Portal de Murcia
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Other music season starts Auditorium and Congress Center Victor Villegas jumping, and the group that changed the parameters of Spanish rock, Tequila, in his comeback, will stop in Murcia morning January 17, 1925 €.
Alejo Stivel, Ariel Rot and Felipe Lipe, together again to sing those songs that are part of the history of Spanish music and the lives of many.
Salta, I go crazy, Tell me you love me, do not you change the time, rock & roll in the town square ...
Tequila was an essential element in the sentimental education of millions of Spanish, disappeared from the scene just when they got the harder part: a name, a sound and a hard-won popularity.
Now again, and will be here.
The concert, at 21:30.
This return of the group that changed the parameters of Spanish rock in the late 70's and was the essential hinge to receive the 80's, stems from an idea Stivel Alejo, vocalist of Tequila: One day, a few weeks ago , called Ariel and said "How about if we add to Tequila?".
Ariel does not know what to say and were to speak a few days later, mostly because as Rot himself says, "I like to have everything well planned and in such times is heavily armed and had my personal project."
But after a meeting to discuss the matter, "I started putting the idea out of my course of playing solo and roll guitarist of a group."
Alejo Stivel, Ariel Rot and Felipe Lipe (the original bassist of Tequila) were to play the old songs of Tequila and saw that it worked, "is a fun repertoire" says Ariel, is not stop and think, the songs come alone. It's like touching the issues of Chuck Berry or the Stones. "
Tequila survivor of the trio, they added Josu Garcia (part of the Third Republic) on guitar (cover missed post Julián Infante), Daniel Griffin on drums (in the position occupied by Manolo Iglesias) and Argentine keyboardist Mauro name.
Ariel said to have seen the songs in their original arrangements were very successful, so do not be too radical changes with respect to the issues that we know.
Thus, formation of the sextet, Tequila, 25 years after its dissolution split in 1983 - will begin testing in May seriously overlooking a large tour that is already beginning to plan and cover between 12 and 15 concerts during the months of July and August.
HISTORY
Particular intuition: it was they, the types of Tequila, who deflowered in this country within Rock and an explanation: when they appeared, Spain was a moorland to the Rock.
The rock in the strict sense, since all proposals proliferated mixed Laietan rock to rock with roots in Andalusia.
In Madrid, he breathed an urban rock movement proudly waving the flag of marginality but it seemed impossible that this root in the general public.
Were too far the sixties, when dozens of sets swept by pop in Castilian.
Then came the era of psychedelia and progressivism, proposals too harsh for a country that should not be forgotten, lived under a dictatorship.
The seventies began with the national rock underground situation (literally, underground), with the list dominated by foreign productions baladis TAS.
Tequila changed everything.
In 1977, Julián Infante (guitar) and Felipe Lipe (bass) are vented at the Spoonful Blues Band and met Ariel Rot (guitar), newly arrived from Buenos Aires.
Those were the days of concerts at the M & M and testing in a house in Arturo Soria.
Soon, they joined Manolo Iglesias (drums), Alejo Tequila Stivel was completed with an Argentine friend of Ariel, who took over as singer.
A point to mention how important was the emigration of Argentina in the reinvention of Spanish rock.
In this republic no fracture occurred which plunged to rock Made In Spain in the late sixties.
Instead, the audience followed the evolution of the musicians, and created a splendid Argentine rock pantheon of creators and a peculiar form of singing, an art world itself and a way of facing the world and reflect the inner reality.
Mauricio was Birabent, alias Moris, a type of rock history in Argentina, who showed locals that the insurgents could make songs in Castilian-at that time, the preferred language was broken English, which portrays the city and the people who lived there.
It sounds elementary but then was a revelation.
Ariel and Alexis were brought from Buenos Aires issues Charly García, Sergio Makaroff and Norberto Napolitano, but also an ambitious idea: the possibility of developing a sencillito rock capable of seducing a youth who was discovering the joys of freedom.
Complex had no connection to rock then circulated the theory that was part of "cultural colonization Yankee" - and felt burdened by the political turmoil of the fledgling democracy.
The reference sound was obvious: The Rolling Stones.
But some oxygenated Stones, stripped of vice, without fat or arrogance.
The tequila was a elemental proposal in classicism.
The distillation of 25 years of rock, designed as a communication vehicle, no badness or delusions of rock that wants to be an artist.
But Tequila had potential, smelled success.
It was starting the Tequilamanía and mobilized: the group was surrounded by bustling crowds, with girls who waved banners and posters printed.
There was to pretend a lot: the market was ripe for a group like Tequila.
"Honors."
The first album, featured on its cover them as bad guys, long hair and tie - in a tiny room, on the back cover of the five individual photos, clothes and too much makeup.
Yes, they were promoted as an object of desire.
The album opened with "Rock & roll in the town square and was a perfect metaphor.
Tequila country burst into a somewhat small town where rock was a rare fashion and you could end up in the basin, the waiters did not have much sympathy for those fags electric guitars.
But the group was sure to bring needed medicine, "a little roll / would not be wrong / if I'm high / I can not play / rock is in my body / jump and freak out / I can not release / rock is your body / let's go dance. "
The rock as liberation.
Tamta rock as generational.
Tequila was talking about basic problems of waiting for the girl, to be without peel, to run into someone amazing, to meet the desires and outside, to deal with parents and adult society.
And he said with a colloquial, not suppressed, with impudence.
Alejo had the exuberance needed to transmit these messages and voice rascal who connected with his listeners infallibly.
Behind, an effective band billed infectious rhythms, blunt-rock life.
The tequilamanía was a genuine revolution: the female sector of the industry groups fed the Pecos and spent guapitos solo guitar rock.
And Tequila was a pretty "authentic" to attract a male audience also needed to provide it with emergency experience in your language.
In 1980 came the "new wave" did not succeed immediately, but uncovers a whole new wave of groups designed to replace those that emerged in the seventies.
A movement that would have been unthinkable without the precedent triumphant Tequila: the companies already knew that it was marketable, and in cases such as Radio Futura Tequila imitated the model release to stop.
And although they were too modern to admit it, many of those last things were motivated by the example of Ariel and company: the five unabashedly enjoyed his status as rock stars, living fully, embodied the spirit of rock.
Discs with a careful design that emphasized an exhibition of color, selling the sex appeal of some rockers attractive image.
And the company missed the whole hog Promotional blue vinyl albums, maxis with extended versions, gifts of stickers and posters in the Lps ...
Tequila had achieved normalization of rock in Spain and, paradoxically, the situation turned against him.
Source: Prensa Mar de Músicas
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