Andrés Bobe - Andrés Bobe
|Birth name||Andrés Bobe Quinteros|
|Other names||"Ray Luca"|
February 13, 1962 |
Recoleta , Santiago Santiago
April 10, 1994 (age 32) |
La Reina , Santiago Santiago
|Cause of death||Motorcycle accident|
|Occupation||Musician , producer|
|Gender|| Pop rock |
|Instruments||Voice , electric guitar , keyboard|
Andrés Bobe Quinteros ( Recoleta , Santiago 13 of February of 1962 - La Reina , Santiago October of April of 1994 ) was a musician Chilean musical, composer, arranger and producer, best known as the founder and creator of the sound of the first albums the Chilean band La Ley .
The specialized critics consider Bobe as a fundamental figure of Chilean pop, inspiring generations of musicians and musical projects in Chile and on the continent with his style, such as Lucybell , Moenia , Libido , Javiera and Los Imposibles , Saiko , Belanova , Alamedas , Gepe ; more recent proposals such as Marineros, Mariano Pavez y Claxon, Emma & Natt and, of course, the band of ex-members of La Ley, DIACERO . [ 1 ]
In addition, Bobe is credited with being the main manager of the professionalization of the Chilean music scene in the early '90s.
Andrés grew up in a wealthy family (his father was an official pilot for Salvador Allende). His family had to emigrate from Chile after the 1973 coup , having to remain in various countries of the world (such as Egypt and England ) during the period of the military regime. Between one country and another, the young Andrés began to show a deep interest in popular music, especially in the New Wave of the late 70's. Since then, he began to follow musical bands that at that time were unknown in his country of origin such as The Smiths , Cocteau Twins and U2 .
Already in the 80s, the Bobe family returned definitively to Santiago de Chile. In a more convulsed society, on the way to entering a democracy, Andrés enters to study at the University of Chile the Bachelor of Arts degree (Sound mention), where he was a partner of Claudio Narea (guitarist of Los Prisioneros ), Luciano Rojas and Rodrigo Aboitiz, the latter two, future members of La Ley .
Paradise Lost (1985-1986)
Already within the University of Chile, Bobe did not take long to form a musical project according to the time and context. With an anti-dictatorship speech very similar to that of his contemporaries Los Prisioneros (with whom they shared more than one stage), Paraíso Perdido was born.
The first line-up included the presence of Luciano Rojas (bass), Ximena Fernández (voice), Juan Ricardo Weiler (drums), Juan José Rocca (saxophone) and Bobe himself, in charge of the guitars.
The band achieved some fame in universities and in the underground scene , even appearing in music magazines of the time. However, after a very complicated tour, the band disbanded. From this time, songs like "Tercera Guerra", "Cabezas Sueltas" and "Tiempo de Callar" are born.
The following year, Andrés took up the project together with Luciano, now incorporating Javiera Parra ( Violeta Parra's granddaughter ) on vocals and Iván Delgado on saxophone. The band returns to the stage and records the singles "Matrimonio" and "Edificios" in Bobe's recent studio (located on the family plot, in the Puente Alto district ). The band finally dissolves again, now permanently.
Javiera Parra, would later become part of the band Primeros Auxilios, to then participate in the De Kiruza project and finally make a successful solo career in the mid-90s with Javiera and Los Imposibles . Bobe, Rojas and Delgado for their part, would start a cult band: The Little Vice Band.
In 2011, Luciano Rojas and Javiera Parra meet again on stage to mark the launch of the short film "Heaven", made by Germán Bobe in homage to his brother. On that occasion, both musicians, accompanied by Rodrigo Aboitiz and Bobe's Fender Stratocaster guitar , brought Paraíso Perdido back to life, performing the songs "Matrimonio" and "Edificios". Since then, Paradise Lost has remained silent.
However, in 2015, a bootleg album by the band called "Paraíso Perdido, El Nuevo Pop Chileno" was released on YouTube, a record that would be their unofficial debut album.
The album has the records "Tercera Guerra", "Tiempo de Callar", "Matrimonio" and "Edificios". The first two songs, until the moment the album was published, remained unreleased. Both songs were facilitated by the band's former drummer, Juan Ricardo Weiler. The last two, for their part, had already seen the light five years earlier, on Andrés Bobe's posthumous album, AB (2010).
