Line #39 Music/PatricioReyYSusRedonditosDeRicota


1	[[quoteright:520:https://static.tvtropes.org/pmwiki/pub/images/tvt_redonditos.jpg]]
2	[[caption-width-right:520:''"¿Son por acaso, ustedes hoy, un público respetable?"''[[note]]"Are you gentlemen today a respectable audience?"[[/note]][[labelnote:Left to right]]Music/SkayBeilinson, Walter Sidotti, Music/IndioSolari, Semilla Bucciarelli and Sergio Dawi. '''Not pictured:''' Hernán Aramberri, Rocambole, La Negra Poly and every single member prior to this lineup.[[/labelnote]]]]
3
4	"Patricio Rey y sus Redonditos de Ricota" is a rock music band from Argentina. Yes, all that is the name, so fans usually shorten it to the FanNickname of "Los Redondos".
5
6	The band was formed in 1976 in La Plata, by members of former bands La Cofradía de la Flor Solar, Dulcemembriyo and Diplodocum Red & Brown. They became a success in the underground circuit in the early 1980s, and released their first LP in 1984, ''Gulp!''. However, it wasn't until ''Oktubre'', released two years later, that the band became the country's phenomenon. They kept releasing albums and doing live concerts until 1991, where the fan Walter Bulacio died by PoliceBrutality. Afterwards, the band limited itself to playing more sporadically until they ended up playing once or twice per year, though the albums continued to be released until their breakup in 2001. During the latter part of TheNineties, they were banned in some venues and cities. Afterwards, both leaders of the band, [[Music/IndioSolari Carlos "Indio" Solari]] and [[Music/SkayBeilinson Eduardo "Skay" Beilinson]], began fruitful solo careers that continue to our days.
7
8	Still, the band's musical legacy, as well as their rejection to play on major labels, and their influence on Argentina's musical scene throughout TheNineties onwards, granted them a reputation and street cred that surpasses any incident and controversy related to them. It's not uncommon to walk in any street in Argentina without their music sounding from somewhere.
9
10	[[folder:Members]]
11	!! Last known lineup
12	* [[Music/IndioSolari Carlos "Indio" Solari]] - Vocals (1976-2001)
13	* [[Music/SkayBeilinson Eduardo "Skay" Beilinson]] - Guitars (1976-2001)
14	* Daniel Fernando "Semilla" Bucciarelli - Bass (1982-2001)
15	* Walter Sidotti - Drums (1987-2001)
16	* Sergio Dawi - Saxophone, harmonics and keyboards (1987-2001)
17	* Hernán Aramberri - Sequences (1997-2001)
18	* Ricardo "Rocambole" Cohen - Art (1976-2001)
19	* Carmen "La Negra Poly" Policastro - Manager (1976-2001)
20
21	!! Former members
22	* Eduardo Guillermo Pantano "Willy" Crook - Saxophone (1984-1987)
23	* Tito Fargo D'Aviero - Guitars (1984-1987)
24	* "Piojo" Ábalos - Drums (1984-1986)
25	* Gabriel "Conejo" Jolivet - Guitars and slide (1978-1979; 1993-1998)
26	* Gonzalo Palacios - Saxophone (1983-1984)
27	[[/folder]]
28
29	[[folder:Discography]]
30	!! Studio albums
31	* ''Gulp!'' (1985)
32	* ''Oktubre'' (1986)
33	* ''Un Baión para el Ojo Idiota'' (1987)
34	* ''¡Bang! ¡Bang! Estás Liquidado'' (1989)
35	* ''La Mosca y la Sopa'' (1991)
36	* ''Lobo Suelto'' (1993)
37	* ''Cordero atado'' (1993)
38	* ''Luzbelito'' (1996)
39	* ''Último Bondi a Finisterre'' (1998)
40	* ''Momo Sampler'' (2000)
41
42	!! Live albums
43	* ''En Directo'' (1992)
44	[[/folder]]
45	----
46	!!The band shows examples of:
47	* AddictionSong:
48	** "Sorpresa en Shanghai", from ''Lobo Suelto'', is about a drug addict who does drugs in company of other people.
49	** Half of "Un Pacman en el Savoy", from ''Bang! Bang! Estás liquidado'', is about a guy who's addicted to gambling, especially horse racing.
50	* AlbumTitleDrop:
51	** A partial one in "Gualicho" from "Último Bondi a Finisterre"
52	-->El "zumba" se colgó\
53	del ''bondi a Finisterre''.
54	** The opener "El Templo de Momo" quotes the album it originates from, ''Momo Sampler'', in the second chorus, partially to set the tone for the album itself.
55	* AntiAntichrist: "Lobo caído", from ''Lobo Suelto'', is about the anthropomorphic representation of evil as a wolf ("Lupus el lobo") being tired of being associated with evil.
56	* AntiLoveSong: The subject of "Motorpsico", from ''Oktubre'', is undergoing a CrisisOfFaith derived from a bad love experience.
57	* AudienceParticipationSong: Almost all of their songs have a memorable line or riff, so it's not uncommon to hear the audience singing them. The biggest example in this regard is "Juguetes Perdidos", from ''Luzbelito'', usually chosen as the show's ending song.
