{"id":299479,"date":"2024-04-07T13:22:56","date_gmt":"2024-04-07T17:22:56","guid":{"rendered":"https:\/\/oncubanews.com\/en\/?p=299479"},"modified":"2026-02-11T11:59:22","modified_gmt":"2026-02-11T16:59:22","slug":"silvio-and-pablo-in-argentina-evocation-at-the-turn-of-forty-years","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/culture\/silvio-and-pablo-in-argentina-evocation-at-the-turn-of-forty-years\/","title":{"rendered":"Silvio and Pablo in Argentina, evocation at the turn of forty years"},"content":{"rendered":"

Forty years ago, Argentina was barely emerging from the shadows of a dictatorship that had left deep wounds and 30,000 missing.<\/span><\/p>\n

At that time, in the last days of March 1984, the city of Buenos Aires woke up wallpapered with posters announcing a series of concerts by Silvio Rodr\u00edguez and Pablo Milan\u00e9s, two iconic names of the Cuban New Song Movement.<\/span><\/p>\n

On April 2, 1984, the singers-songwriters set foot on Argentine soil. Silvio was 36 years old; Pablo, 39. The Cuban delegation was made up, among others, of musicians Frank Bejerano, Jorge Arag\u00f3n, Eduardo Ramos and sound engineer Tony L\u00f3pez.<\/span><\/p>\n

They came from Quito, Ecuador, where they had performed on March 30 and 31 before 16,000 people. The night they landed at the Ezeiza international airport, a surprise awaited them: being greeted by hundreds of people with flags, posters and lots of music.<\/span><\/p>\n

Journalist Sibila Camps was commissioned by the newspaper <\/span>Clar\u00edn<\/span><\/i> to cover the arrival. \u201cSilvio and Pablo, more than a cultural event, in Argentina it was a social and even historical event of great magnitude,\u201d I was told years later by Camps, who since then has not lost track of them.<\/span><\/p>\n

The journalist keeps a relic from that night. It is a black and white photo taken by Carlos Roberto Bairo. Silvio, Pablo and Sibila appear in the snapshot, relaxed and smiling. The singers-songwriters do not look exhausted after the trip. Quite the opposite.<\/span><\/p>\n

\"Silvio,
Silvio, Pablo and the journalist Sibila Camps at the Ezeiza airport, in Buenos Aires, the night of the arrival of the Cubans to Buenos Aires. Photo: Carlos Roberto Bairo.<\/figcaption><\/figure>\n

By then, Silvio and Pablo were already enjoying great popularity in several countries. Each one of them had held massive concerts in plazas in Mexico and Spain, for example. But Argentina was different.<\/span><\/p>\n

\u201cIt was a very special circumstance,\u201d Silvio told me about the subject. \u201cWhen we arrived, they had just come out of the dictatorship. The next morning the first thing we had to do was go to the police. They took our fingerprints, photographed us, took our passport and gave us a document. That police mechanism still existed. It was a shocking reality. People saw a green Ford Falcon and started to tremble because they were the cars the police used to kidnap. It was a very critical situation. The feeling of oppression and persecution had not dissipated.<\/span><\/p>\n

\u201cI think that this situation of anguish, linked with joy and also with the disconcerting aspect of seeing two guys arrive from Cuba \u2014 and the Cuba of Fidel Castro \u2014 who sang songs that were prohibited…. I imagine that it must have been very revolutionary in the spirit, especially for the young people.<\/span><\/p>\n

\u201cWe had a very strong and direct relationship with the reality of Latin America. We were very informed of what was happening. And those people, in a way, knew it too. There was a kind of dialogue\u2026. Our arrival in Argentina was very intense for all those reasons.\u201d<\/span><\/p>\n

\"Announcement
Announcement in the newspaper C\u00f3nica on the arrival of Silvio and Pablo to Argentina.<\/figcaption><\/figure>\n

Forbidden melodies and voices<\/b><\/p>\n

Although their songs were censored during the dictatorship, the voice of the singers-songwriters had transcended the imposed limits and borders. In Argentina, cassettes with songs by Silvio and Pablo circulated clandestinely from hand to hand.<\/span><\/p>\n