The Little Vice Gang (1987-1988)
Andrés Bobe, in the company of Luciano Rojas and Iván Delgado, join the ranks of La Banda del Pequeno Vicio, a cult band in the Chilean underground scene , which emerged as a result of the Operetta: Pequeno Vicio .
Authored by Héctor "Titín" Moraga (founding member of the band with Juan Ramón Saavedra), the "Operetta: Pequeno Vicio" was presented for the first time in May 1986, in the mythical venue El Trolley , which saw the birth of projects Dramatic-musicals such as Cleopatras, a female quartet led by the leader of Los Prisioneros, Jorge González . The operetta was based, among other texts, on writings by Nietzsche , Goethe and Milton .
Also composed by Juan Ramón Saavedra (on vocals), Cristián Araya and Héctor Moraga himself, La Banda del Pequeno Vicio records and releases its debut cassette El Juicio Final in December 1987. On this album, Bobe participates in the composition of the songs "Celestial Bodies", "Tell me what it is" and "The Pope".
Probably, due to the need to create a more personal musical project, Andrés Bobe left the band after the album was released, which did not prevent the friendship from lasting with his former colleagues. In the following years, The Little Vice Band would change its name (to "Little Vice Band") and would release a second album, then remain silent to this day. On more than one occasion, they played and celebrated with La Ley in the 90s.
La Muerte de Robin: the quietest project by Andrés Bobe (1988-1994)
Luciano Rojas stayed a while longer in La Banda del Pequeno Vicio, but his "musical militancy" did not last much longer than that of Andrés Bobe. While Bobe was part of Aparato Raro and later founded La Ley, with Rojas they created a second group in parallel, "almost for fun" as the bassist would point out years later.
Both musicians got in touch with an old friend of La Banda del Pequeno Vicio named Joel Silva, a recurring guest of the group that played the trombone and the French horn. The trio was baptized as "The Death of Robin", assuming Bobe the role of vocalist and guitarist.
Decades later, Luciano declared that "La Muerte de Robin" never played in public, nor did he record his own songs. However, both Silva and Rojas recall having played in many rehearsals on Bobe's plot and having composed a series of songs in conjunction with the guitarist. The songs, in Silva's words, were created by Bobe himself and his lyrics spoke of contingent and existential themes, "90s country themes."
Still without any record, "La Muerte de Robin" stands as one of Andrés Bobe's greatest musical mysteries. What is most striking about the history of the band is that it was Bobe's musical project, outside of La Ley, with more years of activity. "La Muerte de Robin" continued to exist in the spare time of its members, even at the time when La Ley, with Beto Cuevas at the helm, was at the peak of success.
The beginnings of La Ley as an electro-pop trio (1988)
After leaving La Banda del Pequeno Vicio, Andrés Bobe is invited to participate in the last stage of the group Aparato Raro , as a backing guitarist. Shortly after releasing their second album, the band disbanded amid success and at the initiative of their lead singer. However, thanks to the instance, Andrés Bobe and Rodrigo Aboitiz began to work on a new musical project, supported by the former manager of the band (and at that time, manager of Nadie and Los Prisioneros ) Carlos Fonseca.
Having already forged a friendship and inspired by Mecano and by the boom of the Spanish Movida in the late 80s, Andrés and Rodrigo decided to give life to a techno-pop band with the voice of the vocalist and keyboardist of Nobody , Lucía "Shía "Arbulú (also a Fonseca couple, at that time). Finally, the trio meet to establish the name of the project. Andrés, motivated by the album "La Ley del Desierto / La Ley del Mar " by the Spanish band Radio Futura , proposes the name of La Ley, which would be the definitive one.
Thus, the trio makes their record debut with an EP cassette titled simply as La Ley (1988) , under the EMI label . The cassette was accompanied by four vinyl singles, all of them belonging to the same EP and designed to be broadcast on radios and discos: "La Luna", "Solo Un Juego", "Buscándote" and "A Veces". However, soon after, the Arbulu family decides to return to Spain, leaving La Ley without her female voice.
Years later, from the time of Shia Arbulú, Bobe would rescue the single "A Veces", which he would record on the album "Doble Opuesto" (1991) with the voice of Beto Cuevas.
