Joaquín Sabina, national heritage

Joaquín Sabina, national heritage


Joaquín Sabina in a still image from the documentary “Sentiendo lo mucho”.

“Everyone knows that Joaquín Sabina is a national heritage like Goya or Buñuel, like Pla or Picasso”

One of the most accurate biographers, Julio Valdeón, writes a love letter to Joaquín Sabina last week in line with the news that she was being persecuted.


One of the stereotypes that accompanies us the most is Cainite Spain, infused with jealousy, where the Spaniards attack with a clean stick and with an instinctive, angry, and rabid hatred of anyone who stands out. If you have any doubts or think we’ve changed, review what’s going on these days with Joaquín Sabina: from collaborators who are confused by too much foreign generosity, to media vultures who use the artist’s statements aptly out of context, as political ammunition or sensational cardboard. .

But I didn’t come here to ride. Save me the musician did not even change the circle to some colleagues who knew everything about Wilco but nothing about Celentano or Goyeneche. Me and you forgive me, what I want is to celebrate Sabina’s announcement that she’s going on tour and working on a new album. Book a love letter. An open femoral column for the author of the lyrics (and music) of songs such as “Calle Melancolía”, “Gulliver”, “Young apprentice painter”, “Throw cardboard”, “Through the tunnel”, “When I was younger”, “This is how I am without you”, “White lies ”, “Who stole April from me? ”, “And they gave us ten”, “Black socks”, “19 days and 500 nights”, “Forty ten days”, “Barbie superstar”, “Dieguitos and Mafaldas”, “But how beautiful they were”, “Rosa de Lima”, ” Wedding Nights”, “Empty Beds” or “De purísima y oro”.

Why am I hoarding titles with music also signed? Well, because without belittling all the wonders he’s worked with, it’s fair (and necessary) to remember that a handful of his best songs are his, in terms of words and music. And it would be great after all these years 19 days 500 nightshis masterpiece will soon be accompanied by a solo song. Especially the good old Leiva (those guitars…) rocks chromed Wandering Wilburys type (that structures) and the American plateau (that pedal steel) are far away.

His repertoire seems to be great. Drink from copla and tango, rock and roll and ranchera, corrido, bachata, pop and salsa, New Orleans jazz and blues. He is part of a generation of highly free and anarchic singer-songwriters like his teachers, Chicho Sánchez Ferlosio and Javier Krahe, with whom he shares his passion for books, but due to his ambition and repertoire, his talents as a melodist, and his wealth of musical knowledge, giants like Brassens have overtaken the singer-songwriter status. transcendent and transcendent, someone who combines his own literary and sentimentalism from Úbeda, to the point of becoming a full member of the club of Baudelairean rockers like Bob Dylan and Leonard Cohen. From César Vallejo to Bambino, baggage based on small country dances, orchestras from the Titanic, echoes from overseas, ladders and party ghosts, tired of looking tired or dying in the corners, hipsters on duty, lost snobs, drooling over everything from Kentucky ignore the thing and the talent sprouting in the portals below his house.

The outbursts of time, the pure lies of the heart, the fall of lovers in winter and the night explosion as a way station, and eroticism and freedom, wit and depth, humor and wit, enliven and excite one of the most beautiful songbooks. the last half century. Everyone knows that Joaquín Sabina is a national heritage, like Goya or Buñuel, like Pla or Picasso. No one was saying that, despite reading the bullshit that some people are posting these days.

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