Patricio Rey and his Redonditos de Ricota
Patricio Rey y sus Redonditos de Ricota, also known as Los Redondos, was an Argentine musical group formed in La Plata in 1976 and integrated, in its for the most part, by Indio Solari (voice and composition), Skay Beilinson (guitar and composition), Semilla Bucciarelli (bass), Walter Sidotti (drums) and Sergio Dawi (saxophone, harmonica and piano). It is considered one of the most important and influential groups in the history of Argentine music.
They began their live performances in 1977, as a theatrical rock exhibition, with a whole circus troupe of stand-up comedians, clowns, and stripper dancers, who would go up on stage between songs to do their numbers., something they ended up discarding after the reception of their debut album, Gulp! (1985). From there, they established themselves solely as a musical group. In the second half of the 1980s, they continued their steady rise, releasing albums such as Oktubre (1986), Un baión para el ojo idiota (1988) and Bang! Bang! You are liquidated (1989), crowning it in December 1989 at the Obras Sanitarias Stadium with three recitals. After that, they became a massive phenomenon with concerts in bigger and bigger stadiums, at the same time that they began to experiment with alternative rock and controversial publications, such as both volumes of Lobo loosen, cordero atado (1993) and Luzbelito (1996). However, violence at concerts by the police increased and there were more and more incidents, with injuries and deaths, such as the Walter Bulacio case in 1991. This caused the group to move away from the capital and start, from 1995, to give recitals throughout the country. At the end of the century, the band made a change in their style, adopting an electronic rock sound on Último bondi a finisterre (1998) and Momo sampler (2000). The band reached its climax in April 2000 with what was its most popular recital: 70,000 attendees at the Monumental Stadium. However, the wear and tear due to chronic violence in their recitals, added to artistic differences between the members, influenced the band to announce their separation in November 2001.
The band received critical acclaim, winning the Konex Foundation Diploma of Merit at the 1995 and 2005 ceremonies, in both cases in recognition of their career in Argentine music over the previous decade, and also winning in that of 2005 the Konex Platinum Award for the best Argentine rock band of the decade, shared with Divididos. In 2007, Rolling Stone Argentina magazine launched a list of the best 100 Argentine rock albums in history, including their albums Luzbelito (#88), Bang! Bang! You're Done (#33) and Oktubre (#4). history, which includes the songs "Un poco de amor francés" (No. 54), "La bestia pop" (No. 32) and "Ji ji ji" (No. 5). In 2011, the newspaper La Nación published a list with the best 10 video clips of Argentine rock, in which the band appears with "Massacre en el puticlub" in fourth place.
History
Background
The beginnings of the group go back to the psychedelic movement from La Plata, organized by Guillermo Beilinson, brother of Skay. There, musicians, poets, artisans, filmmakers and actors from the hippie scene met in the basement of a commercial gallery, Pasaje Rodrigo. In those meetings several of the future musicians and collaborators of Los Redondos met. In the 1970s, this artistic group made a series of independent films, where the music, scripts, scenery and costumes were created by the clan members themselves. This is how they made Cycle of heaven over wind, a post-apocalyptic science fiction feature film in which a group of rebels resisted a tyrannical empire, Jealousy, a medium-length psychological thriller where a man (played by Indio Solari) was chasing and spying on his love interest, and Vertical Horizons, a horror series where a mad scientist did evil things. These audiovisual experiences led directly to the formation of the band, who at first were not strictly a rock band, but presented artistic numbers of all the members of this group.
Before participating in the Pasaje Rodrigo basement artistic group, guitarist Skay Beilinson and graphic artist Rocambole Cohen were in La Cofradía de la Flor Solar, which was both a community of hippie artisans in La Plata who subsisted by selling their crafts, like a psychedelic rock band formed by the same artisans. The Brotherhood was active between 1968 and 1971 and even played at the first B.A. Rock in 1970. They were the revelation set of that festival and released an album in 1971. However, the wear and tear of community life meant that, shortly after the release of that album, the community and, consequently, the band, dissolved. Several former members continued to be linked to rock in groups such as Billy Bond and La Pesada del Rock and Roll, Miguel Abuelo & Nothing, Punch and Patricio Rey.
Simultaneously, Beilinson played bass in Diplodocum Red & Brown, a psychedelic rock band from La Plata that only did covers and sang in English. On November 5, 1969, at the Opera de La Plata theater, both Diplodocum and La Cofradía played, and Beilinson performed with both. The future representative of the group, Carmen "la Negra Poli" Castro, who was studying theater at that time, was present at that recital. She and Beilinson met there and became romantically involved.
At that time, Solari was a student of Fine Arts and an artisan. He made his first steps in rock as a lyricist and graphic artist for the band Dulcemembriyo, in which he was the partner of two future members of Virus: Federico Moura and Daniel Sbarra. While he was a member of the Humanist Movement, he met Roberto Fuentes (future first bassist of Los Redondos), who got him a job at the El Mercurio print shop, owned by Guillermo Beilinson, and introduced him to the entire community of artists that the latter brought together. in the basement of the Pasaje Rodrigo gallery. This is how Solari met the Beilinson brothers, Sergio "Mufercho" Martínez and Edgardo "el Doce" Gaudini, all of whom had an important influence on the origins of the band.
Beginnings in theatrical rock and sporadic shows (1977-1982)
The artistic group that met to make films in the basement of the Pasaje Rodrigo gallery evolved, at some point, into Patricio Rey and his Redonditos de Ricota.
Formed as a band in 1976, they made their first stage appearance on November 26, 1977, when they performed at the Teatro Lozano. The Lozanazo (as the band baptized this presentation) was important because it was their official debut on stage and, also, because in that recital the name of the band was born when Edgardo "el Docente" Gaudini, Dressed as a sultan, he distributed round walnut and ricotta fritters to the audience. Presenting them as "redonditos and aphrodisiacs", Gaudini had taken the recipe from a book by the bursar Patricia Rey. This led to the name of the band Patricio Rey y sus Redonditos de Ricota. Over time, when the band grew in popularity, it was common for people to ask the members who this Patricio Rey was, for which they created a whole myth of a supposed mysterious benefactor.
As a consequence of being a continuation of the artistic clan of Pasaje Rodrigo, in their early years Los Redondos exhibited a theatrical rock style where they dabbled in other types of shows, in addition to what is strictly a rock band recital: a circus troupe of stand-up comedians, magicians, clowns, acrobats, stripper dancers and musicians would go on stage and do their numbers. There were no fixed members, there were around fifteen musicians on stage who alternated between the instruments. This format of mixing a recital with a variety show also arose from the particular context of the La Plata scene of the dictatorial era, where it was done difficult to perform a rock recital as such:
By then most of the rock groups in the city were not affiliated with the musicians' union, and this made them persecute and not let them play. In Buenos Aires it was much easier to enter the guild, but in La Plata the requirements were so many that no rocker accepted those bureaucratic conditions. In this way, doing what could be properly called a recital was almost a clandestine ceremony, or camouflaged with other condiments, mainly cultural expressions such as theater, poetry, artistic samples, etc.Revista UnsubscribedApril 2014.
