Contrasting with the backwards and authoritarian government of General Juan Carlos OnganĂa, 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 JardĂn 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 SpinettaÂŽs 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 GarcĂa. 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 SerĂș 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 Påez, 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 SpinettaŽs previous work.
After a long silence, produced mainly by SpinettaÂŽs 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 CristĂłforo (1998). As Spinetta said at the beginning of the first concert, "Fans de lo acĂșstico, abstenerse" ("Fans of acoustic music, refrain"). The speed and roughness of the sound recalls PescadoÂŽs 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 Ărboles (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 RĂo de la Plata, according to his last wish, next to the Memory Park built to remember the desaparecidos of the National Reorganization Process.
No Te Alejes Tanto De MĂ
Luis Alberto Spinetta Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
es que te quiero tanto amor
ya nada esta cerrado
luce como el mundo de hoy
Me estaba preguntando
me estaba preguntando
estaba simplemente asi,
Y ellos se estaban oxidando
y yo estaba por creer en vos
No te alejes tanto amor
No te alejes tanto de mi
Me estaba preguntando
Y estaba alimentado
y estaba alucinando bien
super super
y es que estaba satinado
y estaba por pensar en vos,
en vos
Y estaba yo pensando
que era balanceado
que estabas acercandote, nena
vos acercandote
Y no, vos venias por alta
yo estaba satinado
me estabas recurriendo al fin,
nena, al fin, si
AH...
No te alejes tanto de mi.
Ah...
No te alejes tanto de mi...
The lyrics of Luis Alberto Spinetta's "No Te Alejes Tanto De MĂ" describe a moment of realization and reflection on love, openness, and connection. The singer expresses his deep love for someone and the feeling that something is happening - that the world is opening up and possibilities are endless. He has been questioning things, but now he feels great, almost in a state of trance. He then acknowledges the past and the people who have disappointed him and says that he was almost giving up on love until this person came and changed everything. He is very excited to have this person near him and doesn't want them to leave.
The song is about the power of connection, love, and openness. The lyrics describe a moment of vulnerability and honesty, as the singer expresses his desire and need for this person to stay close to him. This reflects the fear of abandonment that often comes with love and the desire to hold on to something that feels right.
The song strikes a chord with many people as it expresses a deep sentiment that resonates with the human heart. It is a celebration of love, but also an acknowledgement of the need to be open and vulnerable in order to truly connect with someone.
Line by Line Meaning
Algo esta pasando hoy
Something is happening today
es que te quiero tanto amor
It's because I love you so much, my love
ya nada esta cerrado
Nothing is closed off anymore
luce como el mundo de hoy
It looks like today's world
Me estaba preguntando
I was wondering
me estaba preguntando
I was wondering
estaba simplemente asi,
I was just like this
super bien
Super good
Y ellos se estaban oxidando
And they were rusting
y yo estaba por creer en vos
And I was about to believe in you
No te alejes tanto amor
Don't stay away from me so much, my love
No te alejes tanto de mi
Don't stay away from me so much
Me estaba preguntando
I was wondering
Y estaba alimentado
And I was fed
y estaba alucinando bien
And I was hallucinating well
super super
Super super
y es que estaba satinado
And it's because I was smooth
y estaba por pensar en vos,
And I was about to think of you
en vos
Of you
Y estaba yo pensando
And I was thinking
que era balanceado
That it was balanced
que estabas acercandote, nena
That you were getting closer, baby
vos acercandote
You getting closer
Y no, vos venias por alta
And no, you were coming for something big
yo estaba satinado
I was smooth
me estabas recurriendo al fin,
You were finally coming to me,
nena, al fin, si
Baby, finally, yes
AH...
Ah...
No te alejes tanto de mi.
Don't stay away from me so much.
Ah...
Ah...
No te alejes tanto de mi...
Don't stay away from me so much...
Contributed by Allison G. Suggest a correction in the comments below.
milagros
Algo estĂĄ pasando hoy,Â
es que te quiero tanto amorÂ
ya nada estĂĄ cerradoÂ
luces como el mundoÂ
Me estaba preguntando,Â
me estaba preguntando,Â
estaba simplemente asĂÂ
Y ellos se estaban oxidando,Â
y yo estaba por creer,Â
en vosÂ
No te alejes tantoÂ
no te alejes tantoÂ
de mĂÂ
Me estaba preguntando,Â
y estaba alimentando,Â
y estaba alucinando bien,Â
y es que estaba satinado,Â
y estaba por pensar,Â
en vosÂ
Estaba yo pensando,Â
que era balanceado,Â
y estabas acercĂĄndoteÂ
( nena vos acercĂĄndote )Â
pero no,Â
vos venĂas por alta,Â
yo estaba satinado,Â
me estabas recorriendo al finÂ
nena al finÂ
No te alejes tantoÂ
de mĂ.
Sergio Daniel Avila
5 horas cantaste, 5 horas tocaste, te reiste, no leiste las letras memorizaste todo lo que pudiste, hiciste estilos, sonabas como eterno y asi fue, no lo sabia nadie ese dia 5 horas después quedo esto que jamås nadie podra igualar solo a vos Luis se te ocurre semejante cosa, loco en que nadaras ahora? volve aunque sea 5 minutos para tomar un amargo, compartir una pizzas, levantar una birra.
Slegter.
Eras amigo del flacoÂż
Sergio Daniel Avila
@Slegter. no pero hice mĂșsica y rozaba los mismos caminos, jazz and pop, club de jazz de cesar Parisi, salas de de ensayo en fin cosas que me hacĂan mejor y lo escuchĂ© mĂĄs de una vez sonar acĂșstico en joda y en serio. Con el ruso ensayaban en la xsaa del flaco y hay una anecdota linda, un dĂa fueron a ensayar y el padre de Luis dijo voy a sacar la jaula de los pĂĄjaros porque cuando se van con el humo que respirar on cantan cualquier cosa...
100x100 Rent a car y turismo
excelentes palabras!
MILENARIA R&R
Se me partió el corazón leyendo el comentario: "¿En qué andarå el Flaco", no creo que quisiera volver.
Ăl es INMENSOOOO. đ
Sergio Daniel Avila
@MILENARIA R&R seguramente tengas razon, el amor platonico es asi de irracional, disfrutalo eternamente, un beso y somos muchos los que como vos lo amamos
Matias Risso
Cuando me hacĂan quimio escuchaba este tema. Hoy lo canto
MauroBtx23
Que bueno! Tiene una energĂa increĂble este temazo!
Bruno Vaquero
Que bueno campeĂłn!!
Kevin Galeano
El flaco sana el Alma