About: La balsa

An Entity of Type: song, from Named Graph: http://dbpedia.org, within Data Space: dbpedia.org

"La balsa" (pronounced [la ˈβalsa]; Spanish for "the raft") is the debut single by the Argentine band Los Gatos, released on July 3, 1967 on Vik, a subsidiary of RCA Victor. Formed in 1967 after the disbandment of Los Gatos Salvajes, Los Gatos were the house band of the bar La Cueva, which became a popular meeting place for rock enthusiasts and the birthplace of Argentine rock—known locally as rock nacional (Spanish for "national rock"). During the mid-to-late 1960s, Buenos Aires was experiencing a cultural blossoming characterized by innovations in modern art, literature and cinema, largely driven by a burgeoning youth subculture that adhered to the countercultural phenomenon of the decade. The underground had its center in La Cueva, Plaza Francia and the Torcuato di Tella Institute, and

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  • «La balsa» es una canción y sencillo de José Alberto Iglesias reconocida por la interpretación del grupo musical Los Gatos. Es considerada la canción fundadora del llamado «rock nacional» argentino y una de las primeras y más influyentes del rock en español. Fue compuesta en la madrugada del 2 de mayo de 1967 por Litto Nebbia y Tanguito en el baño de caballeros de la bar La Perla del Once, ubicada en la esquina de las avenidas Rivadavia y Jujuy, en la ciudad de Buenos Aires. Los Gatos la grabaron el 19 de junio y fue lanzada el 3 de julio de 1967, superando las 250 000 copias vendidas y desatando en Argentina el furor juvenil por el rock en español. Ha sido considerada por la Revista Rolling Stone y la cadena MTV como la mejor canción del rock argentino de todos los tiempos. (es)
  • "La balsa" (pronounced [la ˈβalsa]; Spanish for "the raft") is the debut single by the Argentine band Los Gatos, released on July 3, 1967 on Vik, a subsidiary of RCA Victor. Formed in 1967 after the disbandment of Los Gatos Salvajes, Los Gatos were the house band of the bar La Cueva, which became a popular meeting place for rock enthusiasts and the birthplace of Argentine rock—known locally as rock nacional (Spanish for "national rock"). During the mid-to-late 1960s, Buenos Aires was experiencing a cultural blossoming characterized by innovations in modern art, literature and cinema, largely driven by a burgeoning youth subculture that adhered to the countercultural phenomenon of the decade. The underground had its center in La Cueva, Plaza Francia and the Torcuato di Tella Institute, and identified with British Invasion music. "La balsa" was written by Litto Nebbia—lead vocalist of the band—and Tanguito (credited as Ramsés) on May 2, 1967, in the men's toilet of La Perla de Once, another bar frequented by the group. At the time, Argentina was under a military dictatorship led by Juan Carlos Onganía, which regularly imprisoned and persecuted these young bohemians. Released alongside the B-side "Ayer nomás"—written by Pipo Lernoud and Moris—"La balsa" became a major hit in Argentina and various Latin American countries, selling around 250,000 copies. It is a melodic, beat-influenced song, with prominent use of a Farfisa electronic organ and bossa nova elements attributed to Nebbia. Its sound—and commercial impact—reflected the loss of popularity of the nueva ola phenomenon and American rock 'n' roll, which began to be perceived as trivial. The success of "La balsa" was an unprecedented feat for Spanish-language rock (rock en español), as it established its commercial viability at a time when the use of Spanish lyrics was frowned upon. Its release is generally considered to be the origin of Argentine rock, paving the way for bands such as Almendra and Manal—along with Los Gatos, these bands are considered the founders of the style. The popularity of "La balsa" turned Argentine rock into a widespread youth culture phenomenon, and was followed by the appearance of the first magazines, independent record labels and music festivals of the movement. The song also became an anthem for the burgeoning Argentine hippie movement, which grew in size and influenced this first stage of rock nacional. The song has also been the subject of controversy, which prompted Nebbia to not perform it live until 2001. The 1973 release of Tango, Tanguito's only studio album, established a myth which suggested that he was the most important author behind the song, and that Nebbia had taken advantage of his fragile state of mind. The polemic was revived with the 1993 film Tango Feroz, which made Tanguito an icon but was criticized for its historical inaccuracies. The success of the single and the stardom of Los Gatos was also followed by a complex debate on "commercial music" and the negative implications that the creation of a mass market could have on the authenticity of rock acts. "La balsa" continues to be acclaimed in retrospective, being considered one of the most important and influential releases of Spanish-language rock music. In 2002, it was listed as the greatest song in the history of Argentine rock by MTV and the Argentine edition of Rolling Stone. In commemoration of the 40th anniversary of the single's release in 2007, Los Gatos reunited and underwent a Latin American tour. It was also performed by Nebbia joined by several artists in 2010, as part of the Argentina Bicentennial celebrations. (en)
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dbo:recordDate
  • 1967-06-19 (xsd:date)
