The San Sebastian Festival premieres the documentary by Álvaro Longoria that reviews all the excesses of the most excessive group of Spanish ‘rock and roll’
“I should be dead. Says the producer and now director lvaro Longoria that this inverted commas was the expression used by Alejo Stivel to introduce themselves the first time they met. Incidentally, it became more than enough of a reason for a movie. Tequila. Sex, drugs and rock and roll is perhaps the too obvious title of the documentary recently presented in San Sebastian that not only reviews the excessive life of the group that with just four albums between 1976 and 1982 revolutionized everything from the town squares to the offices of record companies, but also , much more relevant, also stops at his disproportionate death. We had a dream, it came true, and right after that came real life, comments Ariel Rot in the film to mark the exact limit of the disappearance of the gang and probably the extermination of almost everything good.
The story is known. Two young Argentines -Alejo and Ariel- arrive in Spain with their families fleeing from a new dictatorship. What this fanatical couple of the Rolling Stones, school dropouts and friends since childhood discovers is a country with its recently dead dictator and, worst of all, without rock and roll. They had a bit of the power of the Martians who landed on a much more backward planet, says Benjamin Prado in the film, and those mentioned agree with him. They arrived at a venue as complete strangers, saw three guys play that fit their plans, and signed them up. The world upside down. A nameless group has just been born to those who joined Julian Infante, Manolo Iglesias and Felipe Lipe. A bottle and a drunkenness took care of the baptism. Tequila had just been born.
In 1978, just over 18 years old, they recorded their first album, Matrcula de honor. And the world stops. To summarize a lot and to offer just a few brushstrokes of the exaggeration that was all, they showed that it was possible to do rock in Spanish; suddenly sold 200,000 records and surrendered at their feet the army of fans that mobilized super pop and its half a million weekly copies. But, to the same extent, they also convinced the cigars of the magazine vibrationsto the promoter Gay Merchant, to the almighty director of the TVE program Applause, Jose Luis Uribarri (The artists would go to make the ball so that the uncle could make a fortune. He charged a cache and told the companies what he had to bring, remembers Alejo) and even to The main 40 (Give them the rights to radiate you. It was a corrupt system from top to bottom, he adds).
The film reviews everything thanks to the meticulous account of all the protagonists, including the most brilliant of the witnesses: Cecilia Roth, Ariel’s sister. And so on until the shadows arrive and, from her hand, the heroine. We were always high. The rest of the drugs came in slowly, says one. One day Alejo arrived with a piece of heroin and we all got hooked. It was a very tempting and very cool drug, recalls another. Much of the film is a casualty report, a detailed depiction of a fall from the top. Oblivious to the hatred that they aroused among the Movida flag bearers, the members of Tequila decided to hate each other alone and with all their might. When the performances dropped, the money didn’t come to me but they did, because of the royalties, Lipe remembers with bitterness. Suddenly, we realized that we had not developed the tools to live. We had spent all this time inside a bubble. We didn’t know how to do even the most basic things, Ariel comments from a distance.
Manolo died of AIDS shortly after the group split up and Julin, for whom his two sons speak, fulfilled his fateful dream of being a rolling stones to the very end. It was a painful example of when you lose love for life, you hear it in a moment. Too young, too successful, too many drugs and too many women, Gay Merchant sentence. Either way, it’s Salta! She and the most enormous and alive of stories remain. Despite her death.