The Quintet Law and the Lost Demos by Iván Delgado (1988)
After the departure of Arbulú, Bobe and Aboitiz managed to reunite a series of prominent musicians in La Ley: their old friends Luciano Rojas (bass) and Iván Delgado (voice), from Paraiso Perdido and La Banda del Pequeno Vicio; and Mauricio "Perrín" Clavería, prolific drummer of the time, who despite his youth, had already gone through many other bands, very dissimilar to each other, such as the punk band Brain Damage (where he was a partner of Pedro Frugone, later guitarist of La Ley), the jazz band Evolución and the pop band Pancho Puelma y Los Socios . Already as a quintet, the new formation of La Ley seemed definitive.
At the end of 1988, the composition of the songs and the first recordings began. After making the first demos , the group realized that Iván Delgado did not have the ability to be the frontman of the band, basically due to his vocal quality. Despite composing a large part of the album Desierto (including the song of the same name) and a good part of the songs that would later contain the album Doble Opuesto (1991), Delgado is expelled from the group.
The demos recorded with Delgado in voices, remained unpublished until 2014, when a bootleg called "La Ley, Los Demos Perdidos de Iván Delgado" was launched on YouTube. In this compilation, it is possible to listen to two songs that were never released by La Ley and that have the participation of Bobe as composer: "He" and "Lula". The other albums that can be heard on the record are "Qué Va A Suceso", "Bomba de Tiempo" and "Hay Algo Allá Afuera", included in the mythical debut of 1990, "Desierto". For its part, the song "Desierto" with Delgado in voices, remains lost, but only one thing is known: it was the version that Beto Cuevas heard and memorized to become part of La Ley.
The arrival of Beto Cuevas y Desierto (1988-1990)
During 1989, Beto Cuevas arrived in Chile after having lived a large part of his life in Venezuela and Canada. Graduated from design, he began to do artistic work in the capital to survive, at the same time as he began as a hobby, to sing amateurishly in a bar, interpreting covers of Elvis Presley .
Thanks to the insistence of Beto's older sister, Mauricio Clavería's wife suggests to her husband, make the young singer of the bar pass as his cousin, so that he audition for La Ley. Rodrigo Aboitiz, for his part, recommends another singer, suggested by a friend. Said friend had the contact of a young man recently arrived from Canada, whom she had heard singing Elvis covers in perfect English, on a beach in Concón . It turned out to be Beto Cuevas too.
The truth is that Andrés Bobe, through Mauricio, was the first member of the band to meet Beto Cuevas. To audition him, he gave him a demo with the song "Deserts" and gave him a week to memorize the song and perform it.
After that week, Beto appeared before the band and as a sign of unanimous approval, he was later invited to all the La Ley rehearsals.
The entrance of Beto Cuevas was fundamental to define the path of La Ley, since Beto was the owner of a special stage presence, which was complemented by his vocal color very familiar to that of Bobe's idols, such as Morrissey and Dave Gahan . Andrés Bobe would declare years later that La Ley was born when Beto Cuevas joined the group.
At the hands of Carlos Fonseca, they were signed at the legendary Fusión record house, owned by the producer, and during 1989, they recorded what would be their first official LP: Desierto . Deserts became a cult object among the band's fans, as it was quickly removed from the market shortly after being released, leaving only 500 copies distributed. The reason: La Ley decided to choose Fonseca's assistant, Alejandro Sanfuentes, as the new manager, after considering that Fonseca was only focused on the new phase of Los Prisioneros and the release of the album Corazones .
Soon after, Rodrigo Aboitiz left the band for personal reasons, leaving Andrés Bobe as the main support of the band, now acquiring the double role of keyboardist-guitarist.
The demos of 1990, Angie and Double Opposite (1990-1991)
After the departure of Aboitiz, La Ley focuses its energies on getting a record deal. And for this, they recorded a series of demos in English during 1990, to attract the interest of transnational labels.
From this time, songs like "Just Another Dreamer", "My Destination" and "Love & Faith" were born, which years later, La Ley would include in Spanish versions on albums after the Andrés Bobe era.
In addition to the original songs in English, Andrés and Beto decide to rehearse and record two covers of a band for which they shared admiration: The Rolling Stones . The songs chosen were "Angie" and "Under My Thumb".