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  • 1967-07-03 (xsd:date)
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  • 176.000000 (xsd:double)
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  • left (en)
  • right (en)
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  • A-side of the single (en)
  • B-side of the single (en)
dbp:artist
dbp:bSide
  • Ayer nomás (en)
dbp:caption
  • View of La Menesunda, a 1965 interactive installation by Marta Minujín. Displayed at the Torcuato di Tella Institute—an important center of youth-led artistic experimentation—the work revolutionized the artistic environment of Buenos Aires. (en)
  • Los Beatniks in La Perla de Once in 1967, another meeting point for the rock underground, where "La balsa" was composed. (en)
  • Young porteños at Galería del Este in Florida Street, a popular place for countercultural teens to meet and buy Swinging London and hippie-inspired clothes and wearable art. (en)
  • Los Gatos performing in La Cueva in 1967, a Recoleta bar frequented by the first Argentine rock musicians. (en)
dbp:cover
  • La balsa tapa.jpg (en)
dbp:description
  • Sample of Tanguito's solo version of "La balsa", recorded in 1970 and released posthumously three years later. It includes the famous phrase spoken by Manal's Javier Martínez, which installed the controversy regarding the song's authorship. (en)
  • "First a suggestive guitar. And then the bass-drums base in the typical merseybeat cadence. The keyboards, bossa nova chords, conquer from the beginning. However, the feat, the different thing, does not appear until the phrasing, that voice in Spanish that calls for "getting a lot of wood' and going 'to shipwreck'." (en)
  • –Juan Manuel Strassburger, El Cronista, 2007 (en)
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  • vertical (en)
dbp:filename
  • La balsa sample.ogg (en)
dbp:footer
  • A-side and B-side of the 7-inch single, released under RCA Victor's Vik label. Tanguito can be seen credited as "Ramsés" on the former, while the latter features Moris and Pipo Lernoud's "Ayer nomás". (en)
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  • Ayer Nomás record.png (en)
  • Jóvenes en Galería del Este.JPG (en)
  • La Perla de Once Beatniks.jpg (en)
  • La balsa record.png (en)
  • Los Gatos en La Cueva.jpg (en)
  • Minujín Menesunda.jpg (en)
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  • Vik (en)
dbp:language
  • Spanish (en)
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  • 176.0
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  • 986392 (xsd:integer)
dbp:name
  • La balsa (en)
dbp:nextTitle
  • Ya no quiero soñar (en)
dbp:nextYear
  • 1967 (xsd:integer)
dbp:producer
  • Tim Croatto (en)
dbp:quote
  • "Until the first half of the sixties we had rock, but not yet rock nacional. The adoption of Spanish as a local rock language would be the most outstanding aspect of the new stage, as well as a mark of identity." (en)
  • "But the heart, the spirit of the movement was not intellectual, it was musical, rambling... The creative shipwreck... What happened is that there was a difference between us and the previous generations. Argentine intellectuals, plastic artists, poets and beatnik journalists, we did not want to get together for a couple of hours to talk in a cafe, we wanted to live twenty-four hours. Free life was the work of art. To live life without ties and discovering the beauty of the world, look what a proposal!" (en)
dbp:recorded
  • 1967-06-19 (xsd:date)
dbp:released
  • 1967-07-03 (xsd:date)
dbp:source
  • — Pedro Pujó, founder of Mandioca Records, July 1993 (en)
  • — Yanko González, 2013. (en)
dbp:studio
  • TNT Studios, Buenos Aires (en)
dbp:title
  • "La balsa" (en)
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  • single (en)
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  • 200 (xsd:integer)
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dbp:writer
  • (en)
  • Litto Nebbia (en)
  • Tanguito (en)
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  • «La balsa» es una canción y sencillo de José Alberto Iglesias reconocida por la interpretación del grupo musical Los Gatos. Es considerada la canción fundadora del llamado «rock nacional» argentino y una de las primeras y más influyentes del rock en español. Fue compuesta en la madrugada del 2 de mayo de 1967 por Litto Nebbia y Tanguito en el baño de caballeros de la bar La Perla del Once, ubicada en la esquina de las avenidas Rivadavia y Jujuy, en la ciudad de Buenos Aires. (es)
  • "La balsa" (pronounced [la ˈβalsa]; Spanish for "the raft") is the debut single by the Argentine band Los Gatos, released on July 3, 1967 on Vik, a subsidiary of RCA Victor. Formed in 1967 after the disbandment of Los Gatos Salvajes, Los Gatos were the house band of the bar La Cueva, which became a popular meeting place for rock enthusiasts and the birthplace of Argentine rock—known locally as rock nacional (Spanish for "national rock"). During the mid-to-late 1960s, Buenos Aires was experiencing a cultural blossoming characterized by innovations in modern art, literature and cinema, largely driven by a burgeoning youth subculture that adhered to the countercultural phenomenon of the decade. The underground had its center in La Cueva, Plaza Francia and the Torcuato di Tella Institute, and (en)
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  • La balsa (es)
  • La balsa (en)
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  • La balsa (en)
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