These copies, generally poorly recorded, entered the country surreptitiously; many times through Argentine exiles returning from Spain and Mexico, where the first albums by Cubans as soloists were released and sold.<\/span><\/p>\n

The Argentine journalist and researcher <\/span>V\u00edctor Pintos<\/b><\/a> covered one of the concerts at Obras Sanitarias, Buenos Aires. It was a revealing experience to see and hear from their own voices the authors of hitherto persecuted songs.<\/span><\/p>\n

\u201cWe Argentines learned the songs of Silvio Rodr\u00edguez and Pablo Milan\u00e9s from cassettes that we obtained as best we could. As those were analog recordings, quality was lost in each copy. So if we played a seventh copy, let\u2019s say, what we heard was basically a breath and behind it a voice with a guitar and a song that we didn\u2019t always know the name of. Even less if it was a new or old song. Or what album it belonged to and what year it was published,\u201d Pintos tells me.<\/span><\/p>\n

\"Pablo
Pablo Milan\u00e9s. Photo: Personal archive of V\u00edctor Pintos.<\/figcaption><\/figure>\n
\"Silvio
Silvio Rodr\u00edguez. Photo: Personal archive of V\u00edctor Pintos.<\/figcaption><\/figure>\n

They had to wait until 1983 to be able to acquire Silvio and Pablo\u2019s records in Argentina, and without hiding, thanks to an agreement between the Polygram label and Egrem. In this way, Argentine editions of the albums <\/span>Mujeres, Sue\u00f1o con serpientes\u00a0<\/span><\/i>and\u00a0<\/span>Unicornio<\/span><\/i>, by Silvio Rodr\u00edguez, were released; as well as <\/span>A\u00f1os, Comienzo y final de una verde ma\u00f1ana\u00a0<\/span><\/i>and<\/span>\u00a0Aniversario<\/span><\/i>, by Pablo Milan\u00e9s.<\/span><\/p>\n

In 1982 Mercedes Sosa had returned from exile. For her reencounter with her public \u201cLa Negra\u201d sang a dozen concerts at the Opera Theater in Buenos Aires. Among the repertoire of songs that she offered were \u201cA\u00f1os,\u201d by Pablo Milanes and \u201cSue\u00f1o con serpientes\u201d by Silvio. Both songs were part of a double album titled <\/span>Mercedes Sosa en Argentina<\/span><\/i>, which went on sale in the middle of that year.<\/span><\/p>\n

At the end of 1983, the <\/span>Mercedes Sosa<\/span><\/i>\u00a0album opened with \u201cLa Maza\u201d by Silvio and included a version of \u201cUnicornio\u201d arranged by Charly Garc\u00eda, Argentine rock icon.<\/span><\/p>\n

The songs by Silvio and Pablo in the voice of Mercedes Sosa quickly achieved great popularity not only in Argentina, but in the world. Over time they were part of the singer\u2019s greatest hits.<\/span><\/p>\n

\"Silvio
Silvio Rodr\u00edguez in Argentina, 1984. Photo: Personal archive of V\u00edctor Pintos.<\/figcaption><\/figure>\n

At last in Argentina!<\/b><\/p>\n

With such a background, it was not surprising that, when the arrival of Pablo Milan\u00e9s and Silvio Rodr\u00edguez was announced in 1984, the tickets for the twenty concerts scheduled for the Argentine tour were sold out in the blink of an eye.<\/span><\/p>\n

Silvia Salcedo was 20 years old at the time. Even today she keeps the ticket from April 29, when she attended the last of the concerts at Obras Sanitarias. Since that night, the piece of paper, now yellowed by the passage of time but very well preserved, represents for her a passage to one of the great moments of her life.<\/span><\/p>\n

\"Ticket
Ticket from the April 29 concert preserved by Silvia Salcedo.<\/figcaption><\/figure>\n

\u201cWhen we found out that Pablo Milan\u00e9s and Silvio Rodr\u00edguez were finally coming to Argentina, my partner and I did not hesitate to buy tickets for one of the concerts. The dictatorship had ended, our artists returned from exile and everything was bustle and euphoria. There was freedom to see, hear, sing and shout everything that we had been forced to keep quiet about for years,\u201d she recalls.<\/span><\/p>\n

