Em Toda Parte
Em Toda Parte (Portuguese for "All Around") is the second studio album by Brazilian psychedelic rock band Violeta de Outono, released on June 18, 1989, by Ariola Records. It was also their last release before they entered a hiatus period in 1993 that would last until 1995. Beginning with this album, Violeta de Outono abandons their post-punk influences and gradually shift towards a more progressive-influenced sonority.
"Terra Distante" would be re-recorded for their next studio album, "Mulher na Montanha", while "Dança" would appear on "Ilhas".
It was re-released in 2007 by Voiceprint Records, containing two bonus tracks.
References.
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Violeta de Outono
Brazilian progressive rock band
Violeta de Outono (Portuguese for Autumn Violet) is a Brazilian psychedelic/progressive rock band from São Paulo. Heavily influenced by The Beatles, The Rolling Stones, Pink Floyd, Led Zeppelin and Gong, they were originally a post-punk band with some psychedelic elements intertwined, but would gradually drop their post-punk influences and add more prog elements to their sonority as time went by.
The band underwent numerous changes in its line-up since its inception; the only founding member remaining today is vocalist/guitarist Fabio Golfetti.
History.
Fabio Golfetti founded Violeta de Outono in 1985 alongside Cláudio Souza; both had just parted ways with pioneering New Romantic band Zero. They would later be joined by Angelo Pastorello, and with this line-up they released a demo tape, "Memories", in the same year. The tape got the attention of independent record label Wop-Bop Records, that released their first recording, the extended play "Reflexos da Noite", in 1986.
In 1987, Violeta de Outono's eponymous debut was released through RCA Records. It was very well-received; particular praise went to their cover of The Beatles' song "Tomorrow Never Knows".
In 1988 they released a four-track EP called "The Early Years", containing cover versions of The Rolling Stones' "Citadel", Pink Floyd's "Interstellar Overdrive", The Beatles' "Within You Without You" and Gong's "Blues for Findlay". Those recordings trace to as far as 1985–1986. In the next year, their second studio album, "Em Toda Parte", was released by Ariola Records. Beginning with this album, Violeta de Outono would drop their previous post-punk instrumentation, heading towards a more progressive and experimental vein.
In 1990, Cláudio Souza left the band, and was replaced by Cláudio Fontes (Souza would return to the band in 1993 though). From 1993 to 1995, Violeta de Outono entered a short hiatus period; they returned to active with a live album, "Eclipse", and their third full-length, "Mulher na Montanha", that began to be recorded in 1995 but would be released only in 1999. In 2000, they would release their second live album, "Live at Rio ArtRock Festival '97", a recording of their performance at the in Rio de Janeiro in 1997. (A DVD containing the footage of their performance at the festival would be released 15 years later.) During Violeta de Outono's hiatus, Golfetti released three albums with The Invisible Opera Company of Tibet (Tropical Version Brazil), a side project he formed in 1988; however, the project was not as successful and memorable as Violeta de Outono itself and would come to an end in 1995, only to return in 2010.
Also in 2000, Violeta de Outono changed its line-up almost completely, with Gregor Izidro replacing Cláudio Souza and Sandro Garcia replacing Pastorello. However, they would return for the recording of the band's fourth studio album in 2003, "Ilhas", that was released in 2005.
"Violeta de Outono & Orquestra", their first video release, came out in 2006, recorded during a performance in São Paulo two years prior, with the special participation of the USP Symphonic Orchestra. In the same year, Pastorello left the band and was replaced by Gabriel Costa, while new member Fernando Cardoso assumed the position of keyboardist. With this line-up they released their fifth full-length album (and seventh studio release overall), "Volume 7", in 2007.
In 2009, Cláudio Souza left Violeta de Outono for the third time, but beforehand they recorded another video release, "", in which they covered songs by Pink Floyd and Syd Barrett live, and also played their first studio album in its entirety in a show which took place in the Theatro Municipal in São Paulo. Souza was replaced by Fred Barley – however, Barley left the band in 2011 in order to join O Terço, and was replaced by José Luiz Dinola (former A Chave do Sol member); Violeta de Outono's line-up remains unchanged ever since.
Their sixth full-length album, "Espectro", was released in 2012.