Quickly, the versions captured the attention of their audience, being constantly performed in their performances at El Café del Cerro and at Casa Constitución, in the Bellavista neighborhood. However, the notoriety did not arrive until the exhibition of "Angie", in a television program. Rolando Ramos, who was conducting the program, suggested that they include "Angie" in the presentation, since it was the trend that in space, national bands would interpret a cover of their favorite band. The television exhibition was followed by radio rotation, led by Ramos himself. "Angie" became so popular that it occupied entire weeks, the top positions on the music charts of Chilean radio stations, surpassing even the hit of the year, Michael Jackson's Black Or White.
Already with the fame of being a Chilean quartet with perfect English speaking, PolyGram offers them a contract for three original albums.
Double Opposite was composed of 12 songs: one from the time of Shia Arbulú (Sometimes), four from the time of Iván Delgado (Only Ideals, Deserts, What Will Happen and In Places) and seven originals by the now quartet. It is also added the version of "Angie" that catapulted them to fame.
The release of the album was followed by the rotation of the video clips of "Doble Opuesto" and "Prisioneros de la Piel" on various television networks, as well as a successful musical tour that took them throughout the country.
Homonymous disc, Tour Autoruta and internationalization (1992-1993)
After the rotation of the videos of "Doble Opuesto" and "Prisioneros de la Piel" in the main television music networks such as MTV, the consolidation and internationalization of La Ley was imminent.
In December 1992, La Ley released their second official album, La Ley (1992) , with which they began their Autoruta Tour at the Providencia Theater. This is followed by the release of the video clip of Autoruta, the first single from the album, controversial at the time for its scenes of sexual relations. The video had two versions: the official one, broadcast on television, and the "ugly" version, which circulated through various discos in the capital.
In February 1993 , La Ley was invited to participate for the first time in the Viña del Mar Song Festival , where they were also awarded the Platinum Record for the sales of Double Opposite and the Gold Record for their most important work. recent. Autorruta and Tejedores de Ilusión , the most recent singles exhibited on that occasion, were highlighted by the national press as themes that penetrated the public the most; in this work, a rockier and less light influence was noted.
After the presentation of the Festival, La Ley continued with the Autoruta Tour, which was so successful that it took them to Argentina, Mexico and Los Angeles (USA) for the first time.
At the end of 1993, Andrés Bobe was preparing the jump from La Ley to the Latin American public. La Ley's residency in Mexico had been planned, as well as signing a new contract with a new record company, which promised full and complete expansion throughout the continent. At the end of 1993 , La Ley signed a pre-contract with Warner Music México . However, Polygram demanded by contract, the release of a third and final work with the band.
Face of God and the departure of Andrés (1994)
In 1994, La Ley decides to face the commitment assumed with Polygram, to release a third and final material, to sign a next record contract. And for this, the band would take advantage of an initiative underway.
After participating in Teener's advertising campaign, Channel 13 asks La Ley to compose the opening song for their next teleserie, Champagne . In this way, Andrés composes together with Beto and the band, the song Cara de Dios (En La Ciudad). The band decided to create a maxi single with the theme, a project that would see the light in March of that year.
In February of that year, the band returned to the Viña del Mar Song Festival, presenting a new version of "Desierto" ("Desierto Mix") and an unpublished song, without title (and that years later would be called "R&R "), which would be part of an upcoming album.
The maxi single Cara de Dios (1994) finally goes on sale . The single is joined by the mixed version of "Deserts" and "A Veces", in addition to the unreleased song "Rhythm Valentine". The production was led by prominent producer Humberto Gatica and Andrés Bobe, being Gatica's first participation with the group. After the experience, Gatica would be part of La Ley's recording life for many more albums, including the multiplatinum "Invisible" (1995).
In the first days of that month of April, La Ley participated in a charity concert for the daughter of Palestinian soccer player Héctor Robles , who suffered from a liver condition and had to be transferred to Houston for a transplant.
After this recital, in which Andrés surprised the public by dressing in a flannel shirt (in homage to the recent death of Kurt Cobain ) and presenting unreleased songs such as "Animal" and "1-800 Dual", the group went to celebrate the presentation in a bar in the city of Santiago.
