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Argentine rock (known locally as rock nacional [rok nasjonal], "national rock" in the sense of "local", "not international") is rock music composed or performed by Argentine bands or artists mostly in Spanish.Next to Mexican rock, Argentine rock was one of the earliest incarnations of Spanish-language rock. Just like Mexican refritos, it began by recycling hits of English-language rock & roll. However a rising trend of composing new songs mostly in Spanish can be traced at least back to the late 1960s, when several garage groups and aspiring musicians began composing songs and lyrics that related to local social and musical topics. Since then, Argentine rock started a continued and uninterrupted evolution through the 1970s and into the 1980s.

Several terms are used to describe the artistic expressions of rock and roll in Iberian America, which are often confused or given different meanings in different countries. Generally, these terms are:

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Rock and roll first began to appear in Argentina in 1956 after the genre was created in the United States in 1954-1955, based largely on rhythm and blues and country and western.[1] Elvis Presley and Bill Haley (who visited Argentina in 1958) awakened the interest of several Argentine artists. The most notable among Argentine garage bands which sprung up in this period was Sandro y Los de Fuego, who recorded a successful series of Spanish language covers of American rock and roll hits, and attained commercial popularity. Sandro would soon embark on his own contemporary pop standards career that would make him popular. Others include Eddie Pequenino, Los Cinco Latinos and Billy Cafaro.

By 1965, rock music was developing rapidly in Argentina. On television, several shows such as Ritmo y Juventud and El Club del Clan, with singers like Palito Ortega, Violeta Rivas, Chico Navarro, and Lalo Fransen, featured a poppy version of rock, which owed equal amounts to Merseybeat and to Argentine and Italian romantic pop.[3]

Nevertheless, it was in the underground where the most influential figures of early Argentine rock would emerge. In former Jazz bars like "La Cueva" or "La Perla del Once", figures like Moris, Pajarito Zaguri, Javier Martinez (drummer and lead singer in the Argentine blues band Manal) Miguel Abuelo, and Tanguito would gather in the mid-1960s Argentina to exchange ideas. Los Beatnicks, of which Moris and Martinez where members, began the transition that would slowly take Argentine rock from imitation to a more creative state (while still following UK trends mainly). Forming in quiet beaches of Villa Gesell, they recorded the first Spanish language single in 1966 called "Rebelde".[4]

The definitive breakthrough of Spanish-language, original material rock would be up to the band Los Gatos. After playing in "La Cueva" for a few months, the band released two singles in 1967. One of them, "La Balsa", co-written by Tanguito and Litto Nebbia, sold 200,000 copies. This contributed to the widespread popularity of the genre because it was in Spanish and it was an original composition. The following year saw the first publication of Pinap, a rock magazine, and the founding of the first Argentine rock label, Mandioca. In 1969, four major concerts of so-called "msica beat" ("beat music") were held: the June Sunday concerts, Festival Nacional de Msica Beat, Festival Pinap and Festival de Msica Joven.

In the wake of Los Gatos, several bands emerged, including Luis Alberto Spinetta's Almendra, and Manal. The three are considered the founders of the Argentine rock movement. None of these groups would have an extended history: in fact most disbanded by the early 1970s. The early Argentine rock scene was characterised by a lot of line-up changes in bands, and even member swapping between bands, or members of different bands meeting and forming new groups. However, the shuffles provided for a lot of experimentation and creativity.

Almendra split in 1970 and Spinetta formed Pescado Rabioso, and the remaining members started Color Humano and Aquelarre. Spinetta's album Artaud was considered the greatest Argentine rock album of all time by the Rolling Stone Magazine.[1][5] In 1970, Vox Dei refreshed the movement. Their album "La Biblia" (The Bible) is one of their most famous works of the early 1970s. In that same year, the first B.A (Buenos Aires) Rock festival became the first showcase of a rising subgenre that would predominate the first half of 1970s Argentine rock.[6] A new group of musicians was to bring new ideas to the mixing bowl of early Argentine rock.

By the turn of the decade the first real diversification in Argentine rock start taking place, although the split had been brewing even before, as some bands began playing much heavier music, with the world of rock entering the Heavy metal era. Among them, Pescado Rabioso, Vox Dei, and Billy Bond y La Pesada del Rock. Pappo's Blues was acknowledged as one of the greatest guitarist of all time by B.B King, who invited him to play in the Madison Square Garden.[7] Another important but overlooked heavy rock act of the period is El Reloj, but they would drift towards progressive rock in the following years.

