50 years of Acoustic, a hit in the generic circle | The night when the rock explodes the fronts

In a country passing through the morgues of rockwanting to give a concert that –the one end without the clarity- establish ending a new identity. Carrying out a key rack for refunds incorporating new winds, new winds, new trends. Fue el June 16, 1972cincuenta años atrás, cuando el Atlantic Theater of Monserrat -donde ahora hay edificio- a pile of native habitats of Argentine rock, made by Daniel Ripollse endió en un solo ser para dar vida al Acoustic. Estaban entre ellos Edelmiro Molinari, Gabriela, David Lebón, Raúl Porchetto… Sí, pero hubo tres nodales. Three of these titanes que se adelantan a los teempos. Introducing the cruises of identities, a dynamic form of resigning races, incorporating new ingredients to follow. Including inventions, following the dynamics of the historical event empuja hacia allí.

Domingo Cura, León Gieco and Litto Nebbia -de ellos se habla- fueron los que vieron, en un perido tan temprano, hacia dónde tenía que ir ir la national and popular m parasica para que ne se paralyzara a fuerza de dos extremot: el de la petrea cerrazón de ciertos tangueros refractarios aos nuevos aires –los que negaban tres veces a Piazzolla-, m als algunos folkloristas that live intentional convection intent dominated by the turbulence of which the subject is disconnected, but by a lad; and the cultural invasion, which is the impregnation of neocolonial interests and traverses of the rock music masses -including the strings of the ellos-, by another. Do not perform inconsistencies in the binary of these curves of the coin mass which, perceptually, place the pulses of the fundamental incubator aqu renovate identities para no perderlas, pues.

Hoy parece cosa natural that folklore, rock, tango, jazz and more genres of music can be a cultural theme, pero entonces no era así. The cherries of the guardians of the tradition – which can be placed on Luis Aberto Spinetta en mismo bolso con Nicky Jones-, se le sumaba part de una rebeldía rockera que, acaso incrédula los usos y abusos imperial, buscaba arrancar de cuajo el riquísimo pasado argentino argentino. Ni la una ni la otra, entonces.

More than one set of matrix bellows. A musically mesmerizing universe that includes a young Gieco, parade through the camouflage between the camp and the city, with Nebbia who indagaba in the music subdued by the soul of the patriot junta to Cura, a magical person who legitimately moving between the genres how to play Mercedes Sosa, Raúl Carnota, Jacinto Piedra, Peteco Carabajal or Chango Farías Gómez.

Pruebas al canto, mil. Una, The acoustic in the form of a disc, folded by the urn of the legendary sonidista Robertone and published three months after the concert, which is transformed into a solo the vinyl primer live from the history of Argentine rocksino también en el primer Unplugged of the universe. Ninguna pavada, claro.

Gabriela y Edelmiro Molinari (Image: Gentileza archive Pelista Magazine)

The total of the songs that sound in the Atlantic Atlantic, nueve quedaron en el vinilo. Between them, ciertos hitos para destacar. Fue the first lion robbery in its life, by case. La llamó in situ “Men’s hieroes and pain men”, pero the term rebautizando “Hombres de Hierro”. También hubo a woman who lives between men porque, the difference of tales, of Gabriela registered topics: “Abre el día” and “Rodando”, además del dúo Miguel and Eugeniowhich is transformed into Aucánone of the best secrets guarded by Argentine folk-rock.

Pero sobre todo, gravita a pieze practically –junto to las iklaric explorations del Arco Iris mother South America o Time of reservation- result in the desolation of the unattractive music that offers a more coherent identity with time: the hallucinating version of “Vamos negro, fuerza negro”, which conjures up the percussion of the landing of the Santiago bomber, with the enormous capacity of the Nebbia to derive diques into the music. Of course, when Litto is transformed, together with Gieco and Santaolalla, not only in the connector of genres and generations, they are also embedded in the master diffuser of the deep music of the fatherland in the living of the great city – except for the other exponent of tango or folklore- incubating its mileage in a stream of water.

It is one of the forms of leer el Acoustic hoy. De traerlo hasta acá without naphthalene.

Otra es que se repitió. And, as it happens, it inevitably flies like comedy or tragedy, revisited by an alternative cam. In the case of the acacia remover 45 years old 8 days after the original: the June 8, 2017. Esa vez fue en el Gran Rex. It develops the lungs and pioneers of a new identity with its inclusive passage – Nebbia and Gieco, claro – but they fold bands and solos of these two. Catupecu Machu y Boom Boom Kidbetween tales.

The Acoustic of 2017 (Images: Jorge Larrosa)

The most elliptical ellipse between festive ambassadors, or Cura, Nebbia revived and revived the epic of the cross, pero con Lito Vitale in place of the percussionist, and a pair of solitary bombs supplementing the exit. The rest of the letter of the emblem song is concentrated: “When it comes down to it, the sauce is more original. But in the rest of the day nadie te habla as tal. ¡Vamos, negro! ¡Fuerza, negro! Llora a little girl and a white quiz to listen to ”.

León, equidistante between the camp and the city less than a foot across them, sloping down a slope with the American rug – from Mercedes Sosa, por supuesto—, y entregó, entre más, una bellísima cancón de otro pioneer que había entendido todo desde aquel lejano 1972. La cancón es “Bajaste del norte”. And what the hell is all about, Raúl Porchetto.

The mecca set in an intimate festival in the Atlantic – where Molinari and Lebón play and mantener – follow its course through a series of hardcore portraits such as the Boom Boom Kid, which draws guitar and parade through the public space. “Tu tierra es mi tierra” (“This Land Is your land”)anthem of the father of the people Woody Guthriey otra de “Gurisito”, de Daniel Viglietti, legitimating

Miguel Krochik ((Image: Gentileza archive Pelista Magazine))

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