In January 1978 they made their first visit to the interior of the country, when they played three nights at the El Polaco bar in Salta. In that year they also made their first presentation in Buenos Aires, with the guitarist Conejo Jolivet, who officiated as the first guitar, and the keyboardist Roddy Castro, who also provided a place in the rehearsal rooms in the basement of Corrientes Avenue almost 9 December. July.
With this formation they played at the Sala Monserrat adding León Vanella (guitarist, singer and composer from the west of Greater Buenos Aires). They had Sergio "Mufercho" Martínez, who dressed up as a mummy and was carried onto the stage with dark background music played by the band. He also did an extensive monologue and gave way to the girls from the Ricotero Ballet and the band. They also played at El Teatro de La Cortada in San Telmo, with a staging by Robertino Granados and the participation of Katja Alemann as a "cabaret bunny". That same year they had their first separation: Conejo Jolivet continued with Pappo's Blues and León Vanella, and then with La Blusbanda and Dulces 16.
After that, they continued playing in underground theaters until early 1979, when, after a tour of the Argentine coast, the band decided to take a short break, since Beilinson and Poli moved to Mar del Plata, while Solari went to Valeria del Mar.
From then on, the shows became more sporadic: Los Redondos did not play again until December 1979, when they performed at the Margarita Xirgu Theater in the capital. In the following three years, the band's activity was very little; They did not resume the usual rhythm of presentations until the beginning of 1982.
Takeoff and end of theatrical numbers (1982-1985)
The year 1982 was a turning point for the band, due to its growth and rise to popularity.
On January 2, 1982, the Argentine rock magazine Pan Caliente organized the Pan Caliente Festival on the field of Club Atlético Excursionistas to raise funds to save the magazine from closure. Its director, Jorge Pistocchi, who had already suffered the closure of his previous magazine El Expreso Imaginario, invited bands and soloists to the festival, among them Los Redondos. A discussion then arose within the band, since Solari was reluctant to appear in daytime recitals with other groups and preferred to play "alone and at night". After a vote among the members, he prevailed over friendship with the magazine's staff and, for the only time in his career, Solari agreed to appear at a festival along with other bands and during daytime hours.
This ended up being crucial for the fate of the group, since by appearing at this festival before an audience of five thousand people, much more than the few dozen that used to gather in small theaters until then, they became known. For this occasion, the band was accompanied by their circus and anarchic troupe on stage. When the stripper dancers did their number, the audience was confused, because such a performance had never been staged at a mass festival.
Many reacted positively to the occurrence and, as if they were in a cabaret, began to throw coins at the dancers. But the Argentine society of the time was quite conservative, so others began to throw bottles at them (at that time it was common in concerts to throw objects if the band did not like it, as witnessed by bands like Virus, Sueter or Los Encargados). Before the rampage, the police arrived, who gave the festival organizer an ultimatum saying: "Either they get off or we go up" and, before they went on stage, a member of the band wrapped the dancers with a blanket and took them off the stage. Despite the minor incident, Los Redondos were well received by the public and critics, becoming the festival's revelation band, and from then on their presentations returned to a steady pace, as they had been until 1979.
In April of that same year, in the studios of the international record company RCA, they finally recorded their first professional demo. This had studio recordings on side A and on side B with records from the Pan Caliente Festival recital. "Baby, baby", "A certain Brigitte Bardot", "Mariposa Pontiac", "Superlógico" (which included Las Bay Biscuits in choruses: Fabiana Cantilo, Isabel de Sebastián, Diana Nylon and Viviana Tellas) and "Pura suerte" were among the songs recorded there, and some of them joined subsequent albums by the band. Although RCA was not interested in that work and did not sign the band, the demo received a good reception from the public and both the studio songs and the live recordings gained airplay on Buenos Aires FM stations.
From that launch, it began a progressive growth in the number of shows, mainly encouraged by the "word of mouth" of its followers. As witnessed by a testimony from the time, from the rock journalist Gloria Guerrero:
One is impartial, try not to take sides for anyone, but sometimes it is impossible. The group that interested me most in recent times makes a recital and I want them to know. And also because it is very difficult for them to find out by another means, since these delusional little guys don't publish a horn anything they do. The news 'run' and the theaters are filled.Gloria Guerrero, magazine HumorDecember 1982.
The demo had started circulating just in April 1982, simultaneously with the release of the demo, it was also when Argentina started the Falklands War against the United Kingdom. The military dictatorship established the censorship of music in English, but this measure as a counterpart opened the doors to national rock bands, which now had all the attention of the radio. The music scene would benefit from the decline in power of the military regime after the defeat of the war, the call for democratic elections after seven years under the dictatorship, the arrival of democracy in December 1983, and the arrival in Argentina of new modern styles. that renewed the environment (which had been stagnant since the previous decade) such as new wave, reggae, post punk and synthpop, which would attract more audiences to rock.
On September 21, 1982, they gave their only recital without Indio Solari as singer, taking over as Luca Prodan, the leader of Sumo. It was at the GEBA Stadium for the Spring Festival. Solari, reluctant to appear during the day and along with other bands, lost again before a group vote, when the vast majority chose to join the festival, Solari voted against and this time he did not show up to play with the group there.
At that time, a transition began in the style of show offered by the Redondos. From the theatrical rock style of its beginnings, with clowns, acrobats, reciters and stripper dancers accompanying the band's songs with their numbers, it progressively moved towards a more minimalist and standard rock recital style. Among the numerous members of the artistic group, a few remained as more permanent members of the project: Indio Solari (voice), Skay Beilinson (guitar), La Negra Poli (representative) and Rocambole Cohen (artistic director).
By 1984 the last members of the theatrical rock era were the journalist Enrique Symns, reciting and monologueing in the introduction of the Redondos show, the opera singer Rubén Sadrinas, who would be fired some time later, just before the recording of the group's first album (Sadrinas would later be the first vocalist of Bersuit Vergarabat), and Las Bay Biscuits, a group of the genre known as fun music, and made up entirely of women: Fabiana Cantilo, Viviana Tellas, Diana Nylon, Claudia Puyó and Isabel de Sebastián, all of whom would make later careers.
In an interview with Rolling Stone Argentina in its November 2005 issue, Indio Solari spoke about how that transition from theatrical rock to a standard rock band was like:
- There were three guitarists and three singers, like Iche, anyone who got up was a singer... (...) He was kind of a happy, moving student. The songs were like a nucleus, but it was actually a pretty wild thing.- The strange thing about that is that, at a distance, the Redondos always seemed to have a kind of seriousness, a rather premature conceptual planning.
- Yeah, Henry's got that, even though he doesn't want to recognize it: people want him to follow rock & roll, not someone in the middle doing a monologue. From there it becomes clear what was prospering, people are taking us to that. We said: “Well, this is a rock band’s roll.” It wasn't a kind of thing anymore. troupe of talents. There was a concrete project.
