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Mateo solo bien se lame 1972
Album · by Eduardo Mateo ↗ View artist

Mateo solo bien se lame

When Eduardo Mateo released his album Mateo solo bien se lame in 1972, he was already a key figure in the music scene of Uruguay. This album stands out for the way Mateo managed to intertwine rhythms like candombe with bossa nova and beat, creating a very personal sound. His way of composing and playing the guitar, influenced by artists like João Gilberto, is present in each of the thirteen songs that make up the album. It is a work that reflects the search for a Uruguayan musical identity that was taking shape in the 1960s and 1970s.

Year
1972
Songs
13
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About the album

Mateo solo bien se lame, according to DoReSol

Within Mateo solo bien se lame, songs like Yulelé and Niña are clear examples of the sonic fusion that characterized Mateo. The album, which includes tracks like Jacinta and Lala, shows the artist's ability to build melodies and harmonies that connect different musical traditions. The way he approached composition, often starting from rhythmic patterns and exploring textures, is something that those who approach his music to play it can discover and appreciate.

The career of Eduardo Mateo led him to become an influential musician, and this album is a testament to that sonic experimentation. His time in previous groups and his participation in movements like the Conciertos Beat laid the groundwork for this type of proposal, which sought to expand the horizons of popular music in Montevideo and beyond. Mateo solo bien se lame remains a testament to that era and his particular artistic vision.