Los Abuelos de la Nada
| Company type | Rock band |
|---|---|
| Industry | Music |
| Founded | 1967 |
| Founder | Miguel Abuelo |
| Headquarters | Buenos Aires , Argentina |
| Products | Music albums and singles |
Los Abuelos de la Nada was a rock ensemble originating from Buenos Aires, Argentina, established in 1967 by the founder and lead vocalist, singer-songwriter Miguel Abuelo. During the 1980s, the band released multiple successful singles such as "Sin Gamulán," "Costumbres argentinas," "Mil horas," "Himno de mi corazón," "Lunes por la madrugada," and "No te enamores nunca de aquel marinero bengalí."
1967–1971: Formation and initial phase of Abuelos
In the mid-1960s, the Buenos Aires venue La Cueva emerged as a focal point for rock and roll, hosting artists who experimented with Spanish lyrics, including Tanguito. Miguel Peralta (later known as Miguel Abuelo) became involved in this circle through poet Pipo Lernoud. When Mandioca, a label dedicated to Spanish-language rock, was launched, Peralta falsely claimed to have a band named Los Abuelos de la Nada ready to record. The name was inspired by a segment in Severo Arcángelo by Leopoldo Marechal. With executive Ben Molar's approval, Peralta formed a group comprising Claudio Gabis on guitar, brothers Micky and Alberto "Abuelo" Lara on guitar and bass respectively, Héctor "Pomo" Lorenzo on drums, and Eduardo "Mayoneso" Fanacoa handling keyboards. Their debut single, Diana Divaga, reflected psychedelic rock influences. Miguel adopted the stage surname Abuelo.
Following Gabis's departure, Abuelo enlisted Norberto Napolitano (Pappo), who steered the band's sound toward blues, prompting Abuelo's exit. Pappo's ensemble later became known as Pappo's Blues.
Abuelo briefly fronted El Huevo, which evolved into the foundation of Pescado Rabioso. In 1971, he relocated to Barcelona, Spain to revitalize his career. He spent a decade in Europe before bassist Cachorro López, noted for his session work with reggae and funk groups, convinced him to return to Argentina and resurrect the band.
1981–83: Revival and fresh start
The reassembled lineup featured Abuelo as lead vocalist, Cachorro López on bass, Andrés Calamaro contributing vocals and keyboards, Gustavo Bazterrica on guitar, Daniel Melingo playing saxophone, and Polo Corbella on drums.
The 1982 Falklands War triggered a surge in Argentine rock popularity due to a temporary ban on English-language songs on radio stations. This environment facilitated airplay for tracks like "No te enamores nunca de aquel marinero bengalí" and Calamaro's "Sin gamulán."
Following the disbandment of Serú Girán, Charly García endorsed Los Abuelos de la Nada by featuring them at his 1982 Christmas concert and involving López, Melingo, and Calamaro in his own projects alongside their commitments to the band.
Their self-titled 1982 album included compositions by Abuelo and López as well as a reggae track by Calamaro’s former collaborator Gringui Herrera titled "Tristezas de la ciudad." The 1983 release Vasos y besos contained popular songs such as Melingo's "Chala-man," Bazterrica's "No se desesperen," and Calamaro's "Mil horas."
1984–85: Global recognition, internal challenges, and dissolution
Los Abuelos de la Nada expanded their appeal across both rock and pop audiences during this period, with Calamaro rising as a teen idol. The album Vasos y besos sold approximately 160,000 copies and was supported by an extensive six-month tour throughout Argentina.
Record company executives arranged for the band to record their 1984 album Himno de mi Corazón in Ibiza, which enjoyed strong commercial success. That year saw Melingo depart to concentrate on García’s projects and his own group Los Twist; Alfredo Desiata succeeded him.
By early 1985, internal tensions emerged: Bazterrica was dismissed due to his cocaine addiction, while rivalry escalated between Abuelo and Calamaro. Calamaro penned the band's final major hit titled "Costumbres argentinas." Foreseeing the group's end, they recorded a live album at Buenos Aires' Opera theater in May 1985 featuring guest appearances by Gringui Herrera and Melingo.
Their concluding concert took place in October 1985 at José Amalfitani Stadium during the "Rock and Pop" festival alongside acts like INXS and Nina Hagen. The performance was marred by poor sound quality, rain, and an aggressive audience that resulted in Abuelo being hit with a bottle. Despite finishing their set, the band disbanded shortly afterward.
1986–88: Band's Resurgence and Miguel Abuelo's Passing
Following the group's breakup, Miguel Abuelo shifted his focus to performing in more intimate settings, emphasizing songwriting inspired by poetry. Towards the end of 1986, he reunited with Polo Corbella to assemble a fresh lineup featuring Kubero Díaz on guitar, Marcelo "Chocolate" Fogo handling bass duties, and Juan del Barrio on keyboards. This ensemble recorded the album Cosas mías, which experienced moderate commercial reception. Shortly thereafter, Polo Corbella departed and was succeeded by Claudio "Pato" Loza, while Willy Crook joined the band as a saxophonist.
In late 1987, after undergoing gallbladder surgery, Abuelo received an AIDS diagnosis and succumbed to cardiac arrest soon after celebrating his 42nd birthday. This event marked the definitive conclusion of Abuelos de la Nada as an active group, although remaining members occasionally regrouped in various configurations. Significantly, Miguel's son Gato collaborated with Calamaro, Bazterrica, and Corbella during a reunion in 1997.
The rights to the band's name were offered by Abuelo’s widow, Krisha Bogdan, to Kubero Díaz, who declined the offer out of respect for Miguel's legacy. In 2001, legal disputes arose between Bogdan and Gato concerning ownership of the Abuelos de la Nada name and Miguel Abuelo’s unreleased material.
Legacy
Posthumous compilations overseen by López enhanced the band’s record sales beyond their initial success in the 1980s. Numerous former members of Abuelos maintained influential careers: Andrés Calamaro gained prominence both in Argentina and Spain through Los Rodríguez and his solo projects; Cachorro López established himself as a producer affiliated with Sony Music; Daniel Melingo relocated to Spain before returning to Argentina as a tango performer; Gustavo Bazterrica created Los Bazterricolas; Polo Corbella resumed work in Buenos Aires alongside María Rosa Yorio and Raúl Porchetto.
In the following decade, Kubero Díaz revitalized La Cofradía de la Flor Solar; Willy Crook launched Los Funky Torinos in 1997 after pursuing solo endeavors; Juan del Barrio pursued a career teaching piano and arrangements and collaborated with Luis Alberto Spinetta in 2009.
Notably, the songs "Lunes por la madrugada" and "Himno de mi corazón" were featured in the 2022 motion picture Argentina, 1985.
Singles
- "Diana Divaga" (1968)
- "En la Estación" – Recorded without Miguel Abuelo – (1969)
Studio albums
- Los Abuelos de la Nada (1982)
- Vasos y besos (1983)
- Himno de mi corazón (1984)
- Cosas mías (1986)
Live albums
- Los Abuelos en el Ópera (1985)