By Marcelo Fernandez Bitar

El rock en los angeles Argentina celebra su cumpleaños número 50 y esta es su historia. Autor de un libro mítico e inconseguible de 1987 (reeditado en 1993 y 1997), Marcelo Fernández Bitar agrega información y testimonios recopilados a lo largo de toda su carrera como periodista especializado, para ofrecer l. a. obra definitiva sobre l. a. música más well known de l. a. Argentina, esa que, como cube Adrián Dárgelos en su prólogo, es capaz de pelearle "el lugar en el airplay al estilo que se esté imponiendo".
Aquí están todos los nombres y todos los hechos, año a año. ¡Y todos los discos! Porque, además de ser un relato cronológico impecable e implacable sobre l. a. construcción de esa enormidad multiforma llamada "rock nacional", incluye l. a. discografía completa de estas cinco décadas. Un ejemplar único y enorme, para recordar, para descubrir y para que el rock jamás baje el volumen. Un clásico remasterizado.

"El rock aquí es todo ese sentido que, como felicidad o angustia, transgrede permanentemente un delgado hilo de l. a. realidad argentina, aun a costa de que al crecer luego uno se sienta como un turista marciano."
Luis Alberto Spinetta (de los angeles Introducción a l. a. primera edición, 1986)

"Este libro intenta registrar los angeles historia de las ediciones y apariciones en escena de los músicos y sus discos, lo que compone al rock nacional. Esta titánica tarea es una edición que conmemora 50 años de rock nacional."
Adrián Dárgelos

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C. Handy’s old stomping grounds: the Beale Street entertainment district in Memphis. Like Atlanta, Memphis attracted versatile musicians who could please all the different people walking down a city street. Older players like Frank Stokes and Jim Jackson performed a similar range of material to what Willie McTell was playing in Atlanta, and their blues work 37 The Blues included both rural-flavored styles and Handy’s hits. Jackson is not much appreciated today, since his guitar work was relatively rudimentary, but he had one of the biggest hits of the era with 1927’s “Kansas City Blues,” which was imitated by dozens of other singers.

Some bands were known for their sexy blues tempos and sultry blue moans, and some singers specialized in the style, including the Afro-American artists Ma Rainey, Bessie Smith, and Ethel Waters, and the Euro-American artists Marion Harris and Al Bernard. But all of those bands and artists also performed other material, and the only people who were devoting their careers exclusively to blues were a few songwriters. W. C. Handy was the most successful of these, and during the teens he moved from Memphis to New York and formed a publishing company called Pace and Handy, which encouraged other composers to produce blues material.

Blind Lemon Jefferson was exactly the kind of player Morton disparaged, but he drew big crowds on the streets of Dallas’s black neighborhoods, and a local store manager wrote to Paramount Records that customers would be eager to hear him on record. Jefferson’s discs sold spectacularly, not only across the rural South but in the industrial Midwest, and heralded a brief golden age of rural blues recording. Jefferson was about the same age as Bessie Smith, and some ten years younger than Ma Rainey, but he sounded like their country grandfather.

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