- That's later. The true birth of the Redondos is later, beyond that at that time the songs were already done with Skay. But it was still a kind of chaos: there was a comic actor, varieties. It adopts a certain seriousness at the time when, after one of the many separations, I come to see Poly and Skay to the house of Mufercho [Sergio Martínez], to propose to me to come to the Capital, because everything was in La Plata... The bands of friends what they have is that they don't all know how to play, and then there comes a time when those who really have a musical ambition follow. (...) We are just the three of us, and the adventure of coming here implies a certain order and also begin to see the matter of producing and trying to make it about a money to keep producing, because everything was very expensive: we were eight years before recording the first album. (...) And well, there's an inertia left to look for varieties, but instead of being friends who make clowns, we went out for the night of Palermo and invited those who stood out for something. Thus appear Enrique [Symns], Kiki Schwartz and lots of people. Until at a time rock & roll comes into people.
- Remember what that time was?
- For me there's a turning point in a show where people started to get so aggressive with Enrique they wanted him to go to the shit, because we had made the first rock & roll entry and they were all on. There were already many more pibes, not so much this bohemian public of architects, intellectuals, trolos, harbour workers. For the nun, that whole thing was good for a while, but then...
- He started to impatient.Indio Solari, November 2005.
Record debut, staggered ascent (1985-1989)
On April 22, 1985 they finally released their first studio album Gulp!, recorded at the MIA (Musicos Independientes Argentinos) studios and under the patronage of Lito Vitale, who was crucial to the debut record, acting as operator and as a guest musician on keyboards on the album. Gonzalo Gonzo Palacios participated as a guest musician playing the sax in "Ñam fri fruli fali fru" and "A Few Sensible Dangers". The Bay Biscuits, for their part, would give their last participation with the band on this album, doing background vocals on "Ñam fri fruli fali fru". In "Superlógico", whose demo recording they had participated in, they were replaced by Laura Hutton, Claudia Puyó and María Calzada.
Gulp! had a very good response both from critics, who highlighted its hazy and spectral sound, and from the public, and began to increase through word of mouth, with songs like &# 34;La Bestia Pop", "Superlógico", "Ñam fri frufi fali fru" and "A Few Sensible Dangers" which began to spread. The money for this independent production came from a common pool made up of a percentage of the profits from each show.
The artistic production of the packaging and cover art was done entirely by hand, something that particularly required a lot of physical effort to make each one of the album covers. The commercial distribution was carried out by Carmen Castro, better known as La Negra Poli, who from the beginning was the representative of the group. On a certain occasion, Poly justified the almost hermetic measures that the band took, as a way of maintaining independence and artistic protection, against the manipulation of the producers:
If a producer wants to take care of Patricio Rey in recordings, or whatever, he's investing an amount. And in order to recover from what he invested, he must sell Patricio Rey in some way that has absolutely nothing to do with what Patricio Rey wants to do.The Black Poly.
Her second studio album Oktubre, released on October 4, 1986, was what would eventually become her most iconic album. The critics acclaimed him, due to the dark and dense sound that his producer Daniel Melero (at that time the leader of Los Encargados) lavished on him and that is especially perceived in songs on this album, such as "Fuegos de octubre", "Music for pills", "Motor-psycho", "Song for shipwrecks" and "Heehee". The latter occupies fifth place in a survey carried out by Rolling Stone magazine, about the 100 most outstanding songs of National Rock. In turn, this album is possibly the one with the most explicit ideological content that made by the band, both its title and the graphic art that accompanied it make a clear reference to the October Revolution of 1917 that took place in Russia.
The band would begin to play in places with a larger audience, such as Palladium, Parakultural and Cemento.
At the beginning of 1987 the group experienced several changes in its members, Walter Sidotti replaced Avalos on drums, Tito Fargo also left, leaving only Skay Beilinson on guitar. In November of that year, Willy Crook left the group to join Los Abuelos de la Nada and his place was taken by Sergio Dawi. Despite not having participated in the recording of Oktubre, Indio Solari attributes him Dawi being the creator, with his sax, of the phrasing that, later imitated by Skay Beilinson with his guitar, became the solo for "Jijiji". Beilinson, for his part, denies this version, and He says that the subject arose when he was playing the guitar on a balcony, recalling classic Jimi Hendrix melodies accompanied by his wife, the band's manager, and by Indio Solari. After hearing the introduction of the song, Solari immediately added the chorus "I didn't dream it."
With this new formation, the group manages to gain more followers and the attention of the press, as well as the number of shows offered in different places of the capital is multiplied. The fact of having only one guitar originates a more raw and powerful, which would be recorded on subsequent albums.
On May 23, 1987 the band gave a concert in Cemento, during the staging of "Criminal Mambo", Luca Prodan (Sumo singer), went up on stage and sang passages from the song. After a few brief parts in Italian sung by Indio, Luca continued with dark, guttural English. In December the Sumo leader would die. Years later, the Indian referred to the meeting:
There was no orderly thing at that time, like now. It was so happeningIn general, the thing: Luca was there, came to the dressing room, we were chatting and painting.Solari Indian.
In 1988 they released their third studio album, Un baión para el ojo idiota. This album is considered by Indio Solari himself as the one that most faithfully reflects the group's sound. Almost all the songs on this album became classics for the band. Among them is the one that would give rise to the band's only video clip, "Massacre en el puticlub", shot in animation based on drawings by Rocambole. It also contains an emblematic song for the band and its audience, "Vamos las bandas", a swing with a marked saxophone rhythm by Gonzalo Gonzo Palacios, piano and drums, which celebrates the climate of complicity between the band and their audience, and that would become one of the names of the groups of followers of Los Redondos.
In February 1989, at a time when Argentina was experiencing a huge crisis following the attempted takeover of the La Tablada Barracks organized by the All for the Homeland Movement, the Redonditos locked themselves up for two weeks in the Del Cielito studio, in Parque Leloir. There they shaped the album that would move them away from the pop sound of the first recording works and bet in a direction closer to rock'n'roll, a task that they entrusted to the owner of the studio, Gustavo Gauvry, who was in charge of of production and mixing. According to the latter, "I had killed myself to achieve a dirty, cavernous, highly compressed sound, with many highs and lows". The result was the strongest-sounding album in the entire discography of the band: Bang! Bang! You're Done! (1989). It is a short album (only 33 minutes) and of great power, built from songs that the band had been playing live for a long time, such as "La Parabellum del buen psícópata", " The sniffer" (later "Rock to the Teeth"), "Damn, its going to be a beautiful day" and "Dirty Clothes", to which newer songs were added, such as "Nobody is perfect", "Whiskey Hero" (dedicated to Enrique Symns), and the martial "Our master plays the slave". Finally, "That star was my luxury", was composed in those same days at Del Cielito.
On July 22, 1989 they did their first show outside of Argentina, at the Peñarol Palace in Montevideo, Uruguay. Los Redondos would have very few performances outside their country, all always in Montevideo, which would somehow influence the lack of popularity that the band would have outside of Argentina.
