Almendra (Almendra album)

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Almendra
RCA Victor)
ProducerAlmendra
Almendra chronology
Almendra
(1969) 		Almendra II
(1970)
Singles from Almendra
  1. "Muchacha (ojos de papel)/Ana No Duerme"
    Released: January 20, 1970

Almendra (pronounced

RCA Victor. To distinguish it from the band's next release, Almendra II, it is also known as Almendra I. The album represented the first full-length musical endeavour of nineteen-year-old Luis Alberto Spinetta
, having formed the band in the mid 1960s along with Emilio del Guercio, Edelmiro Molinari and Rodolfo García. The famous artwork, showing a crying man with a toy arrow stuck on his head, was designed by Spinetta to embody the different lyrical themes of the album.

By the late 1960s, the

Argentine music such as tango and folk music
.

Upon release, the album achieved critical and commercial success, aided by the popularity of the single "Muchacha (ojos de papel)", which remains one of Spinetta's most celebrated compositions. Almendra is often listed as one of the greatest and most influential albums in the history of Argentine rock music, serving as a foundation of what is locally known as rock nacional and, by extension, rock en español in general. The album remains a paradigm of Argentine 1960s youth culture, signaling the growing influence of the counterculture of that decade in the country.

Background and development

Spinetta with his parents Julia and Luis Santiago, graduating from high school in 1968.

Almendra was formed in the barrio of Núñez in Buenos Aires.[1] Luis Alberto Spinetta and Emilio del Guercio became friends while attending the San Román high school in Belgrano.[1][2][3] They published a magazine, La costra degenerada, with their own articles and drawings and shared common interests and points of view about music, sex, power and religion.[4] Spinetta was a fan of the Beatles, but del Guercio was more interested in folk music.[5] They were inspired by surrealism and the psychedelic experience, although they had not used drugs at that point.[1][5] Edelmiro Molinari and del Guercio were in a band called Los Sbirros – making cover versions of the Beatles, the Rolling Stones, the Shadows and Los Teen Tops – along with Ángel del Guercio, Ricardo Miró, Santiago "Chago" Novoa and Eduardo Miró (later replaced by del Guercio).[3] Spinetta had joined Los Larkins, where Rodolfo García was the drummer.[6] Spinetta and García then joined Los Masters, a band led by Guido Meda; the group had a succession of names, including Los Beadniks, Los Beatniks and Los Mods.[7] The groups merged, although Meda disliked the idea and stepped aside.[7] Almendra was ready to start playing, but García had to serve in the military and they waited a year until he returned.[7] At this embryonic stage Spinetta had composed "Plegaria para un niño dormido" and "Zamba", a song he would record in 1982 as "Barro tal vez".[3][6][8] During the second half of the 1960s, Argentina and the world were experiencing political, social and cultural changes. The

Tom Jobim, the Rolling Stones and Les Double Six were also cited as influences.[8]

Young, long-haired man playing guitar onstage
A nineteen-year-old Spinetta performing with Almendra at the Festival Pinap, 1969.

In 1967,

RCA Victor, and in November 1968 Almendra released their first single: "Tema de Pototo", backed with "El mundo entre las manos".[16] Almendra began playing live, with performances during the summer of 1969 in Mar del Plata and an appearance at the Ancón Festival in Peru.[16] Their Buenos Aires debut was at the Di Tella Institute as part of Three Beat Shows, where they introduced "Fermín", "Ana no duerme" and "Que el viento borró tus manos", songs which would appear on their first studio album.[16] Almendra released a second single, "Hoy todo el hielo en la ciudad" backed with "Campos verdes"; it was also released in Peru, where it was more successful than it was in Argentina.[17] Between April and September 1969, the band recorded their first LP at TNT Studios, Buenos Aires,[18] while a third single ("Tema de Pototo", backed with "Final") was released.[17] At the time of Almendra's release, the influence of the Beatles and the Rolling Stones had overshadowed the success of the nueva ola, exemplified by the popular teen pop music TV show, El Club del Clan.[18]