Conversely, the first B.A Rock festival (now promoted by Pinap magazine successor Revista Pelo), had many of the artists and bands that would lead the Acoustic rock movement: Gustavo Santaolalla forming Arco Iris, Len Gieco's folk-rock hybrid, Sui Generis and the start of Charly Garca's music career, Raul Porchetto, and Pedro y Pablo, among other bands.

The proliferation of these bands and their increasing popularity, the early 1970s being the height of the hippie movement in Argentina, led to the Acusticazo of 1972. Several acoustic rock bands would gain popularity from their performances there, including Vivencia, Pastoral, and Alma y Vida. The behemothic success of the Acusticazo was a turning point in which Argentine began to be listened massively.[8]

Sui Generis began shifting from their classic acoustic rock to a more electric and visceral sound. Also, stirring in the Argentine underground were new bands with a radically different sound from either acoustic or heavy rock: influenced by some of acoustic rock's more experimental works (such as Arco Iris and their Agitor Lucens V with its world music influences), by Tango music and also by British progressive rock. This would be the blueprint of Argentine progressive rock that would bloom into the apex of the movement in 1975. As that year began few could foresee what a watershed it would become not just in Argentine rock history, but the country's too.

Charly Garca and Nito Mestre decided it was time to leave Sui Generis. Their two final concerts took place at the Luna Park Arena, on September 5 of 1975, in front of 30,000 people.[10] Historians have come to see the Sui Generis farewell concerts as the end of the 'Classic' Argentine rock era. Acoustic rock was passing into history: bands dissolved, changed their sound, and those that remained lost popularity and became only cult followings. Argentine progressive rock was on the rise, and so was the political repression to freedoms of expression. Also, several bands would leave the country for greener pastures in Europe, mostly Spain, among them Moris and Aquelarre.

The Classic era of Argentine rock music was completely over by 1976. As this year began, Argentine rock became far more sophisticated and conceptual. A few acoustic bands would continue having moderate success, including Pastoral, and Nito Mestre y Los Desconocidos de Siempre. But it was the beginning of the period of symphonic and progressive rock dominance.

As early as 1973, the band Contraluz combined rock with progressive and folk tinges. They would be an influential group in the years leading to the rise of symphonic and Argentine progressive rock. Its albums were acclaimed nationally and by progressive rock fans worldwide.[promotion?]

Another symphonic/progressive band was Crucis. Their music began attracting attention in the underground, and so they started getting bigger performing venues. As change swept Argentine rock in 1975, their music was rapidly rising to popular musical tastes. Their compositions were strong and dynamic with unexpected breaks, and the interplay between the electric guitar and keyboards captivating. The rhythm-section sounded powerful and adventurous.[11]

Espritu, who formed in 1973 but had roots since 1969, would go on to be an internationally followed group in the latter part of symphonic rock's heyday. The first album Crisalida is cited as their best effort, with beautiful and alternating compositions and changing atmospheres (from mellow with acoustic guitar to up-tempo with heavy electric guitar), lush keyboards and some vocal harmonies.[12]

Charly Garca formed his first post-Sui Generis band, La Mquina de Hacer Pjaros, which began Garcia's explorations of symphonic and progressive rock. Other symphonic and progressive bands of renown would be Torax, Ave Rock, Anacrusa, and Materia Gris.

Arco Iris meanwhile continued expanding on their symphonic-folk rock and were joined by veteran Chilean band Los Jaivas, whom were escaping the Pinochet dictatorship that had come to power in their nation in 1973. The two along with Contraluz were the main exponent of the subgenre.

On March 24, 1976, the democratic government was toppled by a military coup. It opened one of the darkest political chapters in Argentina's history, full of repression, fear, and missing citizens. Argentine rock by no means would be immune to the military crackdown, and would suffer the worst period of censorship in its history. Rock was seen as subversive by the nation's authority figures, who began to clamp down on the music. In a 1976 speech, Admiral Emilio Massera denounced rock musicians and fans as potential subversives and repression of them began in 1977. Before the end of the decade, rock had gone increasingly underground. Rock Nacional avoided the government's heavy media censorship and allowed an outlet for codified criticism of the government.[15] ff782bc1db