On September 19, 2016, the band announced that they began work on their seventh studio album, "Spaces", which was eventually released on October 14, 2016.
References.
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Artaud (album)
Artaud (; commonly pronounced by Hispanophones) is the third and final studio album credited to Argentine rock band Pescado Rabioso, released in October 1973 on Talent-Microfón. It is essentially the second solo album by singer-songwriter Luis Alberto Spinetta, who used the group's name despite their disbandment earlier that year.
The album is named after and dedicated to French poet Antonin Artaud, and was conceived as a reaction to his writings. The album's original packaging is famous for its odd shape, which the record label initially resisted. Spinetta presented Artaud with two morning shows at the Teatro Astral on Avenida Corrientes, accompanied only by his acoustic guitar. Each audience member received a copy of Spinetta's manifesto "Rock: Música dura, la suicidada por la sociedad", in which he presented his vision of the countercultural Argentine rock movement.
It is considered Spinetta's masterpiece and one of the most influential albums in Spanish-language rock music. It has been selected as the greatest album in the history of Argentine rock on several occasions, most notably "Rolling Stone Argentina"'s The 100 Greatest Albums of National Rock in 2007.
Background and recording.
After the 1970 dissolution of Almendra—a foundational band of the burgeouing Argentine rock movement along with Manal and Los Gatos—three new groups emerged as its former members sought to create new projects. Edelmiro Molinari formed Color Humano, Rodolfo García and Edelmiro Molinari created Aquelarre, and Luis Alberto Spinetta put together Pescado Rabioso along with drummer Black Amaya and bass guitarist Osvaldo Frascino. The short-lived Pescado Rabioso was a conscious shift from Spinetta's previous acoustic and melodic music, favoring a more violent, "electric, raw and powerful style" influenced by his new friendships within the "heavier" rock scene of Buenos Aires, which included acts such as Pappo's Blues, Manal and Tanguito. Spinetta himself referred to it as his "punk moment". The project experienced various line-up changes (a characteristic of almost every local rock band during that time) and released two studio albums—"Desatormentándonos" (1972) and "Pescado 2" (1973)— before disbanding. By the time "Pescado 2" was released in March 1973, the band had already split up. Amaya told Crítica Digital in 2009 that David Lebón and Carlos Cutaia left Pescado Rabioso to pursue their solo careers and that they communicated their disbandment to Spinetta in the Planeta theatre, which he took as a great offense. He also claimed to have been the last member to leave the band and to have rehearsed for "Artaud". One of the reasons was that Oscar López, their manager at the time, wanted Lebón to become the lead singer and guitarist and for Spinetta to play bass. According to Spinetta, his fellow band members did not share the more "lyrical" vision that he was developing, and wanted to change the style of the band into rock and roll and blues. Both Amaya and Cutaia have said that they wished to play something "more bluesy", with the latter explaining that they wanted Lebón to participate more as a composer and get away from Spinetta's more complex compositions. However, Lebón and López have denied that there was a plan to turn Pescado Rabioso into a blues band. Spinetta told Eduardo Berti in 1988:
I experienced that as a great paradox: Pescado Rabioso was me, and I could have had those musicians like others; I wanted to play my songs, express how I felt, and it seemed like a deformity to start to make rock and blues songs as if it were the time of Manal. At that time there was still that mania to play rhythm & blues, but shortly after David [Lebón] released his solo album and it was not only in that style. After all, he was as lyrical as I was.
