On January 31, Vampisoul Records is reissuing Las últimas composiciones de Violeta Parra from the celebrated Chilean vocalist, stringed instrument specialist, composer, folklorist, and ethnomusicologist Violeta Parra. Released in 1966 by the RCA Victor label, it was the final album she recorded prior to her suicide in February of the following year, a tragic loss that brings the 13 songs, already immaculately executed, additional significance that has endured right up to the present. Sourced from the master tapes and released with the original artwork, this is the album as listeners heard it in 1966.
It’s important to explain that Vampisoul is reissuing Las últimas composiciones de Violeta Parra as it was first released rather than the updated version from 1974 that added string arrangements by Nino Garcia. That subsequent edition is far from a travesty, the additional instrumentation thoughtfully conceived if superfluous. But the lack of necessity becomes moot as it’s likely some listeners who were introduced to the songs through the 1974 release, which was reportedly the better-known of the two versions for decades, prefer the augmentation to the original.
But everyone should have the opportunity to hear the music as it was recorded in 1966, and for reasons that extend beyond understanding and appreciation of Parra’s clear intentions for the album. Unadorned by posthumous pop gestures, Las últimas composiciones de Violeta Parra is no ordinary recording. It’s considered one of the greatest Chilean albums of all time, ranked as the very best by Rolling Stone magazine, in fact.
By extension, Las últimas composiciones is considered one of the greatest Latin albums ever recorded, as just last year it secured the number two spot on the list Los 600 de Latinoamérica, a ranking of 600 releases dating from 1920–2022 from across the Latin musical spectrum. For context, Parra’s album was bested by only Siembra by Willie Colon and Ruben Blades.
But the proof is in the listening. The record opens with it’s most famous song, “Gracias a la vida” (covered numerous times including by Joan Baez) which quickly establishes the beauty and strength of Parra’s vocals as she accompanies herself on strummed charango with a distant rhythm behind her. Parra switches to the guitarrilla (a Nicaraguan instrument similar to the guitar) for the faster paced “El ‘albertío’,” and then with “Cantores que reflexionan,” she goes it alone, her dexterous, sturdy guitar playing perfectly complementing the gorgeousness of her voice.
“Pupila de águila” is one of four tracks where Parra duets with percussionist Alberto Zapicán, the union adding breadth and heft to the album’s weave. These duets contrast well with “Run Run se fue pa’l norte,” “Mazúrquica modérnica” and “Volver a los Diecisiete,” where Para accompanies herself on charango, charanguita (a sort of charango-guitar hybrid) and guitar, respectively.
As side two progresses, there’s never a hint of a misstep on the part of Parra as the folkloric essence of her compositions is elevated by a true voice for the masses. To reiterate, the addition of strings to Las últimas composiciones de Violeta Parra was not a dumb idea. This is a perfect record where the brilliance intensifies with repeated listens and the knowledge that Parra’s life ended so quickly after its release reinforces a bittersweet quality nearly 60 years later.
GRADED ON A CURVE:
A+
