Summarizing Luis Eduardo Aute's work in 10 songs is absolutely impossible and that's why we are going to do it. An exercise in injustice however necessary to remember, in these strange times, one of the most important and celebrated musical poets of Spain in the last half century , a troubadour indeed very personal.

1. 'AL ALBA' (1975). One of his most distinctive songs, and by far the best known. Although he did not compose it with that idea, he embodied with tremendous poetic power the protests by the last ones shot by Franco. It was first recorded by Rosa León, later by himself in progressive rock format (it was fashion), and then, already in the 80s, its acoustic version was the one that made the most of the collective imagination. Apparently simple but in reality of intricate structure, melodically it is an irrefutable hymn, as few have produced Spanish music of the last half century.

2. 'ALEVOSÍA' (1995). At the same time with Silvio Rodríguez, Aute became more intimate and acoustic than ever, at his point perhaps more self-conscious of his own, more mature style. The letter constantly plays another very 'autistic' game: the paradox, the ambivalent, the two poles. The performance sublimates another of its hallmarks: the whisper bathed in 'vibrato'.

3. 'SIN TU LATIDO' (1984). Figurehead of his album 'Carne a cuerpo', represents the most 80s Aute, and is a canonical halftime bathed in bitterness (due to heartbreak, another constant 'autiana'), vital absurdity and political flashes ("what happens to me is that this world I do not understand ").

4. 'SLOWLY' (1992). With clever and fresh production by Suso Sáiz (Clarified) and accompanied by Christina Rosenvinge, Aute was sonically renewed in the early 90s with this silky track with shameless nods to the Everly Brothers, Platters and Elvis Presley.

5. 'THE FOUR AND TEN' (1973). The first Aute, that of the early 70s, in a costumbrista and trotter theme, that speaks of first loves, of the usual later disenchantment and of the dull daily life of gray Spain at that time. A song very versioned a posteriori, and very loved by his fans.

6. 'PASSED HERE' (1980). Another of his best-known songs, included on the album 'Alma'. Women in all its aspects, perhaps the most genuinely 'autistic' theme, and in this case their persecution, the classic 'cherchez la femme'. Another halftime very his, and a new record success. Aute expressed in those years, both musically and socially, its representativeness for the Transition generation.

7. 'IN ANY WAY' (1974). An orchestral Aute, very much to the taste of severe seventies orchestralism, a bit chivalrous here, spinning around as always with heartbreak ("the stone hours seem to tire, and the time of combing with a lover's gesture, somehow I will have to forget you" ), which joins here with the emptiness of living ("and nothing else, and nothing else ...").

8. 'ANDA' (1974). Here we come to another of the constant autianas of all life: carnality, the need for a city council, eroticism, in a word: folleteo. But always by the hand of a playful poetic breath, and with a bittersweet touch: "Come on, take off your dress, the flowers and the traps. Put on the naked violence that you do. And come to my arms, let's leave the data, let's be a body in love " The Aute knew nothing. Skimming the stick of #MeToo here, by the way: "Ask me to violate the laws that embody you."

9. 'DO NOT NAKE YOURSELF YET' (1980). That dress must always fall, and here Luis Eduardo was pleased, he licked, with the wait: "Don't undress still wait a little longer, don't be in a hurry, time is something that is left behind. Eternity is a heartbeat, a single Heart. Yours, mine, holding each other in perfect communion. "

10. 'EVERY TIME YOU LOVE ME' (1987). Aute was very fond of his album 'Templo', which he considered one of the bastions and proof of his artistic independence, and this is one of his emblematic songs. A truly beautiful crescendo, classic three chords full of religious references, with its pantheistic interpretation of love, epiphanic, and with one of its most elegiac and powerful choruses, a phrase that could very well summarize the work of Luis Eduardo Aute, and reveals probably the true meaning of this strange life: "Every time you love me it is a miracle / every time you love me it is a miracle."

According to the criteria of The Trust Project

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