Fourteen of the presentations were held in Buenos Aires, at the famous Obras Sanitarias Stadium, with capacity for more than 4,500 spectators. The number of shows by the same artists set a record at the emblematic venue, known as the temple of rock in Argentina.<\/span><\/p>\n

This is how the Cuban singers-songwriters debuted in Argentina, on Thursday, April 5, at 10:00 at night.<\/span><\/p>\n

They were in the capital on April 5, 6, 7 and 8. From there they left for C\u00f3rdoba, where they gave two concerts on the 10th and 11th. They returned to Obras Sanitarias on the 12th, 13th, 14th and 15th. They traveled again. On the 16th, city of La Plata, at the Gymnastics and Fencing Sports Center. On the 17th they landed in Santa Fe. On the 18th they touched down in Rosario. On the 19th in Mendoza and on the 21st in Tucum\u00e1n. Up to that point it was the planned program.<\/span><\/p>\n

However, given the demand, they returned to Obras, where they gave six more concerts. All of them to a full house. Between one presentation and another, Silvio and Pablo stayed in Argentina throughout April. It is estimated that more than 150,000 people saw them live and direct.<\/span><\/p>\n

The expectation and emotion was so great that, before starting the series of concerts, a press conference had been organized. More than 150 journalists from national and foreign television, print and radio media, for almost 3 hours, asked about life in Cuba and its political system; freedom for artistic creation; the New Song Movement; how from the island they saw the process of recovering democracy in Argentina.<\/span><\/p>\n

\"Press
Press conference before the concerts. Photo: Personal archive of V\u00edctor Pintos.<\/figcaption><\/figure>\n

Part of that press conference appears in an <\/span>extensive feature<\/span><\/a> that Estela Bravo did for Cuban Television.<\/span><\/p>\n

The U.S. filmmaker based on the island was in Buenos Aires filming <\/span>\u00bfQui\u00e9n soy yo?<\/span><\/i><\/a>, a documentary about the struggle of the Plaza de Mayo Grandmothers in the search and recovery of the identity of boys and girls kidnapped by the military or under their control.\u00a0<\/span><\/p>\n

Bravo did not miss the opportunity to document the impact that Silvio and Pablo had in Argentina, with fragments of one of the concerts in Obras, and valuable testimonies from some attendees.<\/span><\/p>\n

\"Page
Page dedicated by the newspaper Tiempo Argentino to the press conference offered by Silvio and Pablo.<\/figcaption><\/figure>\n

The guitar<\/b><\/p>\n

Everything was ready for the long-awaited debut; or almost everything, since the guitar that had accompanied Silvio for so many years was broken during the trip. It was necessary to find a new one.<\/span><\/p>\n

Although there were several musical instrument stores in the city, all references pointed to Miguel \u00c1ngel \u201cCacho\u201d Onorato, owner of the Daiam music store, located on Talcahuano Street, in downtown Buenos Aires.<\/span><\/p>\n

\u201cCacho\u201d Onorato was very loved in the musical field, not only for having quality instruments, but also for his generosity.<\/span><\/p>\n

Mercedes Onorato, daughter of Don Cacho, remembers every detail of that day when Silvio showed up looking for a guitar. In an exchange of messages, Mercedes kindly gave me details of the meeting.<\/span><\/p>\n

\u201cIt was common for musicians to come every day to try guitars with nylon strings at our store. I remember hearing many of them perform chords of songs from the Cuban New Song Movement, such as \u2018Sue\u00f1o con serpientes,\u2019 \u2018Yolanda\u2019 and \u2018A\u00f1os.\u2019 Love for Silvio and Pablo was in the air, especially around their first concerts in Argentina in April 1984.<\/span><\/p>\n

\"Full
Full page dedicated to the presentations of Silvio and Pablo in the Entertainment section of the Clar\u00edn newspaper.<\/figcaption><\/figure>\n

\u201cAt that time, many sheet music of all songs and musical genres were sold. In the store we had a large editorial section. And since the demand for Pablo and Silvio\u2019s scores was high, all their scores were displayed in a prominent place.<\/span><\/p>\n