In Ezequiel Abalos' 1995 book "Historias del rock de acá", Amaya recalled: "He felt abandoned because he wanted to continue playing with the band, as he was left alone and it was still pending to record another album with Microfón, he recorded "Artaud" with the songs he had for Pescado Rabioso. When I heard the album, I wanted to [die]." As a result, Spinetta enlisted his brother Gustavo and former Almendra members Emilio del Guercio and Rodolfo García to play in the album. Spinetta explained to Berti that he decided to release the album under Pescado Rabioso's name because he felt using his own would be "too pompous", and "to prove to the former members of the group that Pescado Rabioso was [him]." The use of the band's name has also been described as a contractual obligation. "Artaud" was recorded at studio Phonalex in the "barrio" of Belgrano, a few blocks from the Spinetta house. Journalist Miguel Grinberg described the sessions as "a very private ceremony". According to Rodolfo García, the songs were "practically made in the studio" and recorded in few takes. He stated that in "Superchería" and "Las habladurías del mundo", "the concept with which the tracks were created was similar: to play them with absolute freedom [and] the biggest swing of which we capable". Spinetta composed and recorded almost the entire album with a Harptone acoustic guitar that he called "the Standel". Lyricist Roberto Mouro has claimed that Spinetta used a Hagström electric guitar in "Todas las hojas son del viento", while journalist Juan Carlos Diez recalled that the musician told him that he recorded the whole album with a mahogany-colored acoustic Gibson guitar. "Artaud" was produced by publisher Jorge Álvarez for his label Microfón, a subsidiary of record company Talent. Álvarez had founded Microfón after the 1970 closure of his company Mandioca, the first independent record label of Argentine rock. During the late 1960s and early 1970s, the circulation of Artaud's bibliography intensified and Álvarez played an important role in this process by publishing an anthology of the poet in 1968.
The creation of the album was deeply influenced by changes in the musician's personal life. Twenty-three-year-old Spinetta considered that it was time to settle down and stay away from the excesses, so he decided to return to his parents' house in Belgrano. During that time, he was beginning a relationship with Patricia Salazar, with whom he would remain for over twenty-five years and have four children. His brother Gustavo Spinetta stated in 2009 that the music and lyrics in "Artaud" were the result of the "climate of much love" in which Luis Alberto and Salazar lived.
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 If we remember that in 1968 Los Abuelos de la Nada practically imposed the "porteño" version of psychedelic pop with "Diana divaga" and that in 1973 Luis Alberto Spinetta released "Artaud"—perhaps the pinnacle of Argentine rocker avant-garde—it is hard to accept that it was a mere temporary coincidence. There was in those years a correlate between the political and social turbulence of the country and the growth of a music that, apparently, did not seem to be too attentive or interested in the revolutionary utopia, at least as the guerrilla organizations imagined it.
— Sergio Pujol, 2015.
Writers often analyze "Artaud" in relation to the convulsive sociopolitical context of Argentina in 1973, with the fall of the military dictatorship, Héctor José Cámpora's electoral win and the news of Perón's return bringing "a hope of liberty in the midst of oppression." This short period under Cámpora's rule is known as the "Camporist Spring" (Spanish: "primavera camporista") and was characterized by a new sense of liberation and optimism among young people. Discussing the social context in which Spinetta produced "Artaud", Grinberg told Rolling Stone: "At that time we were all Peronists. After the results of Héctor Campora's triumph were known, I remember that there was a spirit of total liberation fervor. Suddenly a truck full of people passed by Teatro General San Martín and I see a hanging Luis hugging a bunch of young people." In the summer of 1973, underground art and press grew in dimension, with parks and alternative magazines being their means of communication. Spinetta took part in Sunday youth gatherings that Miguel Grinberg organized in Parque Centenario through his radio program "El son progresivo", where people formed groups dedicated to "rock nacional", poetry, theater, psychology and plastic arts; and edited a magazine made collectively every Sunday. Some of the other musicians that went to Parque Centenario included Emilio Del Guercio, Rodolfo García, Gustavo Spinetta, Miguel Abuelo and, "without integrating so much", Raúl Porchetto and León Gieco. These meetings, which managed to gather 500 people, have been described by Rock.com.ar as "a true experiment of community integration, [with] debates taking place between the people of the park and the occasional passers-by." According to Del Guercio, they "were concerned to know what was going to be the place of art and culture in the society to come, how the personal transformation of each one and the understanding of the other could modify society"; according to Schanton, "Artaud" is the "offspring of that total liberty".
Concept.
