Contrasting with the backwards and authoritarian government of General Juan Carlos Onganía, Argentina and specially Buenos Aires were 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.
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 I, Durazno Sangrando (together with Artaud, hailed as his best album ever), and El Jardín 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 became 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.
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 Niños que Escriben en el Cielo (1981), Bajo Belgrano (a homage to the neighbourhood where he grew up, 1983) and the unforgettable Madre en Años 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 García. 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 Serú 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 (Privé (1986), Téster de Violencia (1988), Don Lucero (1989), Pelusón of Milk (1991)), a joint album with Fito Páez, another giant of Rock Nacional (Sólo 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 Porteño 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 Cristóforo (1998). As Spinetta said at the beginning of the first concert, "Fans de lo acústico, 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, and Para Los Árboles (2003) 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.
On 23 December 2011 he published on the Twitter account of his son Dante that he was facing lung cancer. He died on February 8, 2012 in his native Argentina, at the age of 62. His ashes were scattered in the waters of the Río de la Plata, according to his last wish, next to the Memory Park built to remember the desaparecidos of the National Reorganization Process.
Diana
Luis Alberto Spinetta Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
y aunque no lo creas
acaso yo sería feliz
no lo sé
Mañana, mañana cuando sea de nuevo abril
Diana tal vez yo seré feliz
oh no sé, ah...
Oye, solo oye
oye la canción así
una vez más, uh uh ..
Oh Diana, Diana tu corazón estalla en mí
y aunque no lo creas
yo sería feliz
oh, no lo sé, oh
Oye, oye
solo oye, oh
oye,
oye la canción así, una vez más
Diana, Diana tu corazón dormita en mí
y aunque oigo la lluvia
acaso yo sería feliz, oh, no
The lyrics of Luis Alberto Spinetta's "Diana" convey a sense of longing and uncertainty in love. The singer yearns for Diana, whose heart burns for him, although he is hesitant to believe that he could truly be happy with her. The possibility of future happiness is suggested when the singer imagines that when April comes again, he might be happy with her. The repetition of "oye" (listen) urges the listener to pay attention to the song's message of pining and desire.
Spinetta's use of names in his lyrics is often symbolic, something that is evident in "Diana." The name Diana has several meanings, and it's not clear which one Spinetta was referring to. Diana is the Roman goddess of hunting and the moon, but it is also a name that suggests innocence and purity. The lyrics suggest that the singer's relationship with Diana is part of a larger search for happiness and meaning in his life.
The use of repetition in the chorus also underscores the singer's longing and uncertainty. The repetition of "oh no sé" (oh, I don't know) mirrors the singer's indecision and anxiety about whether he can truly be happy with Diana. Ultimately, the song is a heartfelt plea for understanding and a desire for happiness that is sincere and vulnerable.
Line by Line Meaning
Diana, Diana tu corazón arde en mí
Addressing a woman named Diana, the singer expresses that her heart burns within him, likely with love or desire.
y aunque no lo creas
Although Diana may not believe or perceive that the singer feels this way.
acaso yo sería feliz
The singer muses that he would perhaps be happy if he were with Diana, but he is not certain.
no lo sé
The singer acknowledges that he does not know for sure if Diana's presence would bring him happiness.
Mañana, mañana cuando sea de nuevo abril
The singer looks forward to a future time, using the idea of the month of April to suggest a time of rebirth or change.
Diana tal vez yo seré feliz
The singer speculates that he may find happiness with Diana in the future.
oh no sé, ah...
The singer remains uncertain about his potential happiness with Diana, with a plaintive interjection.
Oye, solo oye
The singer addresses an unknown listener or Diana herself, urging them to listen.
oye la canción así
He asks them to listen to the song, suggesting that its lyrics might provide some insight into his emotions.
una vez más, uh uh ..
The singer repeats his request in a slightly playful or teasing manner.
