La Pipa de la Paz
| La Pipa de la Paz | ||||
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| Studio album by Aterciopelados | ||||
| Released | November 1, 1996 | |||
| Recorded | September–October, 1996 | |||
| Genre | Rock, Latin Rock | |||
| Length | 52:12 | |||
| Label | RCA International | |||
| Producer | Phil Manzanera | |||
| Aterciopelados chronology | ||||
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| Singles from La Pipa de la Paz | ||||
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| Allmusic |
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La Pipa de la Paz is the third studio album by Colombian band Aterciopelados. Produced by Phil Manzanera in London with this project they became the first Colombian artist to be nominated for a Grammy in the Best Latin Rock/Alternative Performance category. This album spawned some of their most well-known songs and greatest hits like Cosita Seria, Baracunatana, No Necesito, La Culpable, Expreso Amazonia, La Voz de la Patria,Te Juro Que No (featuring Enrique Bunbury) and the title track La Pipa de la Paz.
The album was produced by Phil Manzanera of Roxy Music and recorded at his Gallery Studios based in London with an estimated budget of $150,000. Initially, there had been proposals to work with Daniel Melero and Draco Rosa which were ultimately unsuccessful. The recording sessions began in September and ended in October 1996, and the album was released in November. The first single, Baracunatana was released earlier in March.
La Pipa de la Paz preserves some of the punk influence of its preceding albums but achieves a more streamlined and harmonized rock sound with musical genres from different regions of Colombia such as Andean music, Joropo, Latin percussion and Vallenato. The lyrics that make up this project can be considered as the first conceptual work made by Aterciopelados, as Andrea positioned as an unconventional icon of Latin American women representing currents as anti-Machismo and neofeminism. Culturally, the contribution is also very significant, representing the defense of the Amazon, recognition and appreciation of indigenous roots and criticism of the specific situations in Colombia afflicted by armed conflict and drug trafficking.
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