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.
La Verdad De Las Grullas
Luis Alberto Spinetta Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Y si la esperanza se agota al fin, cuando vuelva el río con sus manos nos reunirá.
Por eso todos nos estamos mirando. en un instante por decirlo así.
Tengo una razón para pensar en Dios y en mí.
Sin embargo el cielo se cruza y no se deja saber.
Algo que se fue, sin totalmente desaparecer.
Algo que es un destello que nos viene a llevar.
Por eso todos nos estamos buscando, es imposible sólo con la sed.
Te espero así, en la más fuerte luz.
Entre las hojas, o en el aire.
En la laguna, sin que aparezca el rey...
Ya no están aquí, como ayer, las cosas que perdimos.
Todo quedó atrás al despertar.
Bosque azul en la oscuridad.
Nada es imposible sin tu amor...
Es la organización de la selva incrustada entre las ciudades que avanzan hasta morir.
Por eso todos nos estamos alejando, en un momento por decirlo así.
Te espero así, en la más fuerte luz.
Entre las hojas, o en el aire. En la laguna, sin que aparezca el rey... Tu desilusión nació una noche de verano, y todo esto se rompe, a la vez, al despertar.
Bosque azul de la oscuridad...
Nada es imposible sin tu amor...
Queda una verdad que dicen las grullas: no te aventures más allá del
valle mortal.
Dicen que se juntan allí seres humanos para capturarse y hacerse todo tipo de mal.
Por eso todos nos estamos mirando, en un momento por decirlo así.
Por eso todos nos estamos
La letra de "La Verdad De Las Grullas" de Luis Alberto Spinetta es poética y reflexiva, hablando sobre la naturaleza humana y la búsqueda constante de algo más allá de lo que se puede ver. La canción comienza con la idea de detener el mundo y dejar que el sonido del aire caiga, como si hubiera un deseo de alejarse de la realidad y buscar refugio. Luego, se habla de la esperanza que se agota y la idea de que algún día el río nos unirá de nuevo.
El tema central de la canción es la búsqueda de algo más allá de la sed física, algo que se puede sentir pero no se puede explicar. Se menciona a Dios como una razón para pensar, pero también se destaca la idea de que el cielo se cruza y no se deja saber. Hay una sensación de nostalgia y pérdida, como si se hubiera perdido algo importante pero aún no se sabe qué es.
En el coro, Spinetta canta sobre la espera de ese algo en la luz más fuerte, entre las hojas o en el aire, pero sin que aparezca el rey. Esto se puede interpretar como la búsqueda de algo más allá de lo que se puede ver, o la espera de un liderazgo que no se puede encontrar en un mundo que ha perdido la conexión con la naturaleza y la espiritualidad.
En el verso final, se menciona la verdad de las grullas, que hablan sobre los peligros de aventurarse más allá del valle mortal y cómo los seres humanos se capturan y se hacen daño a sí mismos. Esta es una reflexión sobre la crueldad y la injusticia en el mundo, y cómo la búsqueda de ese algo más puede llevar a la destrucción.
Line by Line Meaning
Si le pido al mundo que pare y me lleve, tomo un sonido del aire y lo dejo caer.
If I ask the world to stop and take me away, I capture a sound from the air and let it fall.
Y si la esperanza se agota al fin, cuando vuelva el río con sus manos nos reunirá.
And if hope runs out in the end, when the river returns, it will bring us together with its hands.
Por eso todos nos estamos mirando. en un instante por decirlo así.
That is why we are all looking at each other in a way, at this moment.
Tengo una razón para pensar en Dios y en mí.
I have a reason to think about God and myself.
Sin embargo el cielo se cruza y no se deja saber.
However, the sky crosses over and does not let itself be known.
Algo que se fue, sin totalmente desaparecer.
Something that is gone, without completely disappearing.
Algo que es un destello que nos viene a llevar.
Something that is a flash that comes to take us away.
Por eso todos nos estamos buscando, es imposible sólo con la sed.
That is why we are all searching for it, it is impossible to quench with only thirst.
Por eso todos nos estamos buscando, es imposible sólo con la sed...
That is why we are all searching for it, we cannot do it with only thirst...
Te espero así, en la más fuerte luz.
I wait for you like this, in the strongest light.
Entre las hojas, o en el aire.
Amidst the leaves, or in the air.
En la laguna, sin que aparezca el rey...
In the lagoon, without the king appearing...
Ya no están aquí, como ayer, las cosas que perdimos.
The things we lost are no longer here, like yesterday.
Todo quedó atrás al despertar.
Everything was left behind upon waking up.
Bosque azul en la oscuridad.
Blue forest in the darkness.
Nada es imposible sin tu amor...
Nothing is impossible without your love...
Es la organización de la selva incrustada entre las ciudades que avanzan hasta morir.
It is the organization of the jungle embedded between the cities that advance until they die.
Por eso todos nos estamos alejando, en un momento por decirlo así.
That is why we are all moving away from each other, at a moment, so to speak.
Te espero así, en la más fuerte luz.
I wait for you like this, in the strongest light.
Entre las hojas, o en el aire. En la laguna, sin que aparezca el rey... Tu desilusión nació una noche de verano, y todo esto se rompe, a la vez, al despertar.
Amidst the leaves or in the air. In the lagoon, without the king appearing... Your disillusionment was born on a summer night, and all of this breaks at once upon waking up.
Bosque azul de la oscuridad...
Blue forest in the darkness...
Nada es imposible sin tu amor...
Nothing is impossible without your love...
Queda una verdad que dicen las grullas: no te aventures más allá del valle mortal.
There is one truth that the cranes say: do not venture beyond the deadly valley.
Dicen que se juntan allí seres humanos para capturarse y hacerse todo tipo de mal.
They say that human beings gather there to capture each other and do all sorts of evil.
Por eso todos nos estamos mirando, en un momento por decirlo así.
That is why we are all looking at each other like this, at a moment, so to speak.
Por eso todos nos estamos
...That is why we are all...
Contributed by Julia B. Suggest a correction in the comments below.
jose eduardo domingues ruiz
Te puedo amar eternamente, o puedo amarte lo que dure esta taza de café, solo depende el enfoque cósmico.
Matias Covarrubias
Queda una verdad que dicen las grullas: no te aventures más allá del
valle mortal.
Dicen que se juntan allí seres humanos para capturarse y hacerse todo tipo de mal.
Uff
Joshua Juarez
Escuchar este tema generan mi sinceramente conmociones inexplicables que lloro de tan maravillada poesía, en verdad flaco te amo :·
Pablo Sanchis
el arreglo de la trompeta con sordina es perfecto...
Dago GL
Detenerme en esta canción, escucharla y sentirla, fue una de las mejores decisiones que tomé en mi vida. Flaquito, eres inigualable y eterno. Gracias
melruffa
Todo este disco me parece genial. Paz, Flaco... mucha paz.
Mati Sid
Te amo Luis Alberto. Me salvaste!
Felix Pereira Araujo
con mucha respeto y humildad me atrevo a decir que silver sorgo es un DISCAZO DEL FLACO !!!!!!!!!!!! cuanto talento, LPM
Damián Tucci
Ésto es un dulce viaje!!!
Salomé Trujillo Rodríguez
Flaco visionario✨✨✨