Composition

Publicity photo of the Beatles jumping in the air
One of Almendra's chief influences was the Beatles, so much so that they were called the "Argentine Beatles", also due to their influence on the country's popular music.[19][20][21]

Almendra, considered one of Argentina's first rock albums,

French May, free jazz, the experimentation of the Di Tella, the avant-garde tango, the folklore of projection, the French Nouvelle Vague, Borges, and the new trends in national plastic arts, among other influences, but none markedly mentioned or honored axiomatically."[19]

Spinetta's lyrics have been widely studied for their lyricism, poetic quality, precise use of language, and rich visual imagery; as well as the innovation of singing them in Spanish.

Noisey in 2016, Eduardo Santos argued that "although it does not have any song with protest lyrics or hymns against the establishment, Almendra is an album very influenced by the hippie culture with its ideals of peace, coexistence and love."[30] He also felt that the lyrics "[frolic] between poetry and the experiences of the group members."[30]

"Muchacha (ojos de papel)"
One of Spinetta's most enduringly popular compositions,[31] the album opener characterizes a girl using ambiguous adjectives and metaphors.[32] According to Germán Arrascaeta of La Voz del Interior, it "recycled the surrealism of André Breton in an effort to give the ruling beat music a twist."[33]
Problems playing this file? See media help.

The album opens with "Muchacha (ojos de papel)", one of the most celebrated songs in Argentine rock history. Spinetta dedicated the song to Cristina Bustamante, his girlfriend at the time,[34] and has compared the romantic ballad to songs like "Tu nombre me sabe a hierba" by Joan Manuel Serrat and "Julia" by the Beatles.[9] Musician Alejandro del Prado described its lyrics as "almost pornographic at the time", citing phrases such as "pechos de miel" and "quédate hasta el alba" ("stay until dawn").[9] The length of the nine-plus-minute "Color humano", written by Edelmiro Molinari, concerned the record label since it precluded radio play. The jazz-inspired jam session[9] is composed of two relatively short vocal segments surrounding a five-minute guitar solo by Molinari.[9] The ballad "Figuración" is characterized by its use of the recorder, played by Del Guercio.[35] Rolling Stone Argentina considered that the track, "anticipates certain ways of Sui Generis although in the final chorus the deep voice of Pappo and other boys of the environment known as 'Circus' are noticed."[35] The lyrics of "Figuración" have been described as metaphysical, with Spinetta urging the listener to disfigure themselves.[9] In "Ana no duerme", a sleepless girl is restlessly waiting; its lyrics refer to the need of many teenage girls to repress their sexuality.[36] Spinetta described the title character as "that being that is always waiting. That girl who hopes to be loved, who expects a little bit of friendship, of understanding, who wants to leave her vulgar world of womanhood, who wants to occupy another place. [...] At that time, a girl of 16 or 17 was not the woman she can be today."[6] The strongly paced track, with a rhythmic shift representing the "interrupted dreams" of the title character,[9] has been compared to Pink Floyd's "See Emily Play"[26] and is considered "the most rocker moment" of the album.[35] Although the "Ana" in the song was long thought to be Ana María Spinetta (Luis Alberto's sister), he denied it on more than one occasion.[36] Film producer Ana Aizenberg claims to be the inspiration after an affair she had with Spinetta.[36]

"A estos hombres tristes"
"In that [Buenos Aires of conflicting cosmopolitanism,] in which the police were engaged in cutting the hair of "hippies" and miniskirts were considered immoral, and where
Página/12, 2009.[27]
Problems playing this file? See media help.

"Fermín" describes a mentally ill character in an institution. The song changes a line from the French folk song, "

bandoneón.[35] Rolling Stone Argentina considered that Spinetta's vocals in the track "[timidly insinuate]" a crooner facet that he would further explore later in his career.[35]

Release and commercial reception

Black-and-white photo of the band lying on the ground
Almendra in a 1970 photo shoot.

