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Pequeñas anécdotas sobre las instituciones 1974
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Pequeñas anécdotas sobre las instituciones

When Sui Generis released Pequeñas anécdotas sobre las instituciones in 1974, Charly García and Nito Mestre were no longer alone. Rinaldo Rafanelli and Juan Rodríguez had joined, transforming the duo into a quartet with a more electric sound and exploring progressive rock. Unlike their previous works, this album was conceived as a conceptual piece. The lyrics, through often surreal language, directly targeted the social and political structures of the time: family, the military, repression, and censorship. García himself explained that it referred to "Power" and to those who had "appropriated institutions." The album was very well received by critics, but did not achieve the massive sales of its predecessors.

Year
1974
Songs
9
Duration
40 min 37 seg
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About the album

Pequeñas anécdotas sobre las instituciones, according to DoReSol

This, coupled with García's commitment to a more novel sound, moving away from the folk-rock that characterized them, generated a discouragement that would eventually lead to the separation of Sui Generis. To seek new ideas and sounds, García traveled to the United States and acquired innovative keyboards for the time, such as a Fender Rhodes electric piano, an ARP String ensemble string synthesizer, and a Mini Moog. The lyrics addressed themes of social and political repression in a context of growing violence in Argentina, marked by the actions of far-right groups like José López Rega's Triple A.

Even the original title, Instituciones, had to be modified to Pequeñas anécdotas sobre las instituciones, and several songs underwent changes in their lyrics, while "Botas Locas" and "Juan Represión" were replaced by other tracks. The stylistic shift towards a more electric sound was not entirely well-received by the public. The album's presentation took place on December 13, 1974, at the Teatro Coliseo, with the participation of guests such as David Lebón and León Gieco, three days before the official release. For Instituciones to be published without endangering the musicians and producers in the face of escalating violence during the government of María Estela Martínez de Perón, which preceded the dictatorship, these modifications had to be made.

The album, with its more direct and critical approach, marked a turning point in the band's career and in the music of Argentina.

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