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From album
Treinta minutos de vida
Moris · 1970 · Track 7
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The story behind
When Moris recorded El piano de Olivos, the result was a piece that rests on an intimate and sustained atmosphere, where the piano draws melodies that seem to float over a backdrop of acoustic guitars and soft percussion. The song does not aim to make an impact with an explosive chorus, but rather unfolds at a slow tempo, almost like a dialogue between the keyboard and the voice, where each note sounds like a confession. What stands out most is its structure: the track stretches over four minutes without falling into empty repetitions, and that piano which gives the song its name not only accompanies but guides the narrative with an almost literary presence.
The album Treinta, which features El piano de Olivos, was recorded between 1967 and 1968 under precarious conditions, with borrowed equipment and sessions that stretched into the late hours. Jorge Álvarez and Pedro Pujó shared production duties, seeking a sound that blended the rock of the time with touches of folk and ballad. By the time the record was released in 1970 under the Mandiola label, it was already clear that Moris was not following the commercial formulas of the era: songs like Ayer, Pato trabaja en una carnicería, or Escúchame showcased a sonic personality that did not fit the mold. Decades later, in the 2000s, Rolling Stone magazine ranked it among the ten best albums of Argentine national rock, though by 2013 its position had dropped to 11th place. But beyond rankings, El piano de Olivos remains a unique moment: that song that needs no haste to say what it has to say.