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Discography
Members featured in the album
TANGUITO - Guitar and vocals
Members featured in the album
TANGUITO - Guitar and vocals
Biography
José Alberto Iglesias was born on September 16, 1945 in San Martín, son of José Iglesias, street vendor of haberdashery at the fairs of Caseros and Santos Lugares, and Juana Correa, a maid and housewife. He had only one sister, Carmen, five years younger than him. He didn't do well at school. He barely finished the primary school, dropped out of high school early and his attempt to study gardening at the Botanic Garden school was in that, in attempt. But his thing was not the books but the guitar, the wandering and the Rolling Stone song, of boulder. The opportunity came in 1963, when he managed to become the group Los Dukes from Mataderos, which by then had already managed to record on the Music Hall label. By then, his friends in the neighborhood had started calling him Tanguito because he was dancing Rock'n'roll very well and they were jokingly saying, "dancing something, Tanguito." In the middle of an intense activity with performances in neighborhood clubs, in those who came to share programming with Sandro and Los de Fuego, Los Pick Ups and the Bobby Cats - a group in which Giuliano Canterini (Billy Bond) sang - among several others, Tanguito debuted as record leader of Los Dukes in the spring of 1963, with 18 years, recording a song by Palito Ortega and Dino Ramos, I said why you don't want to, and one of your own (although signed by the whole group), “Mi pancha”. At the end of January 1964, the second and last single recorded by Tanguito with Los Dukes appeared. The record included “Carnaval, carnaval” of Ball and Roger, in Spanish version of “Santos Lipesker”, and “Maquillada” of Freddie Cora. ??Promising the fall of that year, Tanguito was excited with a possibility to make a solo recording, from a contact that a new friend of his, Horacio Martínez, had achieved the RCA Víctor label. Then he resigned from Los Dukes.
But he did not record at that time in RCA with the artistic name he had already chosen, Ramses VII. What he did achieve, because of his friendship with Martinez, was to arrive at a place where he began to cook the music that would later be called Argentine National Rock: La Cueva of Pueyrredón, originally called La Cueva de Pasarotus - before it had been a cabaret, known as Jamaica for a while and then like”El Caimán”-, the basement of Pueyrredón 1723 almost Juncal housed in the winter of 1964 a good number of Jazz musicians who began to mix with younger youth who brought other music in their ears, the Rock'n'roll. From that moment until the closing of the premises, in 1967, Tanguito shared many nights with characters such as Moris, Javier Martínez, Alejandro Medina, Pipo Lernoud, Sandro, Billy Bond, Litto Nebbia, Miguel Abuelo, Horacio Martínez, Charly Camino, Carlos Mellino . Strictly speaking, La Cueva went through different stages. In the last one, the fixed group that enlivened the place was one led by Rosario from Litto Nebbia and Ciro Fogliatta, which later became known as Los Gatos. On December 7, 12 and 14, 1966, some musicians who frequented La Cueva like Moris, Tanguito and Los Seasons (a group of which Alejandro Medina and Carlos Mellino were part), joined others like Bob Vincent and Susana, at the initiative of the journalist and poet Miguel Grinberg, to celebrate a series of concerts entitled Here, there and everywhere, that took place in the Theater of La Fábula de Agüero 444. In that show, Tanguito sang, in bad English, two already classic songs of the first Rock'n'roll, “Tutti frutti” of Little Richard, and “Fierce dog” by Leiber and Stoller, both popularized by Elvis Presley. Grinberg recalls that Tanguito participated in this experience with interest and responsibility, attending all the trials. Here could be the beginning of the happiest stage of his life related to music. Shortly after these concerts, on one of the countless shipwreck nights of the group of friends of La Cueva that ended inevitably at the bar La Perla de Once, located in Jujuy and Rivadavia, in front of the Miserere square, Tanguito began the composition of “La Balsa”, a task completed by Litto Nebbia. On June 19, 1967, Los Gatos recorded “La Balsa” in a session taken as a test by the RCA label. Previously, the group had taken a first exam on April 27, with the theme “Ayer nomás” by Moris and Pipo Lernoud (with lyrics modified by Nebbia). On July 3, the Vik label, subsidiary of RCA, published the first single from Los Gatos with “La Balsa” and “Ayer nomás”, twenty days later, La Cueva was closed, which had been the victim of ruthless police harassment, with daily raids. On September 21, at the initiative of Pipo Lernoud, the formal presentation of the hippies of Buenos Aires was finalized at a meeting held in San Martin Plaza. Strictly speaking, it was an attempt to formalize in some way the existence of long hairs, to stop the persecution that the young people who used it were already subject to.
