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La era de la boludez 1993
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La era de la boludez

When Divididos released La era de la boludez in September 1993, the band already had a history behind them. This third studio album, recorded with Ricardo Mollo on guitar and vocals, Diego Arnedo on bass, and Federico Gil Solá on drums, became a turning point. The sound they forged here is compact and unique, a mix that draws from diverse sources: Argentine folklore, funk, reggae, the influence of Atahualpa Yupanqui, and even The Beatles. It's not just rock; it's an exploration that incorporates elements from Latin America, references to Eduardo Galeano, and even nods to Indian music with the sitar. The album was mixed in the United States and featured the artistic direction and production of Gustavo Santaolalla, consolidating Divididos as a major force in the Argentine rock scene.

Year
1993
Songs
14
Duration
47 min 17 seg
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13 song|s

Song list

# Title Available ⏱
01

Salir a asustar

3:20
02

Ortega y Gasés

2:32
03

El arriero

6:39
04

Salir a comprar

4:38
05

¿Qué ves?

5:14
06

Pestaña de camello

1:28
07

Rasputín / Hey Jude

3:54
08

Dame un limón

3:58
09

Paisano de Hurlingham

3:59
10

Cristófolo Cacarnú

2:40
11

Indio deja el mezcal

4:12
12

Huelga de amores

1:56
13

Tajo C

2:47

About the album

La era de la boludez, according to DoReSol

Within this work, there are songs that resonate with particular strength. The version of "El Arriero," originally by Atahualpa Yupanqui, is transformed under the hands of Divididos into a blues with hints of Led Zeppelin, an idea that emerged spontaneously during recording. On the other hand, *¿Qué ves?* stands out for its sonic treatment, a kind of reggae with a hard guitar and a bassline that flirts with folklore, incorporating the sound of the charango and moments that evoke malambo. Its radio impact was such that the band even felt the need to leave it out of the live setlist for a while. Also notable are pieces like *Salir A Comprar*, which addresses the frivolity of the era with a very virtuousous creole funk, and *Paisano De Hurlingham*, which along with *Rasputín/Hey Jude* (where they hook The Beatles' classic) show a more powerful rock.

The album also dares with instrumental and experimental moments. *Pestaña de camello*, for example, serves as an introduction to *Rasputín/Hey Jude*, and later we find *Pestaña De Camello II*, the most experimental track on the album, which revisits variations of other songs and brings the sitar to the forefront, closing the album with an invitation to the imagination. Other tracks like *Dame Un Limón* explore textures with instruments such as the double bass, slide guitar, and brass, while *Ortega Y Gases* and *Huelga De Amores* (inspired by Galeano) demonstrate a roots essence, but approached from an electric and acidic perspective.

Discography

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