58	* AuthorAppeal:
59	** Semilla has contributed a few songs to the band such as "Mi Perro Dinamita" and "Ella Debe Estar Tan Linda". These songs share something in common: they are twist rock songs.
60	** Despite what [[UrbanLegendOfZelda urban legends]] and [[BeamMeUpScotty false]] [[CowboyBebopAtHisComputer statements]] may tell you, Solari's lyrics can be divided in two groups: hard personal experiences and his own literary and visual preferences.
61	* ConceptAlbum: ''Momo Sampler'' is a picture of Argentina's society around the time it was done, with different characters from all the different walks of society being represented in every song, from the lower and indigent classes ("Una piba con la remera de Greenpeace", "Rato molhado", "La murga de la virgencita") to those in the middle class whose interests vary from the weird but innocuous ("Morta punto com") to the outright dangerous ("Sheriff", about a woman obsessed with what was called [[PoliceBrutality "gatillo fácil" and "mano dura"]]). The opener "El templo de Momo" even calls this version of Argentina's society a [[http://en.wikipedia.org/wiki/Murga "murga"]].
62	* CopHater: Many of their songs paint a negative light on law enforcers: "Fusilados por la Cruz Roja", "Nuestro Amo Juega al Esclavo", "Drogocop" and "Sheriff", for example. Being a survivor of Argentina's military dictatorship and PoliceBrutality being a common factor on their nineties/early-TurnOfTheMillennium shows (with a gig even ending with a dead fan, Walter Bulacio), it's no wonder Solari distrusts them a lot in his lyrics.
63	* CoverVersion: [[Music/TheDoors "Roadhouse Blues"]], which can only be found in some bootlegs.
64	* DarkerAndEdgier:
65	** Their output from 1986's ''Oktubre'' to 1993's double album ''Lobo Suelto/Cordero Atado'' is this compared to 1984's festive and upbeat ''Gulp!'', produced when Los Redondos were a troupe with a rock band on top of it. Darker lyrics, darker themes (the 1917 Russian Revolution in "Fuegos de Oktubre", the foreign invasion of another country in "Nuestro Amo Juega al Esclavo" and "Rock Para los Dientes" and drug experiences such as the one depicted in "Ji ji ji") and a more streamlined rock band format (product of Solari replacing the troupe with three musicians who defined the band's sound) shaped the band's catalogue for the period. The positive side is that, at least, those songs were covered under Solari's cryptic writing as well as the happy-sounding music.
66	** 1996's ''Luzbelito'' was the transition point between the two eras. It had less hits than the hit-filled prior albums, an even darker sound, darker lyrics and darker themes such as satanism ("Fanfarria del Cabrío", which could easily pass as a Music/BlackSabbath song), the life and last moments of big name drug dealer Pablo Escobar Gaviria ("Me Matan Limón") and the actual loss of freedom ("Blues de la Libertad"). There was the ocassional HopeSpot ("Juguetes Perdidos") and happy songs ("Mariposa Pontiac/Rock del País"), but for the most part, this album set the stage for the darker direction the band was about to take. The fact that the band was having serious issues with their newfound popularity at the time, right until the split, doesn't help.
67	** Their last two albums, 1997's ''Último Bondi a Finisterre'' to 2000's ''Momo Sampler'' are quite darker compared to most of their back catalogue. For once, they're mostly devoid of hits (even though songs such as "Gualicho" and "Una Piba con la Remera de Greenpeace" ''did'' saw some radio airing) and direct songs. Then there's the incorporation of Hernán Aramberri as the band's keyboardist and programmer, whose work gave the band a quite dark sound, making some songs not quite for those who liked Los Redondos' more direct rock. ''Momo Sampler'', in particular, is a ConceptAlbum about the turmoiled state of the Argentinean society facing the TurnOfTheMillennium.
68	* EarlyInstallmentWeirdness: ''Gulp!'' was produced while the band was still a troupe with a rock band added on top of it, and as such has a female choir and extra instrumentation. The production was also significantly different from the rest of the band's discography, featuring a quasi-electronic sound for its drums, and more acute-sounding guitars.
69	* GenreShift:
70	** "Murga Purga" from ''Momo Sampler'' is, for all intents and purposes, a rock band playing a [[https://en.wikipedia.org/wiki/Murga murga]].
71	** Their albums, in broad strokes, went from a post punk sound to a darker hard rock style as years went by.
72	* HeartbeatSoundtrack: ''Lobo Suelto'' starts with "Invocación", a track ambiented with a guitar riff and a heartbeat on the background.
73	* HopeSpot: From "Juguetes Perdidos", from ''Luzbelito'':
74	--> ''[[DarkestHour Cuando la noche es más oscura]][[note]]When the night is at its darkest[[/note]]\
75	se viene el día en tu corazón.[[note]]the day comes into your heart[[/note]]''
76	* JustGotOutOfJail: The CutSong "Rock de las Abejas" is about a former prisoner who got out of jail after a heist.