"Artaud" has been described as "the most literary record of "rock nacional"", along with Vox Dei's 1971 album "La Biblia". Writer Juan Pablo Bertazza considered that the album "reaches the closest and most fertile and visceral point that there can be between music and poetry, or better: between music and literature." Spinetta was an avid reader and literature was a fundamental influence throughout his career; such as Julio Cortázar in Almendra, Carlos Castaneda in Spinetta Jade and Carl Jung and Chinese philosophy in Invisible. At the time of "Artaud"'s composition, the "poètes maudits" and surrealist literature were a great influence on him. In addition to Antonin Artaud, Spinetta read other French poets such as Arthur Rimbaud, René Daumal, Charles Baudelaire, Jean Cocteau, André Breton and Comte de Lautréamont.
Spinetta discovered Artaud through Jorge Pistocchi, a journalist and artist. In a November 1972 Pescado Rabioso interview for "Gente" magazine, Spinetta discussed his affinity with poetry and described Rimbaud as "a rock guy a hundred years ago", as he "developed in a way to express his inner sensuality and to express his own energy in a luminous way". He also mentioned Artaud in the same manner, stating that he: "lived the life of a rocker, like Hendrix... The vibes that Artaud threw for other men to understand were thinking, you see, thinking and thinking, really thinking about what it is that happens. Musically, that's Hendrix, for example." Artaud's influence has been linked to the "iconoclast and libertarian spirit" of the album.
Spinetta was particularly influenced by his essays "Heliogabalus; or, the Crowned Anarchist" (French: ""Héliogabale ou l'anarchiste couronné") and "Van Gogh, The Man Suicided by Society" (French: "Van Gogh le suicidé de la société""). He envisioned the album as an "antidote" to the nihilistic message and "contagion of pain" conveyed in Artaud's work. Spinetta told author Eduardo Berti in 1988: "Whoever has read him can not escape a quota of desperation. To him the answer of man is madness; to [John] Lennon it is love. I believe more in the encounter of perfection and happiness through the suppression of pain than through madness and suffering. I believe that only if we worry about healing the soul we will avoid social distortions and fascist behavior, unjust doctrines and totalitarianism, absurd policies and deplorable wars. The only way to raise the weight is with love."
Composition.
The album has been described as "a monumental piece of psychedelic and pastoral folk". Writing for Gibson's website in 2011, Kiko Jones described the album's sound: "Showing influences of progressive rock and touches of psychedelia alongside his singer-songwriter feel, Spinetta skillfully manages to create in "Artaud" a kind of musical bridge between the rock current of the late 60s and the beginning of the 70s." Likewise, American music journalist Richie Unterberger noted: "If it's something of a progressive/psychedelic record, it has more to do with the juxtaposition of late-'60s and early-'70s styles on display than it has to do with the music itself." Germán Arrascaeta of "La Voz del Interior" described the album's content in 2015 as "abrasive psychedelia". "Artaud" has been linked to a period of "reflexive psychedelia" in Argentine rock during the 1970s, evident in the lyrics of Molinari, Pappo and Vox Dei's Nacho Smilari. Gustavo Spinetta told journalist Oscar Jalil in 2013: "We were crazy about Neil Young's "Harvest" which has a very homemade fluency. Somehow I felt like I was playing that music." Music journalist Claudio Kleiman felt that John Lennon's 1970 album "John Lennon/Plastic Ono Band" was an antecedent of "Artaud" because of its "emotional and musical nudity", while also noting similarities in their "stripped instrumentation" and the fact that both Spinetta and Lennon chose to record with a few old friends.
The album was produced at a time when there was a rivalry within Argentine rock, between those who played acoustic music and those who favored an electric, "heavier" style. In this sense, it is considered that "Artaud" managed to unite these two opposite movements.
Writing for Chilean newspaper "La Tercera" in 2017, Alejandro Jofré felt that Spinetta uses his voice as another instrument.
The album's "complex" songs denoted a marked harmonic incorporation of jazz in Spinetta's music, prefiguring its central influence in the following years. While he incorporated even more jazz influences with Invisible, a band he formed as "Artaud" was being released, Spinetta completely immersed himself in jazz rock with the 1977 album "A 18' del sol", inaugurating a "jazz period" in his discography that alienated fans and lasted until the mid 1980s.
Spinetta reflected in 2008 that the album "represents a very interesting return to the creative source of songs within [him]" and that it established the possibility of deconstructing his previous work with Pescado Rabioso to "keep growing". Umberto Pérez of Spanish magazine Efe Eme felt that Spinetta "returned to the source to break it", as he "invoked the acoustic and free spirit of Almendra to capture one of the most intimate moments of his life".
