Un Manana
Un Manana
表演者: Luis Alberto Spinetta
专辑类型: Import
介质: Audio CD
发行时间: 2008-07-22
唱片数: 1
出版者: iPD
条形码: 0602517672222
专辑简介
| Luis Alberto Spinetta (born January 23, 1950), is an Argentine musician. |
| He is one of the most influential rock musicians of South America, and |
| together with Charly Garcφa is considered the father of Argentine rock. |
| He was born in Buenos Aires, Argentina, in the residential neighbourhood |
| of Belgrano. As a kid he listened to all kinds of music: folklore and |
| tango, and a little bit later, rock. As with almost every other rocker |
| of his generation, The Beatles would change his life. In 1967, in the |
| midst of a repressive political climate, he formed a band called |
| Almendra with school mates. |
| |
| |
| |
| |
| Contrasting with the backwards and authoritarian government of General |
| Juan Carlos Onganφa, Argentina and especially Buenos Aires was |
| undergoing a cultural blossoming based on new art expressions; the new |
| generation, the sons of the middle class, was immersed in an |
| effervescence that would not reappear in Argentina until 1983. Spinetta |
| was part and later an exponent of that blossoming and rebellious youth |
| that would express itself both through the arms and the arts. Spinetta |
| devoted fully to the latter path, although he briefly became involved |
| with left-wing political movements. |
| |
| |
| |
| [edit] Music |
| It was 1969 and his band, Almendra, recorded their first album. The band |
| started recording and playing intensely and it became successful almost |
| overnight. Almendra composed its own songs and the lyrics were in |
| Spanish (something radically new). The subtlety and beauty of their |
| sound would be one of the milestones (maybe the first) of Argentine |
| rock. After two albums that enjoyed radio diffusion and deserved fame, |
| the band split. Spinetta composed and recorded a new solo album, but an |
| inadequate environment (he would later say that the mood of Argentine |
| rock and rockers of those times were too "heavy" and negative for him) |
| and the vast changes that success effected on his life made him leave |
| the country. |
| |
| After a lengthy stay in Europe, he returned to Argentina and formed a |
| new band: Pescado Rabioso. It was destined to be as mythical as |
| Almendra. With a far more powerful sound and expressing the tension in |
| the streets of an increasingly violent Argentina, Pescado recorded its |
| first album in 1972. It was both a continuation of the creative stream |
| of Spinetta and a drastic change in the style of his music and lyrics. |
| The band recorded a second album; although a third one carried its name, |
| Pescado was by then dissolved; Artaud, recorded in 1973 and mostly a |
| solo album by Spinetta, was a major breakthrough. Partly based on the |
| writings of Antonin Artaud, Spinetta exorcised many of the demons of his |
| past in this album. This process would open the door to a new era in his |
| music. |
| |
| In 1974 he formed a new band, Invisible. With his new band he recorded |
| three albums; Invisible, Durazno Sangrando (together with Artaud, hailed |
| as his best album ever), and El Jardφn De Los Presentes. With Invisible, |
| he left the powerful and rough sound of Pescado; the new tunes were more |
| harmonic, soft and mellow, yet his work remained essential and |
| revolutionary. Following this line, he embarked on a solo project, A 18┤ |
| del Sol, after dissolving Invisible in 1976?77. By then, ten years later |
| after starting his career, his style had become a delicate amalgam of |
| old and new; the old pop and (proto) heavy rock had merged with various |
| elements of jazz and bossa nova. That unique flavour would become his |
| style during the next half decade. |