\u201cOne day, while I was coming up from the warehouse in the basement of our store, I heard someone playing the chords of \u2018Ojal\u00e1.\u2019 The sound was different, it was not like the previous ones I had heard from other musicians. I hurried up the stairs and it was Silvio Rodr\u00edguez himself. I can\u2019t describe my surprise and excitement. The beloved Negro Rada, Uruguayan musician, client and lifelong friend, had brought him to our business to buy a guitar with nylon strings.\u201d<\/span><\/p>\n

\"Program
Program of Silvio and Pablo concerts held at Obras Sanitarias. The pamphlet contained a mini biography of the singers-songwriters and some lyrics to their songs. This particular one belongs to the artistic producer Daniel Randazzo and is dedicated and autographed by Silvio and Pablo.<\/figcaption><\/figure>\n

After a thorough test, Silvio chose a guitar and asked the price to pay for it. Mercedes went for a case for the instrument. At that moment, in a room alone with her father, speaking softly so that the visitors would not notice her, she proposed giving the guitar to Silvio. The great Cacho Onorato, smiling at his daughter\u2019s excitement, winked at her and nodded.<\/span><\/p>\n

\u201cI showed Silvio how the chosen guitar looked in the best quality hard case we had, since I knew that after Argentina they would continue on tour and it was necessary to protect the instrument. Silvio insisted on knowing the total price to pay. That\u2019s when we told him it was our gift and to please accept it. It was not a question of money, but a way to welcome him to a country that loved him and Pablo, loved Cuba.<\/span><\/p>\n

\u201cHe thanked us and refused to accept such a gift. \u2018No way. Thank you very much, but\u2026,\u2019 he said with absolute conviction and honesty. We insisted so much that, resigned and immensely grateful, he had no choice but to accept.\u201d<\/span><\/p>\n

Before leaving, Silvio observed the large number of sheet music of his and Pablo\u2019s songs that were for sale on one of the counters, Mercedes remembers.<\/span><\/p>\n

\u201cIn a spontaneous gesture and of absolute generosity, he stopped, took a black indelible marker from his coat and began to suddenly sign I don\u2019t remember how many of those sheet music with his songs. As he signed and signed, he told us with a mischievous smile: \u2018Well, this is the least I can do. Let\u2019s see if you can at least sell them more expensive.\u2019 We all laughed a lot and said goodbye with a big hug.\u201d<\/span><\/p>\n

At the first concert at Obras, in one of the first rows of the stadium, Mercedes and Don Cacho enjoyed Pablo and Silvio, moved by those songs and that guitar that they knew so well. Mercedes also has the absolute record of having attended all the concerts scheduled in Buenos Aires.<\/span><\/p>\n

\"Silvio
Silvio with his new guitar on the first night of the concerts at Obras Sanitarias. Photo included in the double LP titled Silvio Rodr\u00edguez \u2013 Pablo Milan\u00e9s: En vivo\u00a0en\u00a0Argentina.<\/figcaption><\/figure>\n

On stage<\/b><\/p>\n

The concert program was organized as follows: Silvio, on guitar, was in charge of opening the first part. For an hour he would offer a bunch of songs; among which were \u201cPor quien merece amor,\u201d \u201cCanci\u00f3n del elegido,\u201d \u201cEl vig\u00eda,\u201d \u201cOjal\u00e1,\u201d \u201cEl tiempo est\u00e1 a favor de los peque\u00f1os,\u201d \u201cLa maza,\u201d \u201cUnicornio\u201d and \u201cTe doy una canci\u00f3n.\u201d<\/span><\/p>\n

\u201cThat a solitary man with his guitar would generate a climate of attention, of silence around him, speaks of the expressive capacity not only of the performer but basically of his proposal. Silvio demonstrated in this way, singing at the extreme of simplicity, that what passes through the song is life, that you can play with your own objects, lyrics, music, arrangements and history,\u201d Alejandro C. Tarruella published in <\/span>Humor <\/span><\/i>magazine<\/span><\/a> after the first presentation.<\/span><\/p>\n