Massiveness, growing violence (1989-1998)
Finally, on December 2, 1989, the group played at the Obras Sanitarias Stadium. The covered stadium had a capacity for 4,700 people, which was quickly reached, surprising the band itself. So they added a new date, but once again the tickets were sold out quickly. Faced with the demand, the band announced a third show for the 29th, but this time not in the covered stadium, but outside, on the Obras hockey fields, which, being an open space, allowed a capacity of up to 25,000 people and managed to sell all tickets. Los Redondos went from playing small venues to selling out a stadium in just twenty-seven days. It was the second time in history that a band played on the Obras hockey field with their own recital (not as part of a festival), only after Soda Stereo, who had achieved it in December 1988. In this recital they appeared the first security problems and control over their audience, the fans began to move the stage, which endangered its structure and caused the band to stop with the recital and ask the audience to calm down. Despite this incident, the Obras shows had a very good reception from the public and critics, and in the voting at the end of 1989 in the Suplemento Sí! and the magazine Rock&Pop, Los Redondos were chosen as the band of the year, breaking with the hegemony that Soda Stereo had had in the scene in the years 1985, 1986, 1987 and 1988. Soda Stereo were only voted band of the year in the Pelo.
Although a certain sector of the fans disliked that they played in Obras, since they considered that performing in a stadium with such capacity consisted of a betrayal of the group's principles, which were essentially opposed to commercialization and merchandising, the truth is that the popularity of Los Redondos expanded enormously with their arrival at the temple of Argentine rock, and would leave the ground perfectly prepared for the destiny of the band in the following decade, where the massiveness of the Redondos would increase even more, generating a marked change in the social composition of his fan base. The "ricoteras masses" as these huge congregations were called, they were characterized by the presence of flags, soccer chants and even a speech in the public that did not match the music of the band or its lyrics. Among the consequences of this change was the growth of acts of violence, both in confrontations between the public (part of which identified themselves as "bars" with flags and different names, sometimes linked to their place of origin, and from one recital to another they dragged relations of friendship or enmity with other bars) as confrontations with the police. In the new folklore that was being generated around the "masses" in the stadiums, these confrontations were counted as a sign of "endurance," a term borrowed from the field of Argentine soccer.
On April 19, 1991, they performed again at Obras Sanitarias and that is where one of the most serious acts of violence involving the band took place, when, after some incidents caused by fanatics, the Police arrested about forty people for background investigation among which is Walter Bulacio. The same is abandoned by the police twelve hours after the arrest in a Cipec ambulance. After spending hours of detention in conditions of dubious legality and five days in a coma, he dies amid contradictory statements. The cover goes from "death due to serious injuries" to "doubtful death", but the culprits do not appear despite several repudiation marches organized by fans (without the official presence of the group, which earns it several criticisms). Since then, a new song has been incorporated by the public: "I knew, I knew, Bulacio was killed by the Police."
That same year they released their new album La mosca y la sopa. For this occasion the band settled again in the Del Cielito studios. The album had the recording art of various technicians due to the methodology that the band took of not going into the studio. Lito Vitale is invited again on the piano in the song "Blues de la artillería". The album features very popular songs by the band such as "Mi perro Dinamita" (a rock and roll with a boogie-woogie base), "Fine Homework" (a romantic rock), "A Little French Love" (a seductive rock with a soft pulse, based on a guitar riff and a final instrumental based on the saxophone, which contains one of the few lyrics of the Redondos that refer to a sexual act) and "Cheese Russian" (which represents a critique of the United States' involvement in the Gulf War). It also includes the theme "Shooted by the Red Cross", an open critique of abuses by the state and the police to the citizens, probably making reference to the aforementioned case of the murder of Walter Bulacio at the hands of the Argentine Federal Police. The album marked a massive success, spending several months at the top of Argentine radio stations. By the end of 1991 Patricio Rey is presented again in Obras.
It is at this time that the supposed rivalry between Los Redondos and Soda Stereo began, fueled by the press, to see which was the most important Argentine band of the moment.
In 1992 they released what would be their only official live album, En directo, with recordings of the shows at the Teatro de Verano in Uruguay on December 8, 1989 and at the Obras Sanitarias Stadium on December 29, 1991.
In 1993 they returned with the presentation of the double album Lobo suelto-Cordero atado, presenting a more dynamic rock with certain innovations that improved the sound quality of the album. They once again entrusted the production to Gustavo Gauvry (producer of Bang! Bang! You're liquidated!) at his Del Cielito studio, but finally a visit by him together with the sound technician Mario Breuer to the United States led to the possibility of carrying out the mastering of Lobo suelto, Cordero atado in that country, a fact that, in the midst of the band's persistent search for sound, turned out to be very opportune. Some travel followed, and the mix was done in a Miami studio and then completed in Los Angeles.
Cover art was provided by Rocambole in Lobo loosen, lamb tethered, vol. 1 and bassist Semilla Bucciarelli on Lobo loosen, lamb tethered, vol. 2.
The following productions stand out: "Yo caníbal", "Caña seca y un quince,"La hija del freightero" and "An angel for your solitude". In addition, experimental songs such as "Invocation", "Capricho magyar" and "Cain's Rope".
The album included the participation of guitarist Gabriel "Conejo" Jolivet, guitarist who played in the band in 1978, and of the female blues and soul choir Las Blacanblus. With the contribution of these guests, they present the record on November 19 and 20, 1993 at the Tomás Adolfo Ducó Stadium in Huracán, in what was their first recital on the main field of a large soccer stadium. Originally the plan was to present Wolf on the Loose on the 19th, and on the 20th to do the same with Tied Lamb. Between the two days they summoned more than 70,000 people, marking a new milestone in attendance.
In May 1994 they returned to the Huracán stadium, then in August they played three times in Go! Disco from Mar del Plata (one of the central places for rock in the coastal city, where the Ramones would also play the following month), and they closed the year with two recitals in December again in Huracán, surpassing their personal record by gathering 80,000 people in both recitals, the last one on the 17th of that month, was recorded in film material that was kept by the band, and that was revealed to the public only in 2012. However, violence was present again on that occasion, with incidents in the recital in Huracán that left a balance of 28 injured and 60 detainees. From here the Redondos (and, later, the Indio Solari in his solo career) will preferably opt for doing recitals in the interior of the country. In this way, a presentation was announced in the Santa Fe city of San Carlos, in August 1995. By the date of the show, hotel capacity had been completely saturated and hordes of fans were settling in tents on the outskirts of the city. They performed two shows in a nightclub with a capacity for 3,000 people that was completely packed. After the shows in San Carlos, the band repeated in Mar del Plata in October and closed the year by going to Entre Ríos for the first time, more precisely in Concordia at the Costa Chaval nightclub on December 8 and 9.
In November 1995, the Konex Awards ceremony was held for the most outstanding personalities of Argentine music. There the band won the Diploma of Merit, in recognition of their career in the last decade, the same award was won at that ceremony by Indio Solari in the category of male rock singer.