Side one.
"Todas la hojas son del viento".
Perhaps the "most accessible moment" on "Artaud", opener "Todas las hojas son del viento" (English: "All Leaves Belong to the Wind") is a folk rock ballad with a predominantly acoustic sound, although it contains an electric guitar solo at the end. Spinetta's acoustic guitar moves through the musical notes G, F and D, with an irregular phrasing that was characteristic of his music. It has been described as "perhaps "Artaud"'s most accessible moment". Pedro Ogrodnik C. of Colombian magazine "Rockaxis" noted the simplicity and "warm climate" of the short track, and felt it was very reminiscent of Sui Generis' work. It is a well-known Spinetta classic.
The song's lyrics deal with parenting from a countercultural perspective, although Spinetta had yet to be a father. Instead, he was inspired by the pregnancy of his former girlfriend, Cristina Bustamante, who was pregnant by another man. He had "sealed the relationship" with Bustamante in "Blues de Cris", a track included in Pescado Rabioso's 1972 debut album, but they remained in contact. Spinetta wrote the song after she told him that she had doubts about continuing with her pregnancy, which she eventually carried through with. He told Berti: "I wrote 'Todas las hojas son del viento' because at that moment she was like a leaf in the wind, having to decide such a thing." Pablo Schanton compared the song to Graham Nash's "Teach Your Children" and Pink Floyd, as it "provides light instructions for rockers who mature and form families, and must face paternity while being antipaternal."
"Cementerio Club".
Walter Gazzo of MDZ Online described "Cementerio Club" ("Cemetery Club") as "a track in blues rock fashion, very electric and sharp, that contains enigmatic and depressive lyrics". Jazz influences have been noted, particularly for "the harmonic choice, in a minor scale, as well as the enhancement of weak times".
Spinetta described its lyrics as a "controlled irony", intended to convey the coldness of a woman who has left him; with lines such as "How sad and lonely I will be in this cemetery/ How hot will be without you in the summer" (Spanish: "Qué sólo y triste voy a estar en este cementerio/Qué calor hará sin vos en el verano") and "Hey, baby tell me, where do you see something in me you don't detest?" (Spanish: "Oye, dime nena, ¿adónde ves, ahora algo en mí, que no detestes?").
"Por".
Written alongside partner Patricia Salazar, the lyrics of "Por" (Spanish preposition "through", also "by" and "for") are one of the most atypical in Spinetta's career, consisting of forty seven loose nouns chosen to fit the pre-existing melodic lines. For instance, the poem begins: "Tree, leaf, jump, light, approximation, furniture, wool, taste, foot, tea, sea, gas, look" (Spanish: "Árbol, hoja, salto, luz, aproximación, mueble, lana, gusto, pie, té, mar, gas, mirada"). The technique has been compared to concrete poetry and the Dadaist exquisite corpse.
In addition to choosing the words to fit the song, the duo also did so because of their meaning. Spinetta explained: "['Por' was an exercise on] how I could make the song say a word and at the same time be telling a narrative, so to speak. Although that is not exactly what I was looking for, to narrate something, but to have the words go with the music and talk [about something]." The track has been described as a "maximum disarticulation of the poetic discourse", a "rupture of the syntagma" and "perhaps [Spinetta's] most radicalized and surrealist song." When asked if the words responded to a hidden logic, Spinetta replied: "It is kind of a surreal logic. [...] Since the music was already written, it was all a matter of the words entering right into the metric.'"Gesticulador"' ('gesticulator'), for example, is set to fit in."
Regarding the song's lyrics, Pablo Schanton of "Rolling Stone Argentina" reflected: "There is a rediscovery of the poetic dimension of words that can only be achieved by freeing them from the sentence." "La Tercera"'s Alejandro Jofré felt that "Por" "proves that Spinetta was a free and modern creator."
"Superchería".
