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From album
Honestidad brutal
Andrés Calamaro · 1999 · Track 14
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The story behind
The first time I heard Las dos cosas, I was left with the feeling that this song doesn’t fit into a single dimension. It’s not just the rhythm that oscillates between catchy and introspective, nor the lyrics that play with everyday images but loaded with double meanings. What struck me most was how the track maintains a constant tension without falling into the obvious: the bass and drums weave a foundation that seems simple, but in reality demands precision to avoid losing the pulse of that sway between the melodic and the rhythmic. There’s a technical detail that stands out when playing it: the bridge, with its unexpected chord change, breaks away from the more linear structure of the rest of the song and gives it that air of a track that refuses to conform to convention.
Calamaro didn’t arrive at Las dos cosas out of nowhere. His musical journey began early, with an accordion at eight years old and his first composition at ten. But it was in Uruguay where he took his first professional steps, playing keyboards in the band Raíces after being recommended by Sergio Makaroff. Before establishing himself as a solo artist, he went through groups like the Chorizo Colorado Blues Band with Augusto Gringui Herrera, and later projects ranging from rock to classic pop. He even replaced Alejandro O'Donell in the group Stress, where he met Gustavo Cerati and Héctor Zeta Bosio, musicians who would later become key figures in his own career. This blend of influences — from blues to Argentine rock — is evident in songs like this one, where the raw and the refined coexist. The recording of Las dos cosas wasn’t luxurious: it was done in borrowed studios with basic equipment, yet the result was a track that, without intending to, ended up being one of those cuts that withstand the test of time.