That afternoon, Tanguito sang in the center of a round. Interested in the colorful novelty, some newspaper media were aware of the existence of hairy citizens of Buenos Aires. The program “Sábados Circulares” led by Nicolás Mancera invited the hippies to the studio of Channel 13, and so Tanguito could sing several songs before the cameras. Among them, La balsa. On January 18, 1968, on days when “La Balsa” was the most widespread and sold song of the summer, Tanguito recorded two songs of his own in the RCA studios, accompanied by Horacio Malvicino's orchestra. Those records - “La princesa dorada”, written in collaboration with Pipo Lernoud, and “El hombre restante”, co-authored with Javier Martínez - were the only ones he performed professionally as a soloist. On April 4, Ramsés VII's single was published by the RCA Víctor label with the two songs that Tanguito had recorded in January. But without dissemination support of the company, and without visible interest of its manager because it was known enough, the edition had little flight and was a commercial failure. At that time the end of his good days could be located. In mid-1968, Tanguito made contact with the syringes and injectable amphetamines. Until that moment I had only tried non-sleeping pills and occasionally marijuana.
At that point in his life, he had changed his friendships. Although he maintained some contact with his old companions of La Cueva, his closest relations maintained them with people he had known in the wandering in the squares and in the bars. With his arms pierced by so many punctures, Tanguito recorded some songs between 1969 and 1970, in the TNT studios where Manal, Moris and Vox Dei, among others, were registering their first works for the Mandioca label conducted by Jorge Alvarez, Pedro Pujó, Rafael López Sánchez and Javier Arroyuelo. Tanguito was part of Mandioca's artistic staff tacitly. These records were made without much care with the sole accompaniment of his acoustic guitar, apparently as a sketch to start the production of an album. But that elaborate work could never be done. In fact, Mandioca published a song of those recorded on TNT by Tanguito, “Natural”, possibly the most accomplished in terms of interpretation, which was included in the compiled Let's ask for pears to Mandioca that came out sale at the end of the spring of 1970. This LP also featured songs such as “Elena” of Manal, “Muchacho” by Moris, “Niño de color cariño” byAlma y Vida, “Verdes prados” by Billy Bond and “Nunca sabrás” by Pappo, among others. Little meant for Tanguito that inclusion in the disk.
The wandering and arrests were increasingly continuous. The police persecution was ruthless with him, and that is why many times his bones went to the Devoto prison, accused of violating police edicts such as drunkenness, begging and laziness, and riots in the public thoroughfare. After one of those numerous arrests, in February 1971, came to be presented by the Personal Security division of the Federal Police as leader of a gang of drug traffickers. In those days a series of periodic confinements began in the Penitentiary Unit of the Borda Hospital, where on the other hand a drug addiction service had been launched. After a period of months behind bars, in which he was subjected to treatments with electroshocks and insulin shocks that promised to cut off the amphetamine withdrawal syndrome, in May 1972 he was transferred to Unit 13 of the same health center, destined to the hospitalization of mental patients.
From that sinister place, Tanguito escaped at dawn. A few hours later, at 10.50 that day, on May 19, 1972, he died under the wheels of the San Martín Railroad train, a few blocks before the Palermo station. It was the train that could have taken him back to his home in Caseros City. No newspaper published his death. In 1973, the Talent label conducted by Jorge Alvarez and acting as direct heir of Mandioca, released the album Tango with the sloppy recordings that Tanguito had made on TNT. In the summer of 1993, along with other historical records of Argentine National Rock such as “30 minutos de vida” by Moris, the double álbum by Manal, “Desatormentándonos” by Pescado Rabioso and “Películas”by La Máquina de Hacer Pájaros, Tango appeared in compact disc. The circulation of two thousand empires was sold out immediately. In 1987, Marcelo Pineyro became interested in the legend of Tanguito for what would be his first opera, and after marches and countertops, he managed to make his film. It was called “Tango Feroz”, it was released in the winter of 1993, and that is already a known story.
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# Apologies, translated by https://translate.google.com.ar