Los Abuelos de la Nada
| Los Abuelos de la Nada | |
|---|---|
 |
|
| Background information | |
| Origin |
Buenos Aires,  Argentina
|
| Genres | Rock, funk rock, new wave, reggae fusion |
| Years active | 1967—1969 1981—1985 1986—1988 |
| Labels |
Interdisc Polygram |
| Associated acts | Andrés Calamaro, Charly García, Los Twist, Manal, Pappo |
| Past members |
Miguel Abuelo† Cachorro López Andrés Calamaro Gustavo Bazterrica Daniel Melingo Willy Crook Polo Corbella† Kubero Díaz Marcelo "Chocolate" Fogo Juan del Barrio Pato Loza Jorge Polanuer Alfredo Desiata |
Los Abuelos de la Nada (The Grandparents of Nothingness) were an Argentine new wave/rock band that underwent several incarnations, all of them led by singer and songwriter Miguel Abuelo. The group has produced numerous hit singles through the 1980s as "Sin Gamulán", "Costumbres argentinas", "Mil Horas", "Himno de mi corazón", "Lunes por la madrugada" and "No te enamores nunca de aquel marinero bengalí".
In the mid-1960s, a club in Barrio Norte, Buenos Aires named La Cueva was the focal point for rock and roll. Some of the acts were in English, but others were experimenting Spanish language lyrics, notably Tanguito. The regulars of La Cueva also included poetry buffs and young people willing to escape the routines of urban life; some would form the core of the Buenos Aires hippie scene of the late 1960s.
Miguel Peralta was living in the Norte hostel at that time, and was lured into the scene by fellow poetry buff Pipo Lernoud. When a record label, Mandioca, was created specifically to record Spanish language rock, Peralta arranged for an interview with recording executive Ben Molar where he claimed, untruthfully, that he had a band called Los Abuelos de la Nada (the Grandparents of Nothingness) which was ready to enter the studio. The name was taken from a passage in Severo Arcángelo, a book by Leopoldo Marechal. Since Molar acquiesced, Peralta went on and assembled a band, featuring friends Claudio Gabis on guitar, the brothers Micky and Alberto "Abuelo" Lara on guitar and bass, Héctor "Pomo" Lorenzo on drums, and Eduardo "Mayoneso" Fanacoa on keyboards. Their first single, Diana Divaga (Diana wanders), featured psychedelic influences. About this time, Miguel started using Abuelo as his artistic surname.
After Gabis left (he was attending college and was reluctant to commit to the band), Abuelo drafted Norberto Napolitano (Pappo). After some more psychedelic-oriented fare, Pappo started nudging the band in the direction of blues, causing Abuelo to leave. Over time, Pappo's project mutated into Pappo's Blues.
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