{"id":6312,"date":"2020-08-25T00:00:14","date_gmt":"2020-08-25T04:00:14","guid":{"rendered":"https:\/\/magazineampm.com\/?p=6312"},"modified":"2022-03-28T19:23:53","modified_gmt":"2022-03-28T23:23:53","slug":"el-disco-rayado-descartes","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/el-disco-rayado-descartes\/","title":{"rendered":"discards"},"content":{"rendered":"

One of Silvio. The one that left me with the most bruises. Fifteen, to be exact. It's not the best. If my physical integrity depended on pointing out which is their best album, I would say Causes and chances<\/em>, but there is a part of my life impossible to remember without the background music of the discards<\/em> (1998).<\/p>\n

My imaginary teenage girlfriends had many faces but one sound, and this was Your image<\/em>, the second track on that album. Not so much now, but there was a time not too long ago when I was liquidated, reduced to the circumstance of an old rag dislodged and scattered on the bed, this: \u201c(\u2026) and so, you were the other half of dawn that did not light Never". Final. You don't do that to a poor, melancholy pepillo, without a girl who thought he was a poet.<\/p>\n

I know them all. I sang them in my room with my eyes closed and my first guitar, before figurative audiences and invisible girls who listened to me quietly, in love with me. I played the record, sat on the edge of the bed with the viola on my right thigh, on edge, and simulated the chords while singing the melodies, almost always softly, but without the authenticity of my interpretation suffering, as if whether it was in Karl Marx or on the steps of the University. The movements of my mouth corresponded with the height of the notes, as well as the alternating constriction and laxity of the diaphragm and the sphincter. The old ones sometimes opened the door and being caught in the trance made me embarrassed that one only has at that age; embarrassment that came, naturally, with a scolding about the need for them to knock on the door first.<\/p>\n

I did sing some songs in public, By horse<\/em>, for instance. I remember that so early I didn't feel very comfortable about \u201cOn horseback, so necessary \/ I feel more revolutionary\u201d; but what was he going to do? Invent a manifesto? Make a performance <\/em>in front of the whole school? Singing that last verse with a guttural voice and the horned hand of the heavy metal<\/em> up? Many things went through my head, but I was never that transgressive. That's how Silvio had written it, and that's how I sang it.<\/p>\n

The Illustrious Son of San Antonio de los Ba\u00f1os had such a prolific time (and with quality; because he looks at Gerardo Alfonso), that he allowed himself to make this album with what he considered to be the trilogy's leftovers Silvio<\/em>–Rodr\u00edguez<\/em>–Dom\u00ednguez<\/em>. Is incredible. Plus in '98, at 52, he was still playing guitar like a beast. There is In search of a dream<\/em> to test it. I don't know if enough is said about the great guitarist that he is, or about his melodic arsenal, which continues to do so much damage to nostalgic troubadours like the one I tried to be. I guess so.<\/p>\n

In this album we witness the end of his youth. Maybe it lasted one or two more years and he had time to release the album with Rey Guerra, but that's it. Then came the time to date with angels<\/em> and then they were just isolated flashes. We will never know if Silvio really lost the flow <\/em>or was it that we lost our innocence. My friends, I am lying if I say that I can approach his work objectively. One is already 30 and believes himself to be an adult, responsible and serene in his judgment; but the one who listens to these songs that, with a clean chisel stroke, sculpted what you are today, is still the 15-year-old brat who doubted every time he heard Life and other issues<\/em>.<\/p>\n