Almendra was released on November 29, 1969, on Vik, a subsidiary of

35mm black-and-white promotional short film featuring "Campos verdes" and "El mundo entre las manos", which was shown in cinemas as part of the newsreel Sucesos Argentinos.[40] On June 6, 1969, Almendra presented the album in Teatro Coliseo with Vox Dei, Leonardo Favio and Los Abuelos de la Nada.[40][41] They made television appearances on Tropicana, Sábados circulares, Sótano beat, and "an unhappy appearance" on Bernardo Neustadt's show.[40] Regarding the songs' concert presentation, particularly of "Muchacha (ojos de papel)", Spinetta stated in 1984: "... when we premiered ["Muchacha"] in Coliseo, the success of the song was so resounding that I cried myself, I could not believe it. [...] The emotion that I felt was tremendous. Indelible. I cried on stage, because I felt that all the people were shocked with that. Instantly. Success came later. I felt that the song pierced through the people, just as when I premiered "Plegaria" or "Figuración", "Muchacha" pierced through the people. With Almendra I repeatedly saw boys and girls crying, of emotion or of happiness."[42] In early 1970, Spinetta published a series of drawings in the second number of the short-lived magazine Alquitrán, in which he illustrated each of the songs of Almendra.[30]

Ricardo Alejandro Kleinman had signed Almendra with RCA Victor as part of his project of promoting new and "distinguished" music such as

B-side, was released as the album's only single on January 20, 1970.[18] In 1996, Spinetta stated that he was unhappy with that advertisement, but did not have enough money to hire a lawyer at that time.[43] On March 5, 1970 Gente stated that, 20 days since its release, the album had sold 10,000 copies.[44] Cristina de Irala of the magazine reported on their successful presentation in the touristic city of Mar del Plata, writing: "At that hour of the early morning, in a city in full summer season, one became aware that the 'beat music' movement really is a phenomenon. Which one of our musical monsters could go on a stage and fill a room in those conditions?"[44] The same year, journalist Margot de Kumec noted the "religious attention" and identification that the band generated among its young audience.[45]

Black-and-white photo of the band onstage
Almendra performing in 1970.

Tracks off Almendra appear in various

vinyl, respecting every detail of their original editions' packaging.[56]

Cover art

He was the character of the retarded Argentine. Playing the role of an idiot ... It's kind of pathetic. Of course, with the little plunger, he has not even been injured; a mediocrity Almendra attacks.

— Spinetta on the album cover, 2008.[9]

The album cover, designed by Spinetta, shows a distressed man with his hair covered by a scarf and a tear running down his cheek; a toy arrow is stuck on his head, and he is wearing a pink shirt with the name of the band.[39] Spinetta used tempera and pencils on mat paper.[9] RCA considered the artwork incomprehensible and noncommercial, and shelved its first version.[57] Spinetta said, "We were not going to allow the record to be released without it. I had the picture in my head very clearly, and I went home and did it again. We did not want to leave things in the hands of mediocre company dudes that make album covers like [sausages]."[4] Emilio García said in 2008 that the label thought most record buyers were women, and artwork should depict men as handsomely as possible:[39] "They could not believe it, because the cover of an LP (at the time) featured artists' faces or holding electric guitars; we came out with a cover like that, which I still consider absolutely great."[57]

On the album's track listing, each song is identified with a symbol from the cover: a teardrop, an eye, or a toy arrow. The teardrop identifies "Muchacha (ojos de papel)", "Figuración", "Plegaria para un niño dormido" and "Que el viento borró tus manos", the most rock-oriented songs; the eye, "Color humano" and "A estos hombres tristes", the most melancholic songs; and the toy arrow "Ana no duerme", "Fermín" and "Laura va", songs with proper names.[58] The inner sleeve describes each icon:[59]

  • Eye: Songs sung by the Man of the Cover while he is unconscious in the void
  • Teardrop: Songs as bright as the thousand-year-old teardrop shed by the Man of the Cover
  • Toy arrow: Songs sung to the tear shed by the Man of the Cover by men tied to their destinies