Andrés leaves the place on his motorcycle, in the wee hours of the morning. After minutes of driving, he loses control of his vehicle and crashes into a tree at the intersection of Monseñor Edwards and José Ortega y Gasset streets, in the La Reina commune. The blow was so strong that he was knocked unconscious by the force of the impact because he was not wearing a helmet and died when he was going to be transferred to the hospital. He was only 32 years old.
The Chilean Rock was painted in mourning, leading to various tributes were made. One of the most noteworthy was the soccer match held at the National Stadium , where the rival teams of Chilean soccer, Colo-Colo and Universidad de Chile faced each other . The "U" emerged victorious from the match, dedicating his goals to Andrés Bobe, who was a loyal fan of the university club. Prior to the match, a minute of silence was held in the same room.
Another significant tribute was also held in the same venue and on the same day. In the evening, Depeche Mode held a concert at the National Stadium, but not before also dedicating a minute of silence on behalf of Andrés. To the surprise of the audience, Martin Gore dedicated a few words to Bobe in the middle of the concert, highlighting his enormous musical talent and dedicating the song "Somebody" to him, marking the climax of the meeting. Andrés's story was also highlighted in the official media of the British band.
At the date of his death, Andrés left many projects truncated, such as a solo album, an upcoming album with La Ley, an MTV Unplugged (which due to the circumstances, Los Tres would take ) and the musical production of Lucybell's debut , to whom he had known not long ago, after hearing them at a concert.
After your departure
Invisible : Tribute of La Ley to Andrés Bobe (1994-1995)
After Andrés' death, the band vowed, on Bobe's own plot, to continue with La Ley, as that would have been their wish.
Against all odds and being harshly criticized by public opinion for "not living the duel", La Ley participated in the Acapulco Festival one month after the guitarist's departure. On the occasion, the band dedicated their concert to Andrés, presenting four songs of his authorship, which would later be part of their next album: R&R, El Duelo, 1-800 Dual and Animal.
For the recording of the next album, Pedro Frugone on guitars (Clavería's former partner in Brain Damage and Andrés's friend) and Rodrigo Aboitiz on keyboards were summoned. Already in Los Angeles, California, they begin full time to record their next album: Invisible.
The name "Invisible" is born from a dream that Beto Cuevas had about Andrés Bobe. In this dream, Andrés tells Beto that he will continue to live in the hearts of his friends, but that for the rest of the people, he would become "Invisible". The cover of the disc exhibits two blue hands as a sign of prayer, which can show the transition from life to death (represented by the color blue) under a state of faith.
"Invisible" is recognized by specialized critics and by many of the fans as La Ley's most emotional album and, of course, as the most successful. And for the rest of their career the band continued to perform songs from the album and remember the figure of Bobe.
Oh yeah! : Homage from Germán Bobe to Andrés Bobe (1996)
In 1996 , a tribute album to Andrés was released, by Germán Bobe, filmmaker and brother of the guitarist. Said album is actually the soundtrack of a medium-length film made by Germán in 1989, entitled "Moizefala La Desdichada". The film portrays the life of a transsexual named Moisés, who seeks to glamorize various nightclubs in the capital in the years of dictatorship.
The film was shown seven years after its making and the album was finally titled Bobe Al Camp Troupe: Oh Yeah! , which featured the musical collaborations of Álvaro Henríquez and Javiera Parra . Andrés Bobe participates in the album with the unreleased songs With You and Love in Fire, in addition to the instrumental Maten A Todo El Mundo Hoy, released entirely by Germán, nine years later on social networks.
Love and Faith : Andrés Bobe in Uno (2000)
The last official appearance of Andrés Bobe as the author of a La Ley song is on the track "Amor y Fe", from the album Uno (2000). "Amor y Fe" was born in the demo sessions of 1990, under the name "Love & Faith". Beto Cuevas, author of the song's lyrics, adapted it to the Spanish language and kept much of the original content of the song, including certain lyrical passages of the song ("My own paradise" / "El paraiso en mi") and the samplers end of sea and wind.
For many fans, it is one of the best songs on the album. Interestingly, the song has never been performed live by the band.
Yell Sin Voz , a gift with Bobe / Cuevas stamp (2003)
When fans of La Ley thought that there were no more songs by Bobe / Cuevas, Beto Cuevas surprised with an unexpected gift: the song Gritan Sin Voz .