Oh Diana, Diana tu corazón estalla en mí
The singer repeats the earlier sentiment, emphasizing the intensity of his feelings for Diana.
yo sería feliz
The singer repeats his earlier speculation that being with Diana could potentially bring him happiness.
oh, no lo sé, oh
Once again, the singer reinforces his uncertainty about the situation.
solo oye, oh
The singer repeats his earlier request to listen.
Diana, Diana tu corazón dormita en mí
The singer introduces a new image, suggesting that Diana's heart is asleep or quiet within him, in contrast to the earlier imagery of burning and exploding.
y aunque oigo la lluvia
The singer hears the sound of rain, possibly suggesting that he is feeling melancholy or introspective.
acaso yo sería feliz, oh, no
Despite the peaceful, melancholic imagery, the singer once again speculates that he may or may not find happiness with Diana.
Contributed by Carter C. Suggest a correction in the comments below.
@IrOnMaIdEn1912
Diana,
tu corazón arde en mí...
y aunque no lo creas,
acaso yo sería feliz, no lo sé...
Mañana,
cuando sea de nuevo Abril...
Diana tal vez yo seré feliz,
oh no sé...
Oye,
solo oye, oye la canción así...
una vez más...
Oh Diana,
tu corazón estalla en mí,
y aunque no lo creas,
yo sería felíz,
oh, no lo sé...
Oye la canción así,
una vez más...
Diana,
tu corazón dormita en mí...
y aunque oigo la lluvia,
acaso yo sería feliz...
@luzsantana1740
Diana, Diana tu corazón arde en mi.
Y aunque no lo creas, acaso yo seria feliz, no lo se.
Mañana, mañana cuando sea de nuevo abril, Diana, tal vez yo seré feliz, oh no se.
Oye, solo oye. Oye la canción, así.
Una vez mas, uh-oh.
Oh, Diana. Diana, tu corazón estalla en mi.
Y aunque no lo creas, acaso yo seria feliz, oh, no lo se.
Oh.
Oye, oye. Solo oye, oye, oye la canción así.
Una vez mas.
Oh-oh.
Diana, Diana tu corazón dormita en mi, y aunque oigo la lluvia, acaso yo seria feliz, oh yo.
@IrOnMaIdEn1912
Diana,
tu corazón arde en mí...
y aunque no lo creas,
acaso yo sería feliz, no lo sé...
Mañana,
cuando sea de nuevo Abril...
Diana tal vez yo seré feliz,
oh no sé...
Oye,
solo oye, oye la canción así...
una vez más...
Oh Diana,
tu corazón estalla en mí,
y aunque no lo creas,
yo sería felíz,
oh, no lo sé...
Oye la canción así,
una vez más...
Diana,
tu corazón dormita en mí...
y aunque oigo la lluvia,
acaso yo sería feliz...
@dianamaurino6939
Soy una Diana...de abril, y siempre en mi corazón iluminando y ardiendo la poesía de Luis.
@eliana9155
Que bendición ❤
@Diianitah141
No puede ser, encontré mi canción y cantada por el flaco, que hermoso <3
@dianagirl97
¡Dianas del mundo unidas!
@dianaaguirre3372
Eterno Luis Alberto.
@dianabazanbs
me la pasaron cuando era pequeña, gracias a esta canción conocí al flaco <3 <3 <3
@IrOnMaIdEn1912
Diana,
tu corazón arde en mí...
y aunque no lo creas,
acaso yo sería feliz, no lo sé...
Mañana,
cuando sea de nuevo Abril...
Diana tal vez yo seré feliz,
oh no sé...
Oye,
solo oye, oye la canción así...
una vez más...
Oh Diana,
tu corazón estalla en mí,
y aunque no lo creas,
yo sería felíz,
oh, no lo sé...
Oye la canción así,
una vez más...
Diana,
tu corazón dormita en mí...
y aunque oigo la lluvia,
acaso yo sería feliz...
@manuelnestor14
Beleza sbsoluta.
@nuriavivas
Piel de gallina cada vez, en letra y música ❤
@IrOnMaIdEn1912
@@munah3495 Sí...