Spinetta leaves his acoustic vein in "Superchería" (a variation of Spanish "s"uperstición"", English: "superstition" "quackery", particularly practiced on or by the ignorant) "trickery"), a song that according to journalist Walter Gazzo, would "fit very well" in Pescado Rabioso's previous albums. He described it as a "typical" rock track that features "rhythmic and climatic cuts" that bring it closer to jazz. "Rockaxis"'s Pedro Ogrodnik C. felt that "Superchería" possessed "an air more typical of Almendra" due to the participation of Emilio Del Guercio and Rodolfo García. The song has at least three different sections that are linked together. It starts with a waltz-like, triple meter cadence, with Spinetta singing the lyric "Superstition" (Spanish: "Superstición") and a kind of scatting.
"La sed verdadera".
"La sed verdadera" (English: "The True Thirst") has been considered "one of the most inspired, intimate, and personal tracks that Luis ever recorded." Spinetta opens the song: "I know well you've heard about me/And today we meet here/But peace/In me you'll never find it/If it's not in you/In me you'll never find it" (Spanish: ""Sé muy bien que has oído hablar de mí"/"Y hoy nos vemos aquí"/"Pero la paz"/"En mí nunca la encontrarás"/"Si no es en vos"/"En mí nunca la encontrarás"").
Spinetta stated that the song's lyrics are about the "intimacy" and "immensity" of being. The "true thirst" of the title refers to what Spinetta described as the urge "to cover, recognize and make the universe familiar". He explained:
Not only man is made of the universe because the molecules are created in the universe, which is incumbent on the Earth and all the planets, but also, having his star soul is what makes the being speak of its inner immensity. That is to say, not only because of the biological, critical sense, but because of its poetic and abyssal nature.
The song seems to explore or tap into feelings of metaphysical angst related to being vs nothingness:
"Around your living room or outside of it you're not there/But there's someone else who's there/And it's not me/I'm only talking to you from here/He must be/The music that you've never made" (Spanish: "Por tu living o fuera de allí no estás/Pero hay otro que está/Y yo no soy/Yo sólo te hablo desde aquí/Él debe ser/La música que nunca hiciste")
and later concludes:
"The lights leaping in the distance/aren't waiting for you to go and turn them off" (Spanish: "Las luces que saltan a lo lejos/No esperan que vayas a apagarlas")
Side two.
"Cantata de puentes amarillos".
The acoustic 9-minute "Cantata de puentes amarillos" (English: "Cantata of yellow bridges") is the album's centerpiece and "most impactful" song. It once again only features Spinetta and his guitar, who put the song together in the recording studio by superimposing voices and guitars that he recorded himself. It has been described as a combination of English progressive folk with Argentine folk music.
Organized as a suite, the song goes through five distinct sections that Spinetta referred to as "modules". In this sense, it is considered a "similar exploration" to his previous composition "Cristálida", included in Pescado Rabioso's "Pescado 2". Spinetta noted that "while the modules of 'Cristálida' are repeated in a rotating way, those of 'Cantata' are different from each other." CONICET's Jorge Monteleone described the song in 2010: "the voice of Spinetta is articulated solitarily in unexpected harmonic resolutions of the acoustic guitar and alternates rhythms where the images and the enunciative registers [...] overlap in modules, different from each other." He considered "Cantata de puentes amarillos" to be a "pulverization of the pop song", linking it to "Cristálida" and the Beatles' "A Day in the Life" (from "Sgt. Pepper's Lonely Hearts Club Band"). Santiago Giordano of "La Voz del Interior" felt that in the track, "Spinetta overcomes the formal schemes of the "canción" genre."
"Cantata de puentes amarillos" is the song in which the influence of Artaud's writings are most evident. Due to his reading of Artaud's "Van Gogh, The Man Suicided by Society", Spinetta came into contact with van Gogh's letters to his brother Theo and incorporated several images from them into the song's lyrics. For example, the "yellow bridges" (Spanish: "puentes amarillos") are presumedly inspired by "Langlois Bridge at Arles", his only painting featuring a yellow bridge. Furthermore, van Gogh's painting "Road with Cypress and Star" is referenced in the lyrics: "Those shadows on the blue road/Where have they gone?/I compare them with cypresses I've only seen in dreams" (Spanish: ""Aquellas sombras del camino azul"/"¿Dónde están?"/"Yo las comparo con cipreses que vi" s"olo en sueños""). In one of his letters, van Gogh reflects on the suffering of a caged bird that has food and health, but still longs to be free like the other birds. This inspired Spinetta's lyrics: "Look at the bird, he dies in his cage" (Spanish: "Mira el pájaro, se muere en su jaula").