María Jimena Pereyra, an Argentine and emerging performer in 2003, released her second album called "Esa Luz", under the Warner Music Chile brand. The production of his album had the participation of Gonzalo Yañez, a friend of Beto Cuevas and at that time, the guitarist of Los Prisioneros. By showing him María Jimena's work, Beto decided to "give her the song as a gift."
The trans-Andean singer kept the lyrics of Beto Cuevas and according to rumors, the song did not suffer great alterations with respect to the original version, which is not yet known. As a curious fact, even when Beto Cuevas does not appear in the credits of the plate, he contributes in the song with second voices, which become more noticeable at the end of the track with a powerful "it's in me".
Andrés tenth anniversary and The Beginning of a Story (2004)
Shortly after the release of the album Libertad (2003), La Ley surprises its Chilean fans with the launch of the DVD El Comienzo De Una Historía (2004), which commemorated Andrés Bobe's tenth anniversary.
Under the Universal Music label (who, from that time, were awarded the rights to Polygram ), the record rescued material from the band between 1989 and 1994, such as their last performance with Andrés at the Viña del Mar Festival (1994), the video clips of Deserts, Angie, Double Opposite, Prisoners of Skin, Autoruta and Weavers of Illusion , as well as a series of unpublished records, such as EPK's, a documentary and the ILU video clip
For the production of the material, the record makers contacted current and former members of the band. Norberto "Mono" Berrios. Andres friend and road manager of the band until Bobe's death, he was the artistic director of the project. The official acknowledgments include Beto Cuevas, Luciano Rojas and Alejandro Sanfuentes, former manager of La Ley.
The material, years later, was re-released in Mexico under the name "Sound + Vision", including in addition to the DVD, the remastered CDs of Doble Opuesto and La Ley de 1992.
AB: Posthumous album and short film Heaven (2010-2011)
During 2010, Germán Bobe announced to the press the release of a posthumous solo album by Andrés Bobe.
Germán owns many of Andrés Bobe's records, and many of them were unpublished until the release of this album. Many years passed before Germán was reunited with his brother's music and belongings, given the emotional shock that it meant to him.
For the production and compilation work of this album, Germán summoned Carlos Fonseca, former manager of La Ley, and his former bandmates, Luciano Rojas and Rodrigo Aboitiz. After the 2010 reissues of "Silhouette" and "Heaven", by Rojas, songs from Paraiso Perdido, from the album Oh Yeah! , songs from La Ley with Shia Arbulú and La Ley with Andrés on vocals. The plate closed with other experimental works by Bobe: three instrumental songs and an experimental theme with scratches (which marks the beginning of Andrés in the musical composition in 1985) called Teorema de Pitagoras . From this last theme, the name of the album would emerge: Dimensions . However, the filmmaker ended up choosing the name AB (2010).
In parallel to the album "AB", Germán began to create a short film tribute to Andrés, entitled "Heaven" (2011), the title of one of Andrés Bobe's posthumous songs.
The audiovisual piece featured performances by Íñigo Urrutia, Cosmo Gonik and Javiera Díaz de Valdés, in addition to the participation of singer Ignacio Redard, vocalist of Rodrigo Aboitiz's project, Plugin. In the film, you can also see cameos from Bobe's friends and family, such as Luciano Rojas, Javiera Parra, Javiera Contador, Rodrigo Aboitiz, Iván Delgado, Carlos Fonseca and Beto Cuevas himself.
The story focuses on the last hours of Andrés Bobe's life and on the expression of his different personalities, through the characters of Urrutia, Redard and Gonik.
Heaven and AB were officially launched in 2011, at a ceremony at the Gabriela Mistral Cultural Center. After the exhibition of the short film, which was applauded by the audience, a tribute concert began, which featured Plugin, Ultra (a solo project by Luciano Rojas at that time) and Javiera Parra. As a curiosity, it was possible to observe Rojas, making use of Andrés Bobe's characteristic Fender Stratocaster guitar.
After participating in various film festivals, "Heaven" was launched on social networks by Germán Bobe himself.
At present, you can still see remixed versions of Andrés's songs, making use of images from the film.
New Tribute to La Ley: ILU at the Viña Festival (2014)
In 2014, the group La Ley announced their return to the stage, after a nine-year break. After a brief concert in Buenos Aires, the band would perform their first official reunion concert at the Viña del Mar Festival in 2014. Said reunion was not without controversy, as the former members of the band were not summoned for the occasion. Luciano Rojas and Rodrigo Aboitiz band.
