Patricio Rey Y Sus Redonditos De Ricota
Biography
Patricio Rey y Sus Redonditos de Ricota, affectionately known as "Los Redondos," stands as one of Argentina's most enigmatic and influential rock bands, weaving a tapestry of mysticism, poetry, and raw energy that captivated generations of fans across Latin America. Born from the creative minds of Carlos "Indio" Solari and Eduardo "Skay" Beilinson in La Plata during the late 1970s, this legendary group emerged from Argentina's underground music scene to become cultural icons whose influence extends far beyond the realm of rock music.
The band's origins trace back to 1976 when Solari, a former sociology student turned poet-philosopher, joined forces with guitarist Skay Beilinson to create something entirely unprecedented in Argentine rock. Their name, roughly translating to "Patrick the King and His Little Ricotta Rounds," reflected their surreal sense of humor and rejection of conventional rock star personas. From their earliest performances in small clubs around Buenos Aires, Los Redondos cultivated an almost mythical aura, with Solari's cryptic lyrics drawing from literature, philosophy, and street wisdom, while Skay's guitar work provided the perfect sonic backdrop for their theatrical presentations.
Their musical style defied easy categorization, blending hard rock with blues, folk, and experimental elements, all filtered through a distinctly Argentine sensibility. Solari's vocals ranged from whispered confessions to primal screams, delivering lyrics that functioned as social commentary, spiritual guidance, and poetic manifestos. The band's sound evolved considerably over their career, but always maintained an underlying darkness and complexity that set them apart from their contemporaries.
The release of "Gulp!" in 1985 marked their first major statement as recording artists. This album established many of the themes and musical approaches that would define their career, featuring tracks like "Jijiji" and "Divina Tv Führer," which showcased their ability to blend political criticism with surreal imagery. The record's raw production and unconventional song structures announced the arrival of a band unwilling to compromise their artistic vision for commercial appeal.
However, it was "Un Baión Para el Ojo Idiota" (1988) that truly cemented their status as Argentine rock royalty. This masterpiece demonstrated the band's full artistic maturity, with Solari's lyrics reaching new heights of complexity and Skay's guitar work becoming more sophisticated and atmospheric. Songs like "Motor Psico" and "Semen-Up" became anthems for a generation of Argentine youth, while the album's exploration of themes ranging from urban alienation to spiritual transcendence established Los Redondos as more than just a rock band—they had become cultural philosophers for the disenfranchised.
The pinnacle of their recorded output came with "Lobo-Suelto! Cordero-Atado!" (1993), an album that perfectly captured the band's evolution while maintaining their essential spirit. This record featured some of their most beloved songs, including "Nuestro Amo Juega al Esclavo" and "Barbazul versus el Amor Letal," tracks that demonstrated their ability to craft complex narratives within traditional rock song structures. The album's production was their most polished to date, yet it retained the raw emotional power that made their earlier work so compelling.
Throughout their career, Los Redondos became renowned for their spectacular live performances, which often resembled religious gatherings more than conventional concerts. Their shows, particularly the massive outdoor festivals they organized, drew hundreds of thousands of fans who treated Solari's words as gospel and the band's music as a form of spiritual communion. These events became legendary in Argentine culture, with fans traveling from across South America to witness what many considered transcendent experiences.
The band's influence on Argentine and Latin American culture cannot be overstated. They inspired countless musicians while creating a unique subculture of devoted followers known as "ricoteros." Their rejection of mainstream media, refusal to appear on television, and maintenance of an air of mystery only added to their legendary status. Solari's lyrics became part of Argentine literary discourse, studied by academics and quoted by politicians.
Los Redondos officially disbanded in 2001, with their final concert at River Plate stadium serving as both celebration and funeral for an era of Argentine rock. Solari continued performing with his new project, La Mississippi, while Skay pursued his own musical path. Their legacy endures through their devoted fanbase and the countless bands they influenced, cementing their position as one of
