By José Gandue @spinning zone
Some, now of advanced age, will remember when they would turn on the radios in their homes in the afternoon, at a good volume, and the tunes of classical singers would play., like Olga Guillot, Libertad Lamarque, Alci Acosta, Julio Jaramillo and others, And after finishing broadcasting his recordings, the announcer would say something like «"On Radio Popular we had the pleasure of listening to Xxxx, performing this beautiful love song. It's 4:25, we'll continue with a segment featuring announcements from our sponsors... we'll be right back.". Yes, those stations are still on the dial today, and from time to time, you can hear them in a kitchen, at a newsstand, or in a factory., Someone is in nostalgia mode and is bringing the past into the present., showing, as if evidence were needed, that the catalog of ballads, boleros, sones and other sound species of our continent contains masterpieces of wide popular appeal. Likewise, enjoying art from past decades has a residency in 2023, And in what way. No matter your age, whether you're from the generation of Gardel, Fabiana Cantillo, Miranda, or Wos, you should take the time to appreciate what has been done by Julieta Laso on his new album Bitch's Paw.
Laso has, as we have described in previous notes, a voice that sincerely manages to convey the emotions it wants to convey. Here you'll find rage, seduction, courage, emotional breakdown, tears, and laughter all in a single moment. For this album, the Argentinian artist It embraces old and well-known compositions and appropriates them, as if, from the beginning, they had been made for her, for her throat, for her lips, for her heart. To hear her sing I love her to death It's touching, It's a gentle punch to the chest, which hurts but brings joy, being a great tribute to its original author, Francis Cabrel (Please don't bring up Sergio Vargas's version.) Then comes Never forget you, a ballad that made the Chilean band famous The Blows, to which Laso adds, without eliminating the classical structure, a hip hop feel, leading to the Cuban rap performance The White Lady, an unexpected and perfect combination. And then, it adds the flavor of Cuban son to My prison, an original vallenato tune from Colombia Romualdo Brito, achieving a performance worthy of being heard in any era, even fifty or sixty years ago, in the time of the Trío Matamoros or El Dúo Los Compadres. And a similar feeling is awakened in the audience when Laso sings Absence, theme created by Violeta Parra.However, the best moment is when the last track plays. That's when Laso goes all out and delivers a performance that shakes you to your core. No, I regret nothing, of Edith Piaf, using a very particular (very Argentinian) translation in a recording called I don't regret anything.
It might be a bit of an exaggeration to use a nickname that has been bestowed upon figures like Frank Sinatra or Raphael, to name just a few who deserve it, but in this album, We can affirm that Julieta Laso is the voice, yes, THE VOICE. He proves it by taking on the bolero, the chanson francaise, urban rhythms, and traditional genres of all time, adding a valuable contemporary touch. which cannot be ignored in any way.
Now close your eyes and listen to this album, and imagine again the old radio station, where the presenter says «"During the best hours of the afternoon, we listened to Pata de Perra by Julieta Laso. We wish you the happiest moments from this moment on.".