Emilio del Guercio said that the toy arrow represents absurdity and the teardrop sentimentality and melancholy.[9] According to Argentine graphic artist Rep, the artwork conveys a grotesque, dramatic flavor and the feeling that the album should be taken seriously but not too seriously.[9]

Critical reception

Professional ratings
Review scores
SourceRating
AllMusic[22]

According to Eduardo Berti, the album received generally positive reviews, with Rodolfo Alchourrón's orchestral arrangement of "Laura va" universally acclaimed.[4] However, journalist Diego Fischerman of Página/12 disagreed, writing in 2009:

In 1968, what was later called rock was not in the newspapers. What's more, there was no criticism of popular music there. The pioneer, in that matter, was Jorge Andrés, in his articles for the magazine Análisis and, a little later, in the newspaper La Opinión. That is why when it is said, as in the brochure of the box that gathers all the production of Almendra, that "the critics approved them and the public adored them", it is a lie. The public was scarce and there was no criticism, if you discard what was published in [Pinap], which rather responded to modest press operations of the recording labels to impose that new product, the "beat music", which between 1968 and 1970 flooded the market.[27]

The rock magazine Pelo stated that "this album may be the synthesis of a new music emerging.[4] A La Prensa review described it as "a thin melancholy," and it "[faces] its manifestation with the seriousness and depth of who wants to give a testimony of their world, a concern usually oblivious to young authors and performers."[4] The magazine Gente was enthusiastic: "Did you already listen to the first LP by the group Almendra? Do not waste time, fool, because I assure you it is the best album of the beat genre produced in our country."[4] Also from Gente, Cristina de Irala wrote in early 1970 that Almendra was "an authentic demonstration of talent, music and beauty."[44] Journalist Margot de Kumec wrote in 1970 that "they proclaim in their creations a deepening in the essence of men", and praised their "poetry, melody and rhythm".[45] A Clarín review of the album was harsh: "The lyrics of each track do not have an equal level, with the aggravation of being poorly fused with musical metrics."[4] Spinetta said that much of his resentment of the press was born at that time, when he "realized that large magazines like Gente or Siete Días fabricated articles. They put what they wanted."[4] In a retrospective review for AllMusic, Iván Adaime gave the album a five-star rating, calling it a masterpiece and writing that it "is great from the beginning till the end" and "not only one of the first Argentinean rock albums, but one of its best."[22]

Legacy

We must remember: in just two years (1968–1970) and two very different albums (an LP and a double album) Almendra radically changed Argentine popular music. It was a mysterious ray that was integrated from the area of Bajo Belgrano to the bohemian gestures of the countercultural longhairs of the Plaza Francia-La Cueva-La Perla triangle.[nb 1] [...] Almendra expressed through a musical project the potencies and tensions of their own time.

— Mariano Del Mazo,

Página/12, 2017.[62]

Almendra is considered one of the most important records in the history of Latin American rock.[30] It has been voted the most important record in Argentine rock history on various occasions.[9] A July 1985 survey by journalist Carlos Polimeni for Clarín ranked Almendra as by far the greatest album in the history of Argentine rock music; respondents included local musicians Charly García, Gustavo Cerati of Soda Stereo, Celeste Carballo, Miguel Mateos, Alejandro Lerner and Raúl Porchetto, among others.[4] In 2007, the Argentine edition of Rolling Stone ranked it sixth on its list of "The 100 Greatest Albums of National Rock".[63] In 2006, the Latin alternative music magazine Al Borde ranked Almendra 10th on its list of the 250 Best Albums of Ibero-American rock. Spanish online newspaper Diariocrítico.com included the album in its 2016 feature of "The 20 Best Records of Argentina", with journalist Sergio Ariza Lázaro describing it as a masterpiece.[64] Chilean newspaper La Tercera ranked Almendra thirteenth in its 2017 list of "The 20 Best Albums of Argentine Rock".[65]

