicated to French poet Antonin Artaud, and was conceived as a reaction to his writings. Creative Commons Attribution-ShareAlike License. [68][72] In this sense, it is considered a "similar exploration" to his previous composition "Cristálida", included in Pescado Rabioso's Pescado 2. [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. [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". [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. To him the answer of man is madness; to [John] Lennon it is love. 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. [53] Spinetta's acoustic guitar moves through the musical notes G, F and D, with an irregular phrasing that was characteristic of his music. Let us know what you think of the Last.fm website. [1][42] Sergio Ariza Lázaro of Diariocrítico.com felt the track sounded like Almendra's second album. "[12] As a result, Spinetta enlisted his brother Gustavo and former Almendra members Emilio del Guercio and Rodolfo García to play in the album. "[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. [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. [97], Artaud's original release is a prized object among record collectors costing close to 30,000 pesos as of 2016. [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"). Listen to Pescado Rabioso now. More Pescado Rabioso. "[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. The album's original packaging is famous for its odd shape, which the record label initially resisted. Spinetta stated that the song's lyrics are about the "intimacy" and "immensity" of being. And he is one of the best sellers in that format, if not the most. "[30] According to Del Guercio, they "were concerned to know what was going to be the place of art and culture in the society to come, how the personal transformation of each one and the understanding of the other could modify society"; according to Schanton, Artaud is the "offspring of that total liberty". He described it as a "typical" rock track that features "rhythmic and climatic cuts" that bring it closer to jazz. [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. [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"). "[111], A July 1985 survey by journalist Carlos Polimeni for Clarín ranked Artaud as the third greatest album in the history of Argentine rock. [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.

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