| |
| After recording and editing a failed album in the United States in 1979 |
| (the only album that Spinetta lamented ever doing), with lyrics in |
| English and destined to the US market, Spinetta returns to Argentina and |
| starts a prolific era: he would record two albums with a short-lived |
| Almendra Revival (one with original songs and the other live), and |
| embark on a new project: Spinetta Jade. |
| |
| |
| [edit] The 1980s and beyond |
| Spinetta Jade would prove to be a successful and innovative band; |
| Spinetta was joined by some of the greatest Argentinan musicians of |
| those and all times to help him build the new sound he was building |
| since Invisible. The product: a blend of jazz and rock that was unseen |
| in Argentina and that escaped the boom of symphonic rock that reached |
| both the world and Argentina in the early 1980s. These four albums, Alma |
| de Diamante (1980), Los Ni±os que Escriben en el Cielo (1981), Bajo |
| Belgrano (a homage to the neighbourhood where he grew up, 1983) and the |
| unforgettable Madre en A±os Luz (1984), represent a defined style as |
| well as the footprints of Spinetta's evolution. Towards the last two |
| albums, the sound became a little bit more "pop", and embedded with |
| electronic elements (samplers and synthesisers with "artificial" |
| textures). Something worth remarking: the overpowering influence and |
| fame of Spinetta in the Argentinian rock world was only equalled by that |
| of Charly Garcφa. Many fans and critics shared the feeling that the two |
| musicians represented antagonistic styles and values. To show otherwise, |
| Spinetta and Charly (with their respective bands at the moment, Jade and |
| Ser· Giran) joined efforts and gave what was probably the most important |
| show in the history of Argentine Rock. |
| |
| Dissolving Spinetta Jade in 1984, Spinetta shortly engaged in an album |
| to be made together with Charly; yet, this would-be mythical work was |
| abandoned. Of this interrupted work, two songs remained: "Rezo por Vos" |
| and "Total Interferencia". |
| |
| By 1982, Spinetta had restarted his solo projects, and from then on |
| would never leave them. Kamikaze (1982) puts together a number of |
| previously unreleased songs (one gem is a very old song he composed in |
| 1965 called "Barro Tal Vez"). In Mondo Di Cromo (1983) Spinetta |
| prefigures the style of his solo projects during the second half of the |
| 1980s. His new production, from 1986 to 1993, would include four solo |
| albums (PrivΘ (1986), TΘster de Violencia (1988), Don Lucero (1989), |
| Pelus≤n of Milk (1991)), a joint album with Fito P?ez, another giant of |
| Rock Nacional (S≤lo la la la (1986)), and the soundtrack of the movie |
| "Fuego Gris" (named after the film, 1993). It is hard to describe this |
| collection of wide albums with a single adjective. The style, the sound, |
| the themes that Spinetta picks and uses with the dexterity of a veteran |
| musician are broad enough to encompass rock, pop, some tango, jazz and |
| bossa; they all sound 1980s like; they all sound Argentinian and reflect |
| the difficult years of the new democracy (1983 onwards) and the |
| contemporary thought about Argentina that is being made. Hope and |
| failure, they are covered with the Porte±o melancholy maybe more than |
| Spinetta's previous work. |
| |
| After a long silence, produced mainly by Spinetta's conflicts with the |
| recording companies, he finally opens a new period in his music with his |
| new band: Spinetta y los Socios del Desierto. Three years (1997?1999) |
| and four albums later, Spinetta had created yet another legend in |
| Argentinian rock. Two studio albums, the double Socios del Desierto |