"Muchacha (ojos de papel)" remains a symbol of the band and "an emblem of the social and individual conquests of the 1960s."[35] It is now considered "the quintessential love song of rock nacional."[66] The track was second on MTV and Rolling Stone Argentina's Top 100 Songs of Argentine Rock[citation needed] and Rock.com.ar's Top 100 Argentinean Songs of the Last 40 Years.[67] Al Borde ranked the song 45th on its list of 500 Most Important Songs of Ibero-American Rock.[68]

The album had a seminal influence on Argentine rock. During the 1960s, a generation of musicians from the La Cueva bar on

Beatles and Rolling Stones rivalry, identifying Almendra as the former and Manal as the latter.[38][43] These three bands are considered the pillars of what is known in Argentina as rock nacional ("national rock"),[18] and rock en español in general.[70] Serious, artistic Spanish-language songs were unprecedented in the country.[70] According to Rolling Stone, Almendra reached "one of the highest levels of quality, innovation and precocity" in Argentine music; "if not pioneers (because there is no Almendra without Los Gatos), they put into 3D a variety of sounds, accents and adjectives which are still the textbook of the new generation."[71]

The members of Almendra and Manal in a 1970 poster for Pelo magazine.

While Los Gatos were mainly influenced by beat music, and Manal by the

accent of some words (a poetic device criticized by some members of the press,[4] evident in the pronunciation of "figúrate" in "Figuración" and "plegaria" in "Plegaria para un niño dormido").[18] This use of the accent characterized Argentine rock's second generation—whose most notable representative was Sui Generis—until bands like Virus continued to use the language ingeniously in the 1980s.[18] Writer Eduardo Berti felt in 2012 that the album, "endures as an effective testimony of the first steps of an exceptional composer."[38]
According to Emilio del Guercio,

Today those songs are classics but, at that time, they were considered cutting edge. Eventually I realized that most of them are threaded by the songwriting tradition of our country. They are Argentine songs. The real avant-garde revolutionizes what it inherits. Almendra was heir to the best Argentine music, and combined its elements without prejudice.[39]

Almendra is considered a paradigm of the growing influence of the youth-led counterculture of the 1960s on Argentina at that time, as well as a representative of that generation.[62][71] After Spinetta's death, President of Argentina Cristina Fernández de Kirchner said: "That record of the teardrop, when we would call albums long plays, and "Muchacha (ojos de papel)", I will never forget them."[72] Charly García, also on the occasion of Spinetta's death, stated: "I can not describe the shock that Almendra's first album caused me. For me, "La balsa" was the originator of Argentine rock, but without a doubt, Luis Alberto and company were its architects."[73]

Track listing

All tracks are written by Luis Alberto Spinetta except where noted

Side one
No.TitleLength
1."Muchacha (ojos de papel)"3:04
2."Color humano" (Edelmiro Molinari)9:09
3."Figuración"3:32
4."Ana no duerme"2:42
Side two
No.TitleLength
5."Fermín"3:16
6."Plegaria para un niño dormido"4:01
7."A estos hombres tristes"5:56
8."Que el viento borró tus manos" (Emilio del Guercio)2:36
9."Laura va"2:48
Total length:37:35

Personnel

Credits adapted from the liner notes of Almendra.[18]

See also

Notes

  1. ^ The porteño underground of the 1960s had its epicenter in the triangle formed by a precarious musical bar called La Cueva in Avenida Pueyrredón, the Torcuato di Tella Institute in Florida Street, and Plaza Francia. Besides originating rock nacional, this countercultural youth subculture made important advances in Modern art and are today considered the first hippies of the country (despite not using that name themselves).[60][61]