On the Viñamarino stage, Beto Cuevas and his groupmates, Mauricio Clavería and Pedro Frugone, returned to interpret after 20 years, the song ILU , original by Andrés Bobe and which had not been played since the guitarist's death.
As in the classic times of the band, Andrés's keyboard and percussion bases were used again, in addition to his final choirs and the megaphone of Beto Cuevas' speech . The subject closed with a heartfelt greeting to its composer.
The initiative was even congratulated by Andrés Bobe's ex-partner, Constanza Piwonka. However, he also gave a profound opinion in the press: "Andrés would have liked to see his friends playing together again".
Nobody's Sound and its Northern Smoke (2015)
Andrés Bobe was present again in 2015, through the new musical work of the Spanish-Chilean group No one : Fuimos Ángeles (2015).
In the EP, Soli Arbulú, vocalist of the band and composer of the song, dedicates the song "Humo del Norte" to Andrés. In it, he tells the story of two teenagers who begin to discover each other through the love and innocence of days gone by.
The musical work aroused the interest of Germán Bobe, who offered to create a musical short film for the album, entitled El Sonido de Nadie (2015).
In the audiovisual piece, again Germán pays tribute to the figure of his brother Andrés, highlighting him through various characters of the capital night. Also in the film, he makes use of motorcycles, Andrés's passion. The video includes the original members of Nadie, as well as Dagomoto, an old friend of La Ley who earned his name by following them on his motorcycle to every concert in Chile during the 90s.
Currently, Luciano Rojas, Rodrigo Aboitiz and Iván Delgado are part of the new group of Nadie .
New projects with Andrés Bobe (2016)
Among the followers of Andrés' music, there have been many projects that involve his music.
The one that has had the greatest echo in recent years has been the possible reissue of the 1990 album Deserts. When consulted about it, Luciano Rojas and Rodrigo Aboitiz publicly declared that they would be willing to participate in the project. Andrés Bobe's family, although they have not expressed a public opinion yet, they have not given evidence of opposing them either. Carlos Fonseca, former manager of La Ley and owner of the original records of Desierto, also publicly expressed his willingness to contribute to the production of the album, also commenting that the final decision would depend on Beto Cuevas and Mauricio Clavería, current original members of La Ley.
Beto Cuevas, when consulted in a press conference on the subject in February 2016, declared that although they will be focused on the short term, in the launch of the album Adaptación and their promotional tour, he is not opposed to being part of the initiative. musical. On the occasion, he also pointed out that he would not have problems playing with his former bandmates again, highlighting their talents and wishing them success in their respective projects.
Mauricio Clavería has not expressed his opinion on the matter, simply because he has not been consulted yet.
Discussions and discussion topics
In the wake of the tragedy, the future of La Ley seemed uncertain. Andrés Bobe was the catalyst for the group and was the one who made the decisions. After the departure of Coty Aboitiz, his role within the band became more prominent, both in music and production. For this reason, there was talk that Andrés was the leader of the group.
The initial stage of La Ley, under the wing of Andrés Bobe, was a creative and dynamic moment, considered to be the one with the greatest boom by some of the band's fans. The musicians were savoring success: they had a large following of fans, they appeared frequently on radio and TV, they were received with pleasure and enthusiasm abroad, and they had an entire press watching their steps.
After his death, the group took an expected radical turn. The inclusion of Pedro Frugone on guitar meant for many, the beginning of another stage, which was already evident with the absence of Bobe and the playing style of both guitarists (Bobe leaned towards New Wave groups , while Frugone is more close to Glam Rock ).
After his death, Andrés Bobe's image became cult, thanks to the affection of the first followers of La Ley and the media coverage (criticized by the same band) that he had in Chile in 1994. After the release of the album Invisible , many of the fans, left the group to perceive an aesthetic different from that of its beginnings. However, another no less numerous group considered it necessary to continue supporting the band, adding to them the new followers that Invisible gained throughout the continent.
The recurring topic of discussion, necessary for some, in bad taste for others, rests on the question : What would have happened if Andrés Bobe had not died?