In 1996, one of his darkest albums was released, and at the same time one of his most popular, Luzbelito, which had a much darker sound and an oppressive atmosphere, notorious in songs like "Luzbelito y las Sirenas", "Cruz Diablo", "Fanfarria del Cabrío","Rock Jugular". This dark climate was reinforced with the lyrics that made references to a fictitious son of the devil named Luzbelito. The whole set made up an album of conceptual pretensions. This concept crystallized even better with its presentation in a cardboard box, which made up an elaborate mini-book with allegorical illustrations created, as in all the band's records except En Directo, by the artist Rocambole. On the other hand, and as an exception, the medley "Mariposa Pontiac - Rock del País" and "Blues de la libertad" were incorporated, songs composed during the group's early days (there are recordings such as the one at the Margarita Xirgu Theater of December 1979 where both songs appear on the setlist). The medley, especially, has a basic and direct rock sound, quite out of tune with the tone of the rest of the album. The ending theme, "Lost Toys" became one of the greatest classics in concerts and, despite the fact that its cryptic lyrics give rise to different interpretations, it has been understood as a reflection on the band's concern for their inability to control their new audience ("You're changing more than me...it's a little scary to see you like this").
The album took longer to produce than the previous ones, as well as using more recording studios (it was recorded in Be Bop, San Pablo, New River, Fort Lauderdale and El Pie, Buenos Aires).
The growing controversy over the violence in their recitals returned in August 1997, when Helios Eseverri, who was the mayor of Olavarría, decreed a ban on the Redondos from playing in that city, for fear that the acts would be repeated there as well. violent incidents. This measure caused the cancellation of the concerts scheduled for August 16 and 17, 1997. The band began to fear that their followers, upset and angry over the cancellation of shows for which they paid tickets, would take over the city and cause violent incidents.. In such a way that, before the unleashing of these extraordinary events, they decided to take an extraordinary measure: Los Redondos, traditionally reluctant to appear in the mainstream media, gave a live televised press conference for the only time in their career, where they reported their public about what happened, they explained the reasons for the cancellation, and announced the new date and place of the recitals. Finally, the show was held on October 4 of that year in Tandil, without incident and with 21,000 attendees, who endured heavy rain throughout the concert.
The closing of the year was on December 13, 1997, at the Brigadier General Estanislao López Stadium, in Colón de Santa Fe. Despite the bad weather conditions, more than 20,000 fans showed up for the show.
On May 23, 1998, when they were playing in Villa María (Córdoba), acts of violence happened again: a stampede of people tried to enter the recital without paying an entrance fee, resulting in 30 injuries, 20 arrests and the cell phone of Crónica TV destroyed; In addition, a 22-year-old named Javier Lencina died when he fell from a train. Upon learning of the incidents, Solari proclaimed before starting the show "these quilombos do nothing but speed up the end of the band".
Electronic experimentation and final stretch (1998-2001)
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In 1998 Conejo Jolivet on guitar and Hernán Aramberri on drums joined the band as permanent members. The latter had worked progressively with the band from Lobo suelto and Cordero tied up, from 1993, on sampler programming.
At the same time they recorded together with Rodolfo Luis González (a former assistant of the band who was baptized with the pseudonym "El Soldado"), an album called Tren de Fugitivos in in which Skay, Semilla, Sidotti, Dawi, Indio and Conejo participated, which received acclaim within the underground circuit. This album ended up launching El Soldado to fame, who had in "The Angel of Losers" to his most recognized success, allowing him years later to face his own independent project. [citation needed ]
That same year Último bondi a Finisterre was released, an album that represents the greatest turn in the sound aesthetics of Los Redondos, moving to a more electronic rock style thanks to the incorporation of digital sounds and samplers. Through these resources, the band tried to create a cyberpunk atmosphere to accompany the lyrics that, for the most part, go in that direction, with many allusions to futuristic science fiction. The concept is rounded off with the cover art in which, for the first time, an image of the musicians is seen, although not in photography, but stylized as characters from a video game. In Solari's statements:
We were pleased to make a non-standard product. This sound work, which seems like a novelty, in our demos is long ago. I already composed from the computer and the sampler and then replaced the programming by the band, but there were many textures left along the way. Now we decided to leave things without the rocky pulse of Los Redondos taking over the whole thing. And, in fact, the founding act has to do with Luzbola, which is our own study. The technology allows you to plagiarize, kidnap sounds and that is rich because it expands the possible field of music. For us, at this age it would be a punishment to have to be on Saturdays “chan-chan-chan”. That's already working on oneself, making a classic.Solari Indian.
This musical move was not well received by the band's audience, especially by those who had joined in the '90s and felt part of the "barrio rock" (although Los Redonditos never belonged musically or lyrically to that style). In the songs of the recitals, in the supposed confrontation with the fans of Soda Stereo, the "ricoteros" they directly mocked the use of digital technology in music and boasted a purism for the classic rock'n'roll sound. Los Redonditos de Ricota had never been cultivators of that type of purism, but the open and ostensible use of samplers and electronic sounds disconcerted this audience. In fact, it is the only album by the band that did not have high rotation hits on rock radio.
Notwithstanding this, the massive recitals of the band did not lose call. The album was presented on the nights of December 18 and 19 at the Racing Club de Avellaneda stadium, before an audience of 50,000 spectators each night (The show on the 19th was recorded on film material that the band kept for years, until that was leaked to the public in 2010 through YouTube), but the public's reaction was not good and this was reflected by the media of the time. The newspaper Página 12 commented on the recital with the title "The bands wanted rock; not techno" and the forelock "Los Redondos summoned a crowd and let it down". Although the note highlights that there were no acts of violence, it speaks clearly of the distance between the public and the new material: "For the first time, the Rounds experienced firsthand the true meaning of whistling to a cat. Despite the fact that the group never proclaimed a dogmatic belonging to classic rock -it is enough to listen to their records carefully-, in Racing it became clear that their audience considers the spirit of the band incompatible with any kind of "modern"nuance. 3. 4;. Each song from Ultimo bondi received a timid applause of commitment". It also marks the end of the show and a completely unusual event: the group finished, withdrew from the scene... and fifty thousand people were left in deathly silence. There was no shouting, there was no applause, there was no request for an encore. Only when the quintet returned with indestructible numbers like "My dynamite dog" and "Ñam fri fruli fali fru", the packed Racing arena --once the show started they let in the public that remained in the vicinity-- once again took on a Ricotero air".
Also, the violence at concerts would return the following year. In June 1999, one of the most serious episodes involving the band took place, with their recital at the Mar del Plata Skating Track. Before the recital there were problems, with two wounded who were on their way to the city: one was thrown from the train and the other was shot. Out of 500 detainees, a police officer was shot, 100 wounded with a rubber bullet, shops looted and cars set on fire. The incidents were the most serious that Los Redondos had had up to that time, and would have repercussions for the future of the band.