References

  1. ^ a b c Luis Alberto Spinetta. Almendra (Video) (in Spanish). Buenos Aires, Argentina: Quizás porque. Encuentro. Retrieved January 31, 2016.
  2. ^ Spinetta & Berti 2014, p. 10.
  3. ^ a b c Fernández Bitar, Marcelo (November 9, 2015). "Partiendo hacia la locura". La Agenda (in Spanish). Government of the Autonomous City of Buenos Aires. Retrieved April 29, 2016.
  4. ^ a b c d e f g h i j k Spinetta & Berti 2014, p. 20.
  5. ^ a b Spinetta & Berti 2014, p. 12.
  6. ^
    Página/12
    (in Spanish). November 21, 1999. Retrieved January 31, 2016.
  7. ^ a b c Spinetta & Berti 2014, p. 14.
  8. ^ a b c d e Spinetta & Berti 2014, p. 13.
  9. ^
    TV Pública. June 25, 2008. Archived from the original
    on January 28, 2017. Retrieved January 31, 2016.
  10. ^ Puchades, Juan (June 19, 2007). "40 años de "La Balsa". El primer himno del rock argentino" (in Spanish). Efe Eme. Retrieved December 14, 2016.
  11. ^ "A 45 años "La balsa", el tema proa del rock nacional". Los Andes (in Spanish). Clarín Group. July 2, 2012. Archived from the original on January 31, 2017. Retrieved December 14, 2016.
  12. ^ Alabarces 1993, pp. 43–45.
  13. ^ Del Guercio, Emilio (2009). "La balsa". Cómo hice. Season 1. Episode 5 (in Spanish). Encuentro. Retrieved December 15, 2016.
  14. ^ Diez, 2012, p. 467
  15. ^ Spinetta & Berti 2014, p. 15.
  16. ^ a b c Spinetta & Berti 2014, p. 16.
  17. ^ a b Spinetta & Berti 2014, p. 18.
  18. ^ a b c d e f g h i j k l m Almendra (1992). Almendra (Cronología) (Media notes). CD Liner notes by Rafael Abud. BMG Argentina. ECD 1036.
  19. ^
    Página/12
    (in Spanish). Retrieved January 31, 2016.
  20. Página/12
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  22. ^
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  23. ^ Gentile, Juan Francisco (August 6, 2012). "Los elefantes saben descansar, van a morir de paz" (in Spanish). Marcha Noticias. Archived from the original on September 28, 2013. Retrieved January 30, 2016.
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  26. ^ a b Torrón, Andrés (February 7, 2016). "Todo sigue teniendo música". El Observador (in Spanish). El Observador. Retrieved February 6, 2016.
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  28. ^ Diez, 2012, p. 472
  29. ^ Diez, 2012, p. 474
  30. ^
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  31. ^ Polimeni 2002, p. 101.
  32. ^ Maritano & Petruzzi 2009, p. 188.
  33. ^ Arrascaeta, Germán (February 9, 2012). "Luis Alberto Spinetta: A medida de la eternidad". La Voz del Interior (in Spanish). Clarín Group. Retrieved February 2, 2016.
  34. About.com. Archived from the original
    on April 16, 2013. Retrieved January 31, 2016.
  35. ^ a b c d e f g "Luis Alberto Spinetta: 100 grandes canciones". Rolling Stone Argentina (in Spanish). Publirevistas S. A. February 8, 2017. Archived from the original on April 11, 2018. Retrieved April 14, 2018.
  36. ^ a b c Larrea 2014, p. 13.
  37. ^ Allen, Ariel (November 29, 2014). "A 45 años del lanzamiento del primer disco de Almendra, su actualidad" (in Spanish). La Izquierda Diario. Retrieved January 31, 2016.
  38. ^
    National Library of the Argentine Republic. October 2012. Archived from the original
    on May 6, 2017. Retrieved May 6, 2017.
  39. ^ a b c d Cocaro, Gabriel Martín (December 14, 2009). "El origen de la nueva canción urbana". Ñ (in Spanish). Clarín. Clarín Group. Archived from the original on March 3, 2016. Retrieved January 31, 2016.
  40. ^ a b c Spinetta & Berti 2014, p. 19.
