In Almendra he shared a band with Rodolfo Garcia (battery), Emilio del Guercio (low) and Edelmiro Molinari (guitar) the commercial success of the band was total, being its song “Girl (Paper Eyes)” the most recognized, to the point that Spinetta came to deny her in a certain way.
Rabid fish represented the wildest side and one of the rockiest of his career (comparable to his time with The Desert Partners) in this odious game of comparisons, it could be said that Fish were the Led Zeppelin Argentines.
“Looking at what Pescado Rabioso was with perspective, I think that a procedure was the reverse of that of Almendra. If Almendra’s first record was sweet and the second was aggressive, in Pescado it happened that at the height of the second record I tried to almond the sound. Later, in Invisible, I think I became aware of a point of balance between both worlds”, affirmed the skinny one regarding what in his own way led to the end of Pescado and the birth of his next project, Invisible.
In the transition from Pescado to Invisible, one of Luis Alberto’s most emblematic albums took place, in 1973 Artaud was released. Although Pescado Rabioso is credited, it is actually a solo album by Spinetta, which he recorded with some guests, including his brother Gustavo who played drums, and his former teammates from Almendra, Emilio del Guercio and Rodolfo García.
The album title refers to the French poet, Antonin Artaud, to whom it is dedicated. The concept of the album is influenced by his life and work, and expresses Spinetta’s reaction to it.
It is one of the culminating works of Latin American music, considered repeatedly, not only as the best Spinetta album, but also of Argentine rock. “Yellow Bridges Cantata”, “Bajan”, “All Leaves Are of the Wind” Y “Club Cemetery” are parts of the album and are considered among the best ever composed by Spinetta.
If there is one thing that can be said about Spinetta, it is that he was a person of endless concerns when it comes to music. The variety of styles was always accompanied by an undisputed quality, although that quality was always recognized by a loyal public, it always seemed that if there was something that did not interest them, it was massiveness.
In 1991 his fourth daughter, Vera, was born (the others are Dante, Catarina and Valentino) and the arrival of a new member of the family was the ideal context to compose his album Fuzz of milk a resounding success thanks to the song that has perhaps played the most in his entire discography: “Keep living without your Love”.
How could it be otherwise, the skinny’s social sensitivity was revealed on several occasions. In July 1997, Spinetta showed solidarity with the teachers in struggle, visiting the White Tent that they had set up in front of Congress, where she sang “The books of good memory” and “Barro maybe”, briefly but significantly changing the lyrics (“already I’m becoming a song, teacher perhaps») and expressed his solidarity with the ultimate goal of “a fair education”.
In 2006, the bus in which a delegation of students, former students, teachers and directors of the Ecos school was traveling had a brutal crash: it was hit by a truck whose driver was drunk. Nine students and a teacher lost their lives there. The skinny man, moved by the accident, committed himself to the cause by organizing solidarity acts and in his last years in many of his recitals he wore t-shirts in memory of the victims.
Such was the imprint of the work of Luis Alberto Spinetta that the day of his birth, January 23, has been officially the day of the musician since 2015. Another of the great tributes was the one that Skinny himself could give himself in life. On December 4, 2009, the show was given Spinetta and the Eternal Bands, a gigantic recital at the Vélez Sarsfield stadium lasting more than five hours, in which he reviewed his entire career accompanied by each of the bands he led, in addition to having guests such as Fito Paez, Charly Garcia, Ricardo Mollo, Juanse Y Gustavo Cerati. A show that was recorded in the memory of all its attendees and is the full record of the magnitude of a unique artist.
Source: Ambito
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