In April 2000 they performed two recitals at the River Plate stadium, the attendance of the event was 70,000 spectators every night, becoming one of the most successful paid shows in Argentina, and marking the climax in the popularity of Los Redondos However, once again violence was present again: during the recital on the 15th, while "El árbol del gran bonnet" was playing on the field there was a confrontation between bravas from Deportivo Morón, Almirante Brown and Laferrere, an ex-convict A 27-year-old named Jorge Ríos pulled out a knife and stabbed 7 people, but was later killed with his own knife. Seeing the chaos that was happening in the field, the band stopped playing and left the stage. After 30 minutes they returned and the Indian pronounced:
Something very serious has happened here, give me fucking attention. Something very serious happened here. A couple of sons of bitches have come in, I don't know if they're sent by someone or what, they're shitting in the band's effort and the 70's, 80 thousand pibes that came to see us. There are several injured boys. So consider this as one of the last nights we've played. We're not in the mood and we're just gonna finish this show for respect, but consider this one of the last nights we've played. Looks like the whole press effort he wanted to place us in. ghettoIt worked. Now by a judge's opinion, we're gonna have to finish the show with the lights on.Indio Solari, 15 April 2000.
The recital was not suspended, but they had to play the rest of it with the lights on. The two dates were overshadowed by incidents on the outskirts of the stadium, with a balance of 150 injured and 39 detainees. This fact in sum with the previous incidents caused the band to enter its final stretch.
At the end of that year, Momo Sampler was put up for sale, a completely “handmade” album, according to Solari himself, since the same band did not hire any artist or company for these works, and was in charge of all the exterior design of the album.[citation needed] This, which would be his last record production, was mixed in part in New York[ citation required] and delves deeper into experimentation with samplers, from which it takes part of its name. In this way, the album followed the line that Último Bondi a Finisterre had begun to trace, with more elaborate sounds, a greater participation of computers and digital devices. On this album only Solari, Aramberri and Beilinson recorded, since the sampled sounds of Sidotti, Dawi and Bucciarelli were used.
For the presentation of the latest work, the group crosses the border with the Oriental Republic of Uruguay and presents it at the Centenario Stadium in Montevideo, on April 22 and 23, 2001. Each recital was attended by around 65,000 people and in a completely normal environment.
On August 4, 2001, Los Redondos gave a recital at the Chateau Carreras Stadium, in Córdoba, in front of 40,000 spectators. But again it was marred by violent episodes: a 31-year-old named Jorge Felipi died when he fell from the top of the grandstand into the parking lot outside the stadium, while two other people were injured when they fell into the perimeter moat.
The show was followed by several months of silence, where Skay Beilinson and La Negra Poli announced that "at least for a while, Patricio Rey would remain silent", which led to various speculations about the future of the band.
On November 2, 2001, the separation was made official, after twenty-four years of career.
After the separation
Poshumous awards
Shortly after separating in November 2001, they soon began receiving posthumous awards, which would increase over the years.
In 2002, a list made by the MTV channel and the Argentine edition of Rolling Stone magazine with the 100 best songs of Argentine rock of all history awarded their songs «A little bit of French love» (No. 54), "The pop beast" (No. 32) and "Jijiji" (No. 5).
In 2005, at the Konex Awards ceremony for the most outstanding personalities of Argentine music in the last decade, they won the Diploma of Merit (an award they had already won in 1995), and the Konex Platinum Award for the best Argentine rock band of the decade, together with Divididos.
In 2006, the American magazine Al Borde published a list with the 500 best Ibero-American rock songs to celebrate 50 years of rock in Latin America, rewarding their songs "Mariposa Pontiac" (N°379), "The pop beast" (N°216) and "Jijiji" (N°62).
That same year, the same magazine also published a list of the 250 best Ibero-American rock albums, giving awards to his albums Gulp! (N°230), Un baión para el ojo idiota (No. 215) and Oktubre (No. 55).
In 2007, the Argentine rock website Rock.com.ar published a list with the 100 best songs of Argentine rock to commemorate the 40th anniversary of the release of the single "La balsa", in the list they awarded their songs "Ñam fri fruli fali fru" (No. 75), "Every prisoner is a politician" (No. 48) and "Pontiac Butterfly" (No. 3).
That same year, to commemorate the 40th anniversary of «La balsa», the Argentine Rolling Stone magazine also published a list of the 100 best Argentine rock albums in history, rewarding their albums Luzbelito (No. 88), Bang! Bang!... You're Done (N°33), and Oktubre (N°4).
That same year, the same magazine also published a list with the 10 best live albums in the history of Argentine rock, rewarding his album En directo (N°7).
In 2011, the Argentine newspaper La Nación published a list with the 10 best Argentine rock video clips in history, awarding awards for his video clip of "Masacre en el puticlub" (N°4).
Disputes and accusations crossed by the separation
The specific reason for the group's disbandment has been debated among fans of the band, but very little was known about it. Until on August 14, 2009, Skay gave an interview to the newspaper La Nación , where he confessed:
It was all over when we realized that one of us wanted to appropriate that project so beautiful that it was Patricio Rey, who was born as the communion and contribution of many artists and not the desires of one alone.
The real causes had never been made public, let alone clarified. On the one hand, Skay had spoken of "artistic differences", and for his part, El Indio always preferred silence in order to "protect the memory of one of the bands most loved by his followers." That's how things had gone up to that point. Skay further told the journalist:
I'm not angry. Many compare a band to couple relationships, and well, that's why he hasn't finished doing his job yet, but he's coming. It was more the things that brought us together than the things that separated us.
El Indio Solari did not wait for his response and immediately launched an open letter to the public, where he shared his version of why the band broke up. In this open letter, he explained that the split was due to the constant refusal from Skay to give him a copy of the audios and videos that were recorded during the shows in 1994 at the Huracán stadium and in 1998 at the Racing stadium:
I asked for copies to have them to my guard and to serve as protection. But strangely, time passed and they always shouted an excuse. The final night (a while before we were in a bar talking to a chronist about a next show) I stood firm in my requirement and that attitude led (before the negative) to the breaking of artistic society.
The letter, published on a web page, ends by clarifying: «I continue with my doubts when drawing this veil, but the statements made by Skay have forced me». Later, in May 2010, the video claimed by Solari of the Los Redondos recital at the Racing Club Stadium in 1998 was publicly leaked over the Internet, and the same thing would happen two years later in May 2012 when the video was leaked. of the recital at the Hurricane Stadium in 1994.
Later, in May 2013, after the leaks of the videos that were the central reason for the dispute had been completed, Skay Beilinson reflected in an interview with the journalist Bruno Larocca for the Mavirock magazine about what he personally keeps from his time with Los Redondos:
The Redonds were wrought by that vertigo of throwing themselves into the void that youth has, because there was no promise of anything. And all of a sudden, that time we were together in a social context and a reality, it was fantastic and irrepetible. That's why I feel the love and the greatest love of my life for all of my colleagues at that time, because when we were together something magical happened. And I guess beyond what happened to us, we also impregnated the environment a little.Skay Beilinson.
