YMMV / Patricio Rey y sus Redonditos de Ricota

• Awesome Music: Solari's lyrics