  41. ^ Muchacha ojos de papel (Video) (in Spanish). Buenos Aires, Argentina: Cómo hice. Encuentro. Retrieved March 21, 2016.[permanent dead link]
  42. ^ Pintos, Víctor (November 4, 1999). "La verdadera historia de Muchacha (ojos de papel)" (in Spanish). Rock.com.ar. Archived from the original on September 4, 2009. Retrieved April 7, 2018.
  43. ^
    MTV Latin America
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  44. ^ a b c de Irala, Cristina (March 5, 1970). "Cuatro jóvenes con poesía". Gente y la actualidad (in Spanish). Mágicas Ruinas. Retrieved April 8, 2018.
  45. ^ a b de Kumec, Margot (1970). "Almendra: el hombre dibujado en un pentagrama". Música joven (in Spanish). Mágicas Ruinas. Retrieved April 8, 2018.
  46. RCA Victor
    . APG-1519.
  47. RCA Victor
    . AVS-4765.
  48. RCA Victor. BMG Argentina
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  50. ^ Pintos 1993, p. 64.
  51. ^ Pintos 1993, p. 65.
  52. ^ Pintos 1993, p. 66.
  53. ^ Almendra (1980). Almendra en Obras (Double LP record). Argentina: Almendra Editora. ML-712.
  54. ^ Almendra (1999). Almendra 68–70 (box set). Argentina: Rolling Stone Argentina. BMG Argentina. 74321-72036-2.
  55. ^ Almendra (2005). Almendra (CD album, digipak). Europe: Sony BMG. 8869 738668-2.
  56. ^ "Se agotaron en pocos días los vinilos de rock nacional reeditados". Clarín (in Spanish). Clarín Group. June 5, 2015. Retrieved April 30, 2017.
  57. ^
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  58. ^ Marchi, 2019. p. 139
  59. Página/12
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  60. ^ Gaffet, Hernán (Director) (2006). Argentina Beat (Documentary film) (in Spanish). Buenos Aires, Argentina: Poleri-Foligna-Gaffet.
  61. ^ "Sobre hippies (y otras yerbas)" (in Spanish). Mágicas Ruinas. Retrieved March 27, 2017.
  62. ^
    Página/12
    (in Spanish). Retrieved November 28, 2017.
  63. ^ "Los 100 mejores discos del rock nacional". Rolling Stone Argentina (in Spanish). Publirevistas S. A. April 2007.
  64. ^ Ariza Lázaro, Sergio (March 15, 2016). "Los 20 mejores discos de Argentina (I)" (in Spanish). Diariocrítico.com. Retrieved February 8, 2018.
  65. ^ "Los 20 mejores discos de rock argentino según Culto". Culto. La Tercera (in Spanish). Santiago, Chile: Copesa. May 25, 2017. Retrieved February 8, 2018.
  66. ^ Jatib, Gustavo (August 23, 2017). "Esenciales: "Muchacha ojos de papel"" (in Spanish). Rock.com.ar. Retrieved November 28, 2017.
  67. ^ "Las 100 de los 40". Rock.com.ar (in Spanish). Archived from the original on March 8, 2016. Retrieved February 13, 2024.
  68. ^ Mercado, José Luis (November 14, 2007). "Las 500 del Rock Iberoamericano: 50 Años Para No Olvidar: Las Primeras 100". Al Borde (in Spanish). Retrieved February 13, 2024.
  69. Página/12
    (in Spanish). Retrieved January 30, 2016.
  70. ^
    ISBN 9789872657314
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  71. ^ a b Bellas, José (November 20, 2013). "Spinetta de Colección: los años de Almendra". Rolling Stone Argentina (in Spanish). Publirevistas S. A. Archived from the original on May 6, 2016. Retrieved January 30, 2016.
  72. ^ "La Presidenta recordó con emoción a Luis Alberto Spinetta". Radio Continental. Grupo Latino de Radio. February 9, 2012. Retrieved January 30, 2016.
  73. ^ "Charly García recuerda a Luis Alberto Spinetta". Rolling Stone Argentina (in Spanish). La Nación SA. February 23, 2012. Archived from the original on July 10, 2015. Retrieved December 15, 2016.

Bibliography

External links
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