| (1997) and Los Ojos (1999) would bring along a new sound, much more dry |
| and 1990s sounding. The band made an MTV Unplugged, Estrelicia (1998), |
| that because of its softness and acoustic nature, wildly contrasts with |
| their live album, San Crist≤foro (1998). As Spinetta said at the |
| beginning of the first concert, "Fans de lo ac·stico, abstenerse" ("Fans |
| of acoustic music, refrain"). The speed and roughness of the sound |
| recalls Pescado's sound. Also, in 1998, Spinetta chose the featured |
| songs and artwork of a Greatest Hits album called Elija y Gane, edited |
| the same year. |
| |
| The band dissolved quietly towards the end of 1999. Spinetta started a |
| solo era that spawns until the present. Silver Sorgo (2001), Obras en |
| Vivo (2002), a live album, Para Los ┴rboles (2003), Camalotus (2004), a |
| single of three unreleased songs and one remix, and PAN (2006) combine |
| maturity with boldness. The changing and mostly tragic landscape of |
| current Argentina powerfully affects the background of these works. In |
| them, Spinetta has showed that his creative flame is anywhere but near |
| of being extinguished. |
| |
| In 2005, the he received the Konex Award for best Rock soloist of the |
| 1995-2005 decade. |
| |
| A lot of books and TV documentaries are consecrated to him. Argentinian |
| writer Eduardo Berti published a book about Spinetta, which includes a |
| long conversation with him. Also another Argentinian writer Juan Carlos |
| Diez published an interview's book about him, it's a very intimist work. |
| |
| |
| [edit] Family |
| He has four children: Dante, Catarina, Valentino and Vera. All four are |
| devoted to music. Dante Spinetta had a successful band in the 1990s |
| (Illya Kuryaki and the Valderramas) and is currently working on various |
| solo projects. |
| |
| |
| [edit] Discography |
| |
| [edit] Almendra |
| Almendra (1969) |
| Almendra (1970) |
| El Valle Interior (1980) |
| Almendra en Obras I/II (1980, live) |
| |
| [edit] Pescado Rabioso |
| Desatorment?ndonos (1972) |
| Pescado II (1973) |
| Artaud (1973) |
| |
| [edit] Invisible |
| Estado de coma (1974, SP) |
| Invisible (1974) |
| La llave de Mandala (1974, SP) |
| Viejos ratones del tiempo (1974, SP) |
| Durazno Sangrando (1975) |
| El Jardφn de los Presentes (1976) |
| |
| [edit] Spinetta Jade |
| Alma de Diamante (1980) |
| Los Ni±os Que Escriben En El Cielo (1981) |
| Bajo Belgrano (1983) |
| Madre en A±os Luz (1984) |
| |
| [edit] Spinetta Y Los Socios Del Desierto |
| Socios del Desierto (1996) |
| San Crist≤foro (1998, live) |
| Los Ojos (1999) |
| |
| [edit] Solo |
| Spinettalandia y Sus Amigos - La B·squeda de la Estrella (1971) |
| Artaud (1973, released as an album of Pescado Rabioso) |
| A 18┤ del Sol (1977) |
| Only Love Can Sustain (1979) |
| Kamikaze (1982) |
| Mondo Di Cromo (1982) |
| PrivΘ (1986) |
| La La La (1986, with Fito P?ez) |
| TΘster de Violencia (1988) |
| Don Lucero (1989) |
| Exactas (1990, live) |
| Pelus≤n Of Milk (1991) |
| Fuego Gris (1993, soundtrack) |
| Estrelicia (1997, MTV Unplugged) |
| San Crist≤foro: Un Sauna de Lava ElΘctrico (1998, Live) |
| Elija y Gane (1999, greatest hits) |
| Silver Sorgo (2001) |
| Argentina Sorgo Films Presenta: Spinetta Obras (2002) |
| Para los ┴rboles (2003) |
| Camalotus (2004) |
| Pan (2006) |
| Un Ma±ana (2008) |
| |
+-----------------------------------------------
曲目
| 1. La Mediga 5:51 |
| 2. Vacio Sideral 4:24 |
| 3. No Quiere Decir 4:03 |
| 4. Tu Vuelo Al Fin 5:14 |
| 5. Hiedra Al Sol 3:23 |
| 6. Cancion De Amor Para Olga 7:43 |
| 7. Un Manana 2:45 |
| 8. Mi Elemento 5:27 |
| 9. Hombre De Luz 2:49 |
| 10. Preso Ventanilla 7:13 |
| 11. Despierta En La Brisa 5:32 |
| 12. Para Sonar 5:07 |
| ----------------------------------------------------------------------- |
| 59:31 |