Then came Pablo, who was supported by the formidable trio composed of Frank Bejerano on drums, Jorge Arag\u00f3n (father) on piano and backing vocals, and Eduardo Ramos on bass and vocals. His repertoire was composed of \u201cTe quiero porque te quiero,\u201d \u201cAmor,\u201d \u201cComienzo y final de una verde ma\u00f1ana,\u201d \u201cA\u00f1os,\u201d \u201cPara vivir,\u201d \u201cYo pisar\u00e9 las calles nuevamente,\u201d \u201cLa vida no vale nada\u201d and \u201cYo no te pido.\u201d<\/span><\/p>\n

\"Pablo
Pablo Milan\u00e9s and the trio that accompanied him: Jorge Arag\u00f3n on the piano; Frank Bejerano on drums and bassist Eduardo Ramos.<\/figcaption><\/figure>\n
\"Frank
Frank Bejerano on drums. Screenshot of the concert.<\/figcaption><\/figure>\n

In that chronicle Tarruella said: \u201cPablo was a surprise. Not only his affable nature, his emotion every night (on one occasion he got up from his chair, went to the side of the stage and cried). Pablo illuminated the nights with his fresh spontaneity, with his popular songs that hit indifference.\u201d<\/span><\/p>\n

For the closing, a Silvio and Pablo duo accompanied by the band, sang nothing less than \u201c\u00d3leo de mujer con sombrero,\u201d \u201cRabo de Nube,\u201d \u201cYolanda\u201d and \u201cHoy la vi.\u201d<\/span><\/p>\n

\"Silvio
Silvio and Pablo as a duet on the stage of Obras Sanitarias. Screenshot of the concert.<\/figcaption><\/figure>\n

The first concert was full of emotions and also some headaches. According to press reports, the public entered the room even after the concert had begun and there were some sound problems. However, nothing overshadowed the night. In the article published in <\/span>Clar\u00edn<\/span><\/i>, reporter Sibila Camps noted:<\/span><\/p>\n

\u201cUnlike the majority of the authors of the new song movement of our continent, both Cubans have founded a new Latin American epic that is neither bronze nor marble, but earthly and palpable.\u201d<\/span><\/p>\n

\"Review
Review published by Sibila Camps in Clar\u00edn, on April 7, 1984.<\/figcaption><\/figure>\n

For its part, the newspaper <\/span>La Naci\u00f3n<\/span><\/i> dedicated a good amount of space to reviewing what happened in Obras Sanitarias: \u201cSilvio\u2019s fantasy and talent create luminous images like rays, which always point towards quality.\u201d It is said about Pablo that he \u201chas an exceptional timbre and vibrato. He masters their impetus with a sense of proportion and good taste.\u201d<\/span><\/p>\n

Critics also praised the talent of the accompanying musicians. In the <\/span>La Naci\u00f3n<\/span><\/i> article you can read: \u201cThe trio is not something you hear every day\u2026. Eduardo Ramos builds excellent supports for the harmony, in his bass, while Frank Bejerano\u2019s drums have the salt of syncopation to the brim. But the person who exercises inventiveness most easily is the pianist Jorge Arag\u00f3n. There is the outburst, the stilettos of rhythm, the oxygen that rescues from all tropical drowsiness.\u201d<\/span><\/p>\n

\"Bassist
Bassist Eduardo Ramos. Screenshot of the concert.<\/figcaption><\/figure>\n

Those concerts were also impressive for the singers-songwriters. \u201cWhat has happened here is incredible!\u201d Pablo Milan\u00e9s told journalist Alejandro C. Tarruella on the second night of presentations. In his article for <\/span>Humor<\/span><\/i>, Tarruella relates that the author of \u201cYolanda\u201d was impressed by the great connection with the audience, who sang his songs even though it was the first time they were performed there.<\/span><\/p>\n

Recordings<\/b><\/p>\n

One of those concerts<\/span><\/a> was recorded by Argentine public television and was broadcast days later. It is estimated that around 8 million viewers across the country watched it.<\/span><\/p>\n

Thanks to the existence of this material, we can enjoy truly special moments of the concert and witness over time how the fervor of the audience weaves an emotional connection with the artists. At the same time, it puts before our eyes the complicity between Silvio and Pablo on stage, especially when they come together to sing \u201c\u00d3leo de mujer con sombrero\u201d and \u201cYolanda.\u201d<\/span><\/p>\n