"Bajan".
"Bajan" has been considered Spinetta's most Beatlesque song since the Almendra years. It is perhaps the most optimistic song on the record, referring to the passage of time from the place of youth with lyrics such as "I have time to know whether/what I dream will end in something" (Spanish: "Tengo tiempo para saber/Si lo que sueño concluye en algo"). Spinetta once again refers to nature, with images like "the old oak", "the day that sits to die", "the night that clouds endlessly", and the sun and the moon as two ideal faces of the human." Kleiman felt that the final lines "And besides/You are the sun/Gently as well/You can be the moon" (Spanish: "Y además/Vos sos el sol/Despacio también/Podés ser la luna") have a "clear connection with hippie utopia, still present both in Luis' mind and in the dreams of his generation."
"A Starosta, el idiota".
(English "To Starosta, the Idiot") In the final verses of the song, Spinetta sings "The idiot/I can't help him any longer/He'll burn/staring at the sun" (Spanish: "El idiota/ya nada puedo hacer por él"/"él se quemará/mirando al sol"). Daniel Mecca and Martina Nudelman of "Clarín" felt that these lyrics "pose, as a synthesis, the root of the poetic concept of Spinetta: to not remain fixed in one place." In the psychedelic interlude, towards the end a small portion of the recording of "She loves you" by The Beatles can be heard.
"Las habladurías del mundo".
Richie Unterberger described it as "a taut Latin-flavored rocker vaguely reminiscent of early Santana". Sergio Ariza Lázaro of Diariocrítico.com felt the track sounded like Almendra's second album. The title means "The chit-chat of the world" ("habladurías": lit. "sayings", "chit chat", "gossip", "rumors") and part of the lyrics say "I see, I see/words are never the best/to avoid going naked ("Veo, veo las palabras nunca son/lo mejor para no/andar desnudos") with "V"eo, veo"" (lit. "I see, I see") being also the name of a traditional children's guessing game. The chorus states "I'm no longer tied to any dream/The chit chat of the world can't trap me any longer" ("No estoy atado a ningún sueño ya/Las habladurías del mundo/no pueden atraparme")
Release and promotion.
"Artaud" was released in October 1973 on Talent-Microfón. "Todas las hojas son del viento" was released alongside B-side "Superchería" as the album's only promotional single that same year. Despite the novelty of its cover art, the label did not give "Artaud" any special promotional campaign and the album shared its October 1973 advertisement along with nine other titles, among them Lebón's debut, "Color Humano 3", "Confesiones de invierno" and Aquelarre's "Brumas". Journalist and friend Miguel Grinberg helped promote the concert presentation of "Artaud" by interviewing Spinetta on Radio Municipal and by printing posters and banners. Upon release, a reviewer for specialized magazine "Pelo" praised the album as "the freest and most beautiful long play that I heard in a long time." In its following issue, the magazine stated: "If he wanted, Spinetta could develop a large part of his wealth of creative material as a soloist. He again demonstrated it magically in "Artaud"."
Spinetta presented "Artaud" with two morning shows at the Teatro Astral on Avenida Corrientes, one of the few and most emblematic venues where Argentine rock artists could perform during the early 1970s. Despite the sustained growth that the "rock nacional" movement had been experiencing, venues were made available sporadically and only in the morning or late night hours, as the genre had yet to "reach the necessary status to deserve the central schedules." In addition to Spinetta as a soloist and alongside Pescado Rabioso and later Invisible, other acts that performed at Teatro Astral during those years include Manal, Moris, Color Humano, Sui Géneris and Crucis.
One of the Teatro Astral presentations took place before the album was released and the other some time later, although the exact dates are disputed. After the advent of the Internet, bootleg recordings of the shows have appeared on YouTube and blogs dedicated to Spinetta, becoming some of the artist's most celebrated unofficial releases. Of the two recordings that circulate on the Internet, only that of October 28, 1973, is the