The solo careers of the former members
Since the separation of Los Redondos in November 2001, the ex-members of the last formation of the band traveled different paths through their solo projects.
The singer and lyricist Indio Solari put together the band Los Fundamentalistas del Aire Acondicionado, with whom he recorded his first solo album, El tesoro de los inocentes (Bingo Fuel), in 2004. Later they appeared Porco Rex (2007), The perfume of the storm (2010), Little birds, brave little boys (2013) and The nightingale, love and death (2018). With the exception of the latter, all of them were presented in recitals that had a massive call. At the 2015 Konex Awards ceremony, he won the Diploma of Merit (a personal award that he had already obtained in 1995, when he was still part of Los Redondos) and the Platinum Konex Award for best male Argentine rock singer of the decade.. On March 12, 2016, Solari performed at the Tandil Hippodrome, in the province of Buenos Aires, this recital was attended by more than 200,000 spectators, marking his personal record in attendance. Later, he again surpassed his own record of call, when in March 2017 in his show in Olavarría he summoned between 350,000 and 500,000 spectators with and without tickets. However, the shadow of violence in the Los Redondos recitals seems to haunt him, in the aforementioned 2017 recital in Olavarría there was two dead and several injured, which caused great controversy in the environment.
Guitarist and composer Eduardo «Skay» Beilinson released seven albums: Across the Sargasso Sea (2002), Talisman (2004), The Mark of Cain (2007), Where Are You Going? (2010), The Hollow Moon (2013), The Crystal Gear (2016) and En el Corazón del Laberinto (2019), which he has presented on numerous occasions in small venues and festivals in various cities in Argentina and Uruguay. Beilinson declines to call himself a solo artist, preferring to consider his work as the joint result of him and his band, named Skay and the Followers of the Goddess Kali in 2007 and renamed Skay and the Fakirs in 2012. At the 2015 Konex Awards, Skay won the Diploma of Merit in the male rock soloist category, in recognition of his career over the decade.
Drummer Walter Sidotti continued with his band, La Favorita, formerly called Los Argentinos. In 2004 he temporarily joined the group Rad1o, and emigrated the following year. He later joined Heroicos Survivientes, and played with El Club De Marilyn. Currently, he is leading his new project, called "The Pickless Command", presented in 2014 and in which he also has the accompaniment of his colleagues Sergio Dawi and Semilla Bucciarelli, forming what would be called as "La tercera pata ricotera", along with Los Fundamentalistas and Los Fakires.
The band's first saxophonist, Willy Crook began his solo project in 1995 with his album Big Bombo Mamma. Later he edited Pirata (1996), Willy Crook y los Funky Torinos (1997), Eco (1998), the live double Vivo I and Vivo II (1999), Cruk (2000), Versiones (2000) and Friendly Fire (2004). Musically trained in England, Crook's style combines rhythms such as funky, soul, bossa nova and reggae. The saxophonist Sergio Dawi launches his solo career with the album Estrellados and continues with Damián Nisenson with Dosaxos2 . In addition, he appeared as a guest in one of Indio Solari's shows. In 2008 he presents his new album together with Los Estrellados Quijotes al ajillo , with the participation of Indio Solari. After these works, in 2011, he would get together again with his former bandmate Semilla Bucciarelli, with whom he would form the duo "Semidawi, both at once", with whom they organize shows in which while Dawi performs the notes of his saxophone, Semilla displays all his art through stagings of his paintings that portray the history of Los Redondos. Dawi is currently working with Semilla on his project, as well as collaborating with Sidotti in the formation of The Comando Pickles.
Unlike his former bandmates, bassist Daniel "Semilla" Bucciarelli would be inclined to continue his career as a plastic artist, however he would not completely detach himself from the musical universe, since in 2011 he would combine again with his former bandmate Sergio Dawi, to give shape to a performance show called " Semidawi, both at the same time". In this work, Semilla displays all his artistic knowledge through a virtual staging, where the ex-bass player exhibits through a projector a series of paintings drawn in real time and in which Dawi accompanies with the rhythm of his saxophone, dressed with special clothing that allows him to blend in with Bucciarelli's paintings. Along with this project, Semilla would once again participate as a guest musician for his former partner Indio Solari, during the recital given by Los Fundamentalistas del Aire Acondicionado in Gualeguaychú, in 2014. At the same time, together with Dawi they would lend their collaboration to the new band of former Los Redondos drummer Walter Sidotti: The Comando Pickles.
In September 2017, what is by far the most complete reunion among the former members of Los Redondos appears, with the formation of the band Los Decoradores, made up of the musicians of Los Redonditos who made the musical base for the central duo of Indio and Skay: saxophonist and bandleader Sergio Dawi, bassist Semilla Bucciarelli, drummer Walter Sidoti and guitarist Tito Fargo. As guests at the shows they also usually summon other musicians who were the basis of Los Redonditos in other stages of the band, such as the drummers Piojo Ábalos and Hernán Aramberri, and the saxophonist Willy Crook. The Decorators perform at recitals promoted as Round Kermesse. Also in their recitals there is an exhibition sector where material related to Los Redondos is shown. The band has had presentations in 2017 and 2018 with a very good reception from the public. For all this, Los Decoradores is by far the most complete reunion of Los Redondos to date.
Style and impact
Artistically they are outstanding for creating a unique aesthetic within Argentine rock, for their avant-garde staging, for their prevailing mysticism in their graphic works and for using cryptic lyrics in their songs. Musically, they stand out for performing a unique style with no similarities in Argentine rock. In his songs, minor and diminished harmonic registers predominate, with dense and nebulous atmospheres, use is also made of a lead guitar well in front, in combination with the vocal melody and the additions of multiple instruments, such as saxophone, violin, trumpet, piano., harmonica, percussion, as well as samplers and synthesizers. Throughout their career, they showcased genres such as theatrical rock, art rock, hard rock and electronic rock. They achieved great popularity within Argentine rock, maintaining themselves as an independent band without resorting to the support of major record companies. As their popularity grew, they became a countercultural symbol and a paradigm of artistic independence. The first recitals were promoted by "word of mouth", over the years, the band's communication methods changed, but they never resorted to television channels or major media outlets..
Origin of band name
Meaning of "Patricio Rey"
For decades, the real meaning of the name Patricio Rey was a mystery, with numerous conjectures being woven about who or what he was. People unfamiliar with the band confused "Patricio Rey" with Indio Solari, vocalist and lyricist of the ensemble. The band also fueled uncertainty, with their typical cryptic and mysterious statements: in some interviews the band members referred to "Patricio Rey" as a subject who helped them financially in their beginnings, that he had a lot of power and that he communicated with them from time to time. However, contradicting all this, Solari once said: «Patricio Rey does not exist; Patricio Rey are all ». So "Patricio Rey" he was taken by the band as a character that was part of their imagination and their internal mythology; For example, in his early years he was mentioned in monologues between theme and theme, as part of the anarchic theatrical show that the ensemble presented at that time; there the Indio Solari transmitted the gnomic messages of the certain Patricio Rey, who was treated as the secret ideologue and mentor of the group.