77	* IJustWantToBeFree: "Blues de la Libertad", from ''Luzbelito'', is about the quest for freedom as a motivation, a necessity, and the hardships of both not having it and the hardships which are associated with obtaining it.
78	* LimitedLyricsSong:
79	** [[UsefulNotes/RedOctober "Fuegos de Oktubre"]] from ''Oktubre'' has only three lines that are repeated across the song:
80	--> "De regreso a Oktubre, desde Oktubre[[note]]Returning to Oktober, from Oktober[[/note]]\
81	Sin un estandarte de mi parte[[note]]Without a banner, on my part[[/note]]\
82	Te prefiero igual, internacional[[note]]I still prefer you, international.[[/note]]"
83	** "Invocación", the opening track of ''Lobo Suelto'', has Solari repeating several times "Lobo"[[note]]Wolf[[/note]]
84	* LongRunnerLineUp: With the sole exception of the inclusion of Hernán Aramberri, the lineup Indio-Skay-Semilla-Walter-Dawi lasted from 1987's ''Un Baión Para El Ojo Idiota'' all the way until their breakup in 2001.
85	* PerfectionIsStatic: The trope is invoked almost word-by-word in "Dr. Saturno", which features the phrase "Dios es todo, no puede progresar"[[note]]God is everything, he cannot improve[[/note]]
86	* PoliceBrutality: "Sheriff", from ''Momo Sampler'' is sung from the POV of a woman who keeps requesting the police officer to treat [[AllCrimesAreEqual delinquents of all walks of life]] with harshness. It's implied she doesn't know that her son may be involved in immoral acts that make him a target of the same "mano dura" she requests.
87	* ReligionRantSong: "Lobo caído", from ''Lobo Suelto'', takes quite a lot of potshots towards the world's religions, which Solari considers as "merca" (slang for drugs) and accusing them of medically operating the human consciousness ("el mal gusto encalló en un manantial frío (frío de bisturí)"[[note]]"the bad taste lasted in a cold manantial (scalpel cold)"[[/note]]). He also talks about them as "caricaturas" (toons) which fill the road of knowledge.
88	* SelfBackingVocalist: By Solari's own admission on some post-Redondos interviews, he did most of the backing vocals for the songs. He said that Skay could do backing vocals, but that on the records he ended up doing said job.
89	* ShoutOut:
90	** "Divina TV Führer" from ''Oktubre'', is inspired by Literature/NineteenEightyFour.
91	** "Scaramanzia", from ''Luzbelito'', is inspired by a videogame.
92	** "Fusilados por la Cruz Roja" and "Drogocop" outright allude to or directly mention Franchise/RoboCop, although [[TakeThat not exactly]] [[CopHater in a positive light]].
93	* SillyRabbitIdealismIsForKids: "¡Estás frito, angelito!", from ''Último Bondi a Finisterre'' is about the subject singing to a third party about how life is hard and how [[EverythingTryingToKillYou everything is out there for him]] if he doesn't abandon his excessive idealism.
94	* SomethingBlues: "Blues de la Artillería", from ''La Mosca y La Sopa''; "Blues de la Libertad", from ''Luzbelito''; "Blues del Noticiero", from ''En Directo''; the CutSong "Para Monona Blues"...
95	* TakeThat:
96	** Two songs, "Blues de la Artillería" and "Salando las heridas", both from ''La Mosca y La Sopa'', are potshots towards journalist, monologuist and former Redondos member Enrique Symns, who left the band in bad terms and never stopped attacking Indio, Skay and Poly for, in his words, "betraying the rest of the troupe".
97	** The song "Es hora de levantarse querido, ¿dormiste bien?" from ''Cordero Atado'' is a potshot towards Página 12's journalist Carlos Polimeni, something that was even acknowledged in several shows.
98	** The song "Preso en mi Ciudad", from ''Oktubre'', is a potshot towards TheEighties' pop music, which was "sucking dry" rock music. Solari describes it as a "Drácula con tacones" (High-heel Dracula), a music empty of any kind of content, uncompromised. Rock isn't safe from these potshots, as Solari declares it's "atrapado en libertad" ("Trapped in freedom") and "ya no llora" ("it doesn't cry"), as if the rebellious nature of the genre was sucked dry by both pop music and the government sponsoring it. The circumstances of the song both contrasts the post-dictatorial Argentina with the country under the military dictatorship, where rock music was "allowed" to be rebellious.
99	** {{Cop Hat\|er}}ing is a common theme on Solari's lyrics, from using Franchise/RoboCop to paint them in an unflattering light ("Fusilados por la Cruz Roja", "Drogocop") to outright call them tools for more powerful people ("Nuestro Amo Juega al Esclavo").
100	* TooManyCooksSpoilTheSoup: Invoked by name in "Cruz Diablo", from ''Luzbelito'':
101	--> ''"Son tantos los cocineros que joden la sopa"''[[note]]"The cooks who fuck up the soup are too many"[[/note]]
102	----
103	-> ''"[[DarkestHour Cuando la noche es más oscura]],\
104	[[HopeSpot se viene el día en tu corazón]]"''

Context Music / PatricioReyYSusRedonditosDeRicota