Marisol

4.5

• Genre: Pop

Coinciding with the Goya de Honor that a few days ago was awarded to Pepa Flores, Marisol, two sound artifacts are now reissued that recall two very different periods of his career. Go ahead that remembering the figure of the singer and actress is always necessary, since her capital contribution to the Spanish culture and society has not been valued in a fair measure. Always passionate and polyhedral character, the malagueña managed to transcend the role of a child prodigy she had in the 60s and give the always difficult step to adult life by making risky and brave decisions.

Precisely, the first of the reissues refers to that first stage. With the title of Origins , a double CD collects 62 songs recorded between 1960 and 1965, decisive years that made it a true social phenomenon - a fact that too often overshadowed its genuine talent. Dyed blond, it was the common thread between the Spanish tradition and the developmentalism that the Franco regime wanted to sell. Marisol was perfect for it. A girl who lit the screen with a big smile and blue eyes.

The first songs are taken almost exclusively from the films , all of popular origin or by the García Segura Brothers. Run, run little horse inaugurates how the collection could not be otherwise. Pure charisma. Starting from flamenco, his childish voice has more depth and texture than it may seem at first glance. Its Andalusian origin is noticeable for good and duende is not lacking ( El currucucú , Sevillanas del Tilín , Tanguillos , El Porom Pompero ), although everything sometimes sounds inevitably two-dimensional (Christmas carols such as Los tres angeitos or My Christmas song ). The pieces inspired by children's stories are full of charm and magical innocence: Wolf, Wolf, Cinderella , The Snow White Song ...

The entrance of Augusto Algeró in the equation was a step forward in Marisol's musical diversity, while at the same time stabbing his fame and his role as spearhead of that Spain that he wanted to sell. Far from the career of other children's stars (Joselito, for example), Marisol's took place in a bustling and protomodern Madrid. Songs like Being with you show that new sophistication, with orchestral arrangements and male choirs. Cancion de Marisol dared to metareference in a kind of premonition of the vital decisions that Pepa would take later. Tombola is irresistible, with its Italian air ye-ye, just like A new melody .

Very typical of that time, there are exotic flirtations like Carnival in La Pampa or Bossa nova next to you , who anticipated his passage to adult life, although it is not the record that was best for him - he lacks a bit of subtlety. Unmissable is Tony , a jewel of primitive rock'n'roll almost garagero and Muchachita , with its lolitesco air evident.

Very different is Perpetual Gallery. Songs for women , his second reedited work (this one on vinyl). Disc considered failed in 1979, year of original publication, has aged especially well. He was the last who signed as Marisol and, heard today, is consistent in music and in the discourse that Flores kept during the 70s and, in general, throughout his life. That a figure of his popularity addressed an elepe that told stories from a decidedly feminist optimum is a feat. Oh, Rosa is a settling of accounts with her own past to the rhythm of tremendous funk-rock (what would be the "green cigarette" she asked for in the lyrics?).

The beautiful In the ship's winery he collected the Spanish productions of the time (courtesy of producer José Nieto), while Comprada denounced prostitution with crudeness, wrapping the song with a touch of Andalusian psychedelic rock not far from the very Triana (or two more current references: Caliphate or Derby Motoreta's Burrito Kachimba). The lyrics are the work of the poet Pedro Cobos. The same theme is repeated in the mourning little Cuestecita de Moyano .

There are vitalist issues ( backstage work , with arrangements that Serrat or Cecilia would like for them) and social violence. The nap recounts a rape, without ambiguity and with the brutality inherent in its channeling like this ("Forcibly / on a pile of garbage / because I was not a woman / it was a waste of groping / and in the heat of the nap / because I was not a woman / it was a waste of groping "). Sleep you, quietly mother tells a story of female homosexuality - the first in the history of Spanish pop? -. Motherhood inevitably looks out in Nana 1830 , as if Laurel Canyon were in Malaga instead of Los Angeles. To close, the title song put voice and music to Dolores Sánchez La Petenera , convicted of killing a family member who mistreated her. The verses shoot like blades: "How do you want me to forget / what I said / that the man is right / and the woman is the slave?" However, it was not the murder of what the protagonist regretted, but of the lyrics he had to sing: "That is why I tell you, Juan / that I am serving my sentence for what I sang / robbing the woman of her dignity and his shame. " All in a context of almost post-punk guitars and Andalusian strings. Shocking

In short, Origen and Perpetual Gallery act as two faces of a figure of overflowing talent and infinite personality, impossible to tame. His claim is always essential, that does not cease.

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