And as life and history go in circles, in \u201cOleo de mujer con sombrero,\u201d Jorge Arag\u00f3n Oropesa stands out on the piano with sublime phrasing in a crucial moment of the song. Thirty-one years later, in 2015, Silvio presented his album <\/span>Amor\u00edos<\/span><\/i> in Argentina. Among the songs that make up the album is a new recording of the song (as part of the original tetralogy). The person who recorded the piano for the album and played at its launch in gaucho lands is Jorge Arag\u00f3n Brito, son of that musical genius who accompanied Silvio and Pablo on their visit to Argentina in 1984.<\/span><\/p>\n

\"The
The pianist Jorge Arag\u00f3n Oropesa. Screenshot of the concert.<\/figcaption><\/figure>\n

Another milestone of 1984 happened in the third concert at Obras, on April 7, when the Cubans invited Argentine colleagues to share the stage. The invitation was repeated in one of the last shows. Le\u00f3n Gieco, V\u00edctor Heredia, Piero, C\u00e9sar Isella, Antonio Tarrag\u00f3 Ros and the Zupay Quartet paraded. Some of them, like Gieco and Heredia, had been exiled and banned during the military dictatorship.<\/span><\/p>\n

There is a beautiful photo, taken a few minutes before going on stage, in which Gieco, Silvio, Heredia and Pablo are seen in the dressing room.<\/span><\/p>\n

Victor Heredia has it framed and hanging in his house, where he received me to talk about that event.<\/span><\/p>\n

\"In
In the dressing room, a few minutes before going on stage, Pablo Milan\u00e9s, V\u00edctor Heredia, Silvio Rodr\u00edguez and Le\u00f3n Gieco.<\/figcaption><\/figure>\n

\u201cThe year 1983 passed with a lot of anxiety and, suddenly, the extraordinary possibility of having Silvio and Pablo in Argentina arose. It was finalized in April 1984 and they came under a law that, if I remember correctly, had emanated from the dictatorship. The regulation said that any foreigner who arrived from a communist country had to present himself to the police and certify that he was not going to generate or commit any insurrectional act. Crazy! I was part of the musicians\u2019 union and we were immediately against it.<\/span><\/p>\n

\u201cSilvio and Pablo,\u201d continues the singer-songwriter, \u201csurprised several Argentine singers with the proposal to unite our voices with theirs. Imagine, we immediately said yes. We knew their songs by heart. I proposed to Silvio to sing one of his and he replied: \u2018No, brother, let\u2019s sing one of yours. <\/span>Todav\u00eda cantamos<\/span><\/i>, it makes a lot of sense.\u2019\u201d<\/span><\/p>\n

\"Pablo
Pablo Milan\u00e9s and Le\u00f3n Gieco. Photo: Personal archive of V\u00edctor Pintos.<\/figcaption><\/figure>\n
\"Silvio,
Silvio, Pablo, Le\u00f3n Gieco, V\u00edctor Heredia. Photo: Personal archive of V\u00edctor Pintos.<\/figcaption><\/figure>\n

Pablo did the same with Le\u00f3n Gieco, with whom he performed \u201cCanci\u00f3n para Carito.\u201d So everyone locked themselves in a room at the hotel where the Cubans were staying in the center of Buenos Aires and began rehearsing for the concert they would give a few hours later.<\/span><\/p>\n

\u201cThey had an established repertoire,\u201d recalls Heredia, \u201cwith a concept of the concert already determined and, for the moment, they broke with all that to incorporate not only the Argentine colleagues but also the repertoire of the Argentine colleagues. It was a great gesture that spoke of the beauty and sensitivity of Silvio and Pablo, in addition to what great artists they are.\u201d<\/span><\/p>\n

Famous albums<\/b><\/p>\n

\"Cover
Cover of the double LP titled Silvio Rodr\u00edguez \u2013 Pablo Milan\u00e9s: En vivo en Argentina.<\/figcaption><\/figure>\n