The truth about the identity of "Patricio Rey" it was finally revealed on January 22, 2017 in an interview that Almagro Revista did to the band's graphic designer, Rocambole Cohen. There the artist confessed to the interviewer the whole truth:
- What will Patricio Rey think of all this?- Patricio Rey is there in Salta, quiet, in Cafayate Square...
Patricio Rey lives?
- He was always thinking and giving the directives that we were doing later. He lives there in Cafayate. His name is Pancho Silva. He's alive. Every time I'm gonna get his...- What are you doing?
- It's a guru. He sells his handicrafts in the square, as he did all his life. He recently gave permission to say that he is a Patricio Rey.- How did you meet him?
- I met him at Santa Clara del Mar. More than 30 years ago.- Was it part of The Costume?
- No, he was an independent guru. Haha.Rocambole Cohen.
The identity of Patricio Rey was confirmed, several media went to Cafayate in search of Pancho Silva, who they found without any major difficulties. But Silva was not very happy with the sudden repercussion that his person had, so he hit on: "The media were late for me." His real name was Héctor Francisco Silva Ventura, born on July 17, 1951, he met the band when they were all university students in La Plata. He later went to live in Cafayate, where he lived on the outskirts of the city where he had his house and workshop full of paintings with Calchaquí landscapes and typical flora and fauna. He earned his living by going to the town square to sell his paintings and handicrafts. Said Skay Beilinson, guitarist of the band, referring to the man who was the real "Patricio Rey":
Actually Patricio Rey already existed. What happens is that we always said that Patricio Rey was an entity, an idea of force that around incarnated in any character, usually the craziest. And Pancho Silva at that time, now a long time ago we didn't see him, he was really crazy, crazy, crazy. Beautiful madness. He went to live there: cobbled macrobiotic, an artist, an artisan of the host, of the best. And I had a very particular madness, so sometimes I said 'I found him Patricio Rey in Salta, come and see him.'Skay Beilinson.
Shortly after his identity was revealed, on May 10, 2017, Silva died in Cafayate at the age of 65.
Meaning of the n#34;Ricotta Rounds Y#34;
El Doce or el Sultán -called Edgardo Gaudini- lived in Gonnet (Buenos Aires province) where he met his neighbors, the Beilinson brothers, Solari and Fenton, who had a fabric and clothing printing workshop. They soon became friends and Twelve - who was baptized like that because he introduced himself as a teacher - became a seller of those clothes. According to what they say, one of his culinary specialties were small, round ricotta fritters, which he had taken from a book by the bursar Patricia Rey. Fritters that ended up baptizing the group that at that time was in full gestation.
The final establishment of the name arose out of necessity. On a certain occasion the band had to appear in a bowling alley in the city of Salta (at the beginning of 1978) to pay debts contracted with the owner, who wanted to put up some posters to promote the show. Thus, in a quick decision, it was decided to honor the delicacies that the band delivered in each of their strange presentations.[citation required]
He is remembered as the Sultan distributing his redonditos de ricotta in recitals at the Lozano theater. That is the image that he transcended and that is why the devoted fans of the Skay and El Indio group remember him as the Sultan.
The rivalry with Soda Stereo
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The rivalry between Patricio Rey and his Redonditos de Ricota y Soda Stereo was born more than anything as a product of the press with the aim of creating a kind of division as is the case of Boca-River, but within Argentine rock, to sell copies of newspapers and magazines.[citation required]
This rivalry began to take shape at the beginning of the 1990s, after the official presentation of Los Redondos as a great number of Argentine rock, having recently consecrated in the Obras Sanitarias Stadium. With this milestone, the followers of both bands began to weave a rivalry to see which was the biggest Argentine band, and among the arguments that began to be used were mainly the opposing musical style that these bands maintained, and the classes or social strata to which that they were directed, which led to a division between "Ricoteros" and "Soderos" (a derogatory name with which they refer to the followers of Soda Stereo). However, the same members of both bands have publicly clarified more than one time this rivalry was unfounded. For example, Indio Solari declared several times before the written press that he never had any dispute with any member of Soda Stereo. Gustavo Cerati admitted to having been surprised by this reaction from his public towards a band of the stature of Los Redondos.
In an interview with Rolling Stone magazine on June 2, 2008, Solari gave more information about his position on Soda Stereo. In the note, Solari answered questions sent by the public. One of them inquired about his relationship with Soda, more precisely if Solari likes any Soda Stereo song. The Indian's response was this:
«She used her head...» What is it? [by "She used my head as a revolver."] That's good. I like the production he has. I usually see the thing finished. That's why it's hard for me to praise, because that's why music is good, but the lyrics are shit, or the other way around. Cerati likes me more like a violet than anything else. The letters mean nothing to me. I probably didn't have to say anything, I think so. I think he's got those vices that the sounding words go right up front. Anyway, I think it's a big violet, and Soda Stereo a mother's band. Musical production is not what I would do: those very aerial, very ethereal, very modern things, is not what I enjoy. "She used my head as a revolver" I like for that mix of shillings that, in a rock group, I find it very attractive. That rhythmic phrase you have, those bitten compasses. Then the lyrics don't know what the fuck he says, I don't care, but at least he doesn't ruin the song. She's got a pretty voice, Cerati. I'd put it less. reverb. But if he likes that... We're talking about things that one doesn't like to be a follower, but we know that even a broken clock gives twice a day the right time. Everyone has the right to do something right in this life and I believe that for something the Soda Stereo are the band that are internationally, and they were bankrupt and had the eggs to go to do all that time of festivals and playback on television.Solari Indian.
Then, in November 2011, with Gustavo Cerati already in a coma for a year, Solari once again gave his reflections on the rivalry between Los Redondos and Soda Stereo, in an interview commemorating ten years since the separation of the round. There, El Indio refuted that myth of rivalry once again:
I feel a lot of pain and shock, more often than people believe. Many will think of that for the famous rivalry that in my case never existed, and I guess in the case of him either. Pelouds that have to do with the differences, such as Boca-River, that exist to feed that vertigo of the consumption of things, but usually that does not happen in the intimacy.Solari Indian.
It is worth mentioning that Solari in his solo project together with Los Fundamentalistas del Aire Acondicionado in 2016 summoned Fernando Nalé to take the position of bassist due to the departure of Marcelo Torres, leaving Martin Carrizo as the only drummer with the departure of Hernan Aramberri from the band. Remaining like this, the same Carrizo-Nalé duo that Gustavo Cerati maintained on his Bocanada Tour, breaking all the myth generated among fans of the rivalry with Cerati and Soda Stereo. Recording with them the last album El Ruiseñor, El Amor y La Muerte and participating together in the concerts of 2016 and 2017.
Stable members
| 1978-79 |
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|---|---|
| 1984-1987 |
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| 1987-1999 |
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| 1999-2001 |
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