The difference between Andrés Bobe's leadership and that of Beto Cuevas is manifest in musical terms. While Bobe cultivated a more discreet and detailed style, with eloquent and austere tinted guitars, Beto became more concerned with experimentation, giving La Ley greater doses of eclecticism (and long-term success). Despite the spontaneous change of focus, the frontside of La Ley never relegated the figure and influence of Andrés in his later albums and the allegories typical of the lyrics of the Bobe era still remain, even in current songs of La Ley. Beto Cuevas continues creating songs that question human existence, a literary hallmark that Andrés awakened in his musical proposals.
Andrés Bobe cultivated his own musical style, initially inspired by the New Wave of the early 80's. His sound always sounded avant-garde on the scene, basically because Bobe did not share the prejudices of previous generations in mixing styles and declaring how musical idols, foreign and androgynous singer-songwriters.
Bobe belonged to a generation of Chilean composers of the 80s, who knew how to find in Pop, a new niche to rewrite Chilean popular music. From Andrés's generation are musicians like Pablo Ugarte, Jorge González , Álvaro Henríquez or Archie Frugone, who forged the Chilean Rock of the following decade with their bands.
By press, Andrés would declare that his greatest musical idol was the guitarist of The Smiths , Johnny Marr . However, his other British influences were also known: Depeche Mode , Talk Talk , Cocteau Twins , U2 , Roxy Music , A Flock Of Seagulls , OMD , New Order , among others. He also felt a deep admiration for the Spanish Movida of the time, the representatives were bands like La Unión , Radio Futura and Mecano .
Andrés Bobe's guitar playing style was strongly inspired by that developed by Johnny Marr, coming to occupy the same Fender Stratocaster model as the guitarist ( sunburst color ). For its part, the sound of Bobe's instrument is closer to the characteristic muted delay of Robin Guthrie and The Edge , vindicating the subtlety of the arpeggios in the rock proposals.
Curiously, at the beginning of the 90s, the British were moving away from the musical mainstream of the time, consolidating American proposals such as Guns N 'Roses , Bon Jovi , Pearl Jam and Nirvana . That said: Why did La Ley become successful, with a style so far removed from the prevailing fashion?
Bands like Happy Mondays , Inspiral Carpets , The Stone Roses and later Oasis , were the underground heirs of Marr and found, without warning, worldwide success after the development and fall of Grunge . The Latin American equivalent to the initiative of these gangs and the Madchester movement is La Ley.
Luciano Rojas would declare over the years that the music of the early days of La Ley ( Deserts ) was strongly inspired by the groove of Bryan Ferry , a vision that Javiera Parra shares, declaring in a musical documentary that Bobe was "the Bryan Ferry Latin American ". Rodrigo Aboitiz would admit, for his part, that at that time he listened to New Order a lot and that probably many songs from Deserts had direct inspiration from Bernard Sumner's band . There are not few fans who say that the video and the melody of the song State Of The Nation , are very similar to those of Deserts .
Beto Cuevas, would highlight over the years in the press, that Bobe's musical identity was strengthened with his musical and aesthetic inclinations. Cuevas incorporated into the music of Andrés Bobe, direct influences from The Cure , Duran Duran , Morrissey , David Bowie and Peter Murphy . This became more evident in 1993 and later with Cara de Dios, where it can be seen that the musical direction of La Ley followed a line closer to "dark" songs of the time such as Lovesong , Cuts You Up , Come Undone and Ordinary World. Added to this is the resistance that Bobe and Cuevas shared against Argentine musical influence (and American glam rock, to a lesser extent).
Regarding the era of Invisible , Rojas would state that one of the main musical inspirations for the band came from the album Songs Of Faith And Devotion by Depeche Mode . Songs like Día Cero or The Corridor were strongly inspired by the musical and literary aesthetics of songs like Walking In My Shoes and Condemnation .
With The Little Vice Band
- The Last Judgment ( 1987 )
With the law
- The Law (EP) ( 1988 )
- Deserts ( 1990 )
- Double Opposite ( 1991 )
- The Law ( 1993 )
- Face of God ( 1994 )
- Invisible (1995, as author)
- Uno (2000, as author)
- CooperativaFM (December 13, 2016), Dulce Patria: Día Cero and the influence of Andrés Bobe , consulted on June 19, 2018