That concert was recorded by Estudios del Cielito. Its owner, sound engineer Gustavo Gauvry, was in charge of mixing a double LP titled <\/span>Silvio Rodr\u00edguez \u2013 Pablo Milan\u00e9s: En vivo en Argentina<\/span><\/i>, a few months later, under the Polydor label.<\/span><\/p>\n

The album was a resounding sales success. It crossed the Andes Mountains and the Alerce label published it in Chile. It also sailed to the other side of the R\u00edo de La Plata to find a version in Uruguay with the Orfeo label.<\/span><\/p>\n

For months, Silvio and Pablo\u2019s songs remained among the top favorites among Argentines. In August 1984, the Centro Cultural del Disco in Buenos Aires published a national ranking in which the Cubans\u2019 album shared the podium among the most listened to along with <\/span>Thriller<\/span><\/i>, by Michael Jackson, and <\/span>Can\u2019t Slow Down<\/span><\/i>, by Lionel Richie.<\/span><\/p>\n

\"Silvio
Silvio Rodr\u00edguez \u2013 Pablo Milan\u00e9s: En vivo en Argentina published in 1984.<\/figcaption><\/figure>\n
\"Back
Back cover of the double LP titled Silvio Rodr\u00edguez \u2013 Pablo Milan\u00e9s: En vivo en Argentina published in 1984.<\/figcaption><\/figure>\n
\"Inside
Inside photo of the double LP titled Silvio Rodr\u00edguez \u2013 Pablo Milan\u00e9s: En vivo en Argentina.<\/figcaption><\/figure>\n

Given the success of the album, in 1985, they released volume 2, also in vinyl format, with some of the songs that had not been included in the first edition. This phonogram, by Silvio, is made up of the songs \u201cPlaya Gir\u00f3n,\u201d \u201cCanci\u00f3n del elegido,\u201d \u201cPeque\u00f1a serenata diurna,\u201d \u201cEl vig\u00eda\u201d and \u201cLlover sobre mojado.\u201d From Pablo there are \u201cAmor,\u201d \u201cComienzo y final de una verde ma\u00f1ana,\u201d \u201cAmo esta isla\u201d and \u201cYo me quedo.\u201d<\/span><\/p>\n

The recordings became famous. The well-known vinyl records were published on cassette and, in the 1990s, on CD. In 2008, under the Lucio Alfiz Producciones label and distributed by the multinational Sony BMG, a two-CD reissue appeared with remastered sound, unpublished photos taken by Antonio Massa (author of the cover photo of that first LP), the lyrics of the songs and two songs that had not been included in any of the previous albums: \u201cEl tiempo est\u00e1 a favor de los peque\u00f1os,\u201d by Silvio Rodr\u00edguez and \u201cActo de fe (Creo en ti),\u201d by Pablo Milan\u00e9s.<\/span><\/p>\n

\"CD
CD Silvio Rodr\u00edguez \u2013 Pablo Milan\u00e9s: En vivo en Argentina released in 2008 with remastered sound.<\/figcaption><\/figure>\n
\"Volume
Volume 2 of the album Silvio Rodr\u00edguez \u2013 Pablo Milan\u00e9s: En vivo en Argentina.<\/figcaption><\/figure>\n

From those first encounters between the singers-songwriters and the Argentine public an echo remained that still resonates through generations, despite the passage of time.<\/span><\/p>\n

Silvia Salcedo remembers it with awe. \u201cI experienced that concert as an indescribable delirium. Tears flowed from emotion. It was like I was breathing again after a horrible period. Suddenly, everything lit up. Forty years after that concert, I remember it with nostalgia. At that time we again were idealists, we believed that the dark times would not return; but today, in the present, I see that it was not enough; that the ideals of social justice we dreamed of did not fully materialize. Luckily, we have the songs left.\u201d<\/span><\/p>\n

\"The
The public filled the Obras Sanitarias stadium for 14 concerts to enjoy Silvio and Pablo. Screenshot of the concert.<\/figcaption><\/figure>\n

Silvio and Pablo\u2019s first concerts in Argentina, four decades ago today, were a milestone that transcended songs, albums and videos. Those nights in April 1984 became a testimony and catalyst of a new era for a country that was beginning to experience freedom, when the horror that it had just left behind and that would mark its history forever was still hot on its heels.<\/span><\/p>\n