De la Planta

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De la Planta was a Uruguayan record label .

It was founded in 1969 by Jorge 'Coyo' Abuchalja, the guitarist of the band Los Delfines , and the sound engineer Carlos Píriz. In the early 1970s, important representatives of Spanish-speaking Uruguayan rock music released their albums on this label. The catalog included, for example, records such as Mateo Solo Bien Se Lame by Eduardo Mateo , which was positively discussed in Rolling Stone and the New York Times when it was made and decades later .

History of origin

According to Abuchalja, the label was “born out of necessity”, because Uruguayan musicians back then hardly received any support from the big international record companies in their homeland. Few would have had the opportunity to take pictures; mostly under very poor technical and financial conditions. Only one or two audio tracks were common, while in neighboring Argentina at least 4-track recorders were used. The recording technician Carlos Píriz therefore suggested to Abuchalja to found her own label to support Uruguayan musicians in particular with good production, recording technology and better distribution. Píriz's connections made it possible to use the 4-track system at Estudios Ion in Buenos Aires for recordings at favorable conditions.

Catalog

Artists who have published with De la Planta include Diane Denoir , Opus Alfa , Sexteto Electrónico Moderno , Los Moonlights , Días de Blues and the well-known Uruguayan folklore artist Osiris Rodríguez Castillos . With El Kinto , Eduardo Mateo and Rubén Rada's band Tótem , the label also included artists who had a lasting influence on Uruguayan popular music . They were among the most important exponents of the candombe beat , a further development of Uruguayan candombe music through combination with elements from other musical genres, which showed parallels to the later Brazilian Tropicália movement around Gilberto Gil and drew attention to the musical heritage of the Afro-Uruguayan minority.

Guilherme de Alencar Pinto - musicologist, journalist and lecturer at the Universidad ORT Uruguay - stated that the De la Planta label "built up a varied and meaningful catalog in a short time" and a "cornerstone of the boom in Spanish-language popular music in the early 1970s “In Uruguay.

resolution

In 1974 the label dissolved. This was a consequence of the difficult political situation in Uruguay due to the military coup in 1973. Many of the label's bands were forced into exile or to disband. There were also problems with the company Fimasa , through which De la Planta had its panels pressed. The De la Plantas license catalog was transferred to the Clave label , which was later bought by Sondor .

Individual evidence

  1. ↑ De las Cuevas al Solís: La década del 60 . P. 12 by Fernando Peláez Bruno ( limited preview in Google Book search)
  2. ↑ Guilherme de Alencar Pinto: Razones locas. El paso de Eduardo Mateo por la música uruguaya . Ediciones del TUMP, Montevideo 1995, p. 131.
  3. ↑ Guilherme de Alencar Pinto: Razones locas. El paso de Eduardo Mateo por la música uruguaya . Ediciones del TUMP, Montevideo 1995, pp. 136-139.
  4. ↑ David Fricke: Fricke's Picks: Blue Van, Deltahead, Eduardo Mateo. In: rollingstone.com. July 31, 2007, accessed January 10, 2015 .
  5. ↑ Devendra Banhart: From Uruguay's Dylan to R. Kelly's 'Sex Planet' - New York Times. In: nytimes.com. September 30, 2007, accessed January 10, 2015 .
  6. ↑ Guilherme de Alencar Pinto, Razones locas. El paso de Eduardo Mateo por la música uruguaya . Ediciones del TUMP, Montevideo 1995, pp. 132f.
  7. ↑ Eduardo Mateo Mateo Solo Bien Se Lame (plus bonus tracks) LION PRODUCTIONS LION 613 , accessed January 10, 2015
  8. ↑ Eduardo Mateo, La Mama Vieja, 1972 In: foxitos.me
  9. ↑ A – Z of Uruguayan Rock: Los Bulldogs. (No longer available online.) In: discoeterno.com. Archived from the original on January 10, 2015 ; accessed on January 10, 2015 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / discoeterno.com
  10. ^ Sexteto Electrónico Moderno - Sounds From The Elegant World
  11. ^ Sexteto Electrónico Moderno - Sounds From The Elegant World.
  12. ↑ Fernando Peláez Bruno, Gabriel Peveroni: Rock que me hiciste mal: el rock uruguayo desde los 60 a nuestros días. P. 30 ( limited preview in Google Book search).
  13. ↑ Murky Recess: EDUARDO MATEO - Mateo Solo Bien Se Lame (1972). In: murkyrecess.blogspot.com. December 12, 2010, accessed January 10, 2015 .
  14. ↑ Denis Roberto Delgado: UruRock - Discografía: Tótem. In: ururock.com. Retrieved January 10, 2015 .
  15. ↑ Fernando Peláez Bruno: De las Cuevas al Solís: El movimiento de rock uruguayo de los pimeros años setenta. P. 5ff ( limited preview in Google Book search).
  16. ↑ Abril Trigo: The Politics and Anti-Politics of Uruguayan Rock in: Deborah Pacini Hernandez et al. (Ed.): Rockin 'las Américas: the global politics of rock in Latin / o America , University of Pittsburgh Press 2004, p. 118 and Pp. 121–124 ( limited preview in Google Book search).
  17. ↑ Ese amigo del alma. In: pagina12.com.ar. February 22, 2002, accessed January 10, 2015 (Spanish).
  18. ↑ 19 de setiembre de 1940: nace Eduardo Mateo. (No longer available online.) In: uruguayeduca.edu.uy. Archived from the original on January 10, 2015 ; accessed on January 10, 2015 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.uruguayeduca.edu.uy
  19. ↑ 19 de setiembre de 1940: nace Eduardo Mateo. (No longer available online.) In: uruguayeduca.edu.uy. Archived from the original on January 10, 2015 ; accessed on January 10, 2015 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.uruguayeduca.edu.uy
  20. ↑ Carlos Polimeni: Bailando sobre los escombros. Editorial Biblos, 2002, ISBN 978-9-507-86298-4 , p. 146 ( limited preview in Google book search).
  21. ^ Rubén Rada. In: allaboutjazz.com. Archived from the original on April 11, 2010 ; accessed on January 10, 2015 .
  22. ↑ Rubén Rada: Uruguay's Undiscovered Giant. (No longer available online.) In: culturebase.net. February 23, 2010, archived from the original on January 10, 2015 ; accessed on January 10, 2015 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.culturebase.net
  23. ↑ Guilherme de Alencar Pinto: Razones locas. El paso de Eduardo Mateo por la música uruguaya . Ediciones del TUMP, Montevideo 1995, p. 132.
  24. ↑ Guilherme de Alencar Pinto: Razones locas: el paso de Eduardo Mateo por la música uruguaya . Metro, 1994, ISBN 9974-7528-0-9 , 14 El martillo que golpea, p. 142-147 ( online ).
  25. ↑ Boudewijn Van Dievoet: Plant  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. on portaluruguaycultural.gub.uy (PDF)@1@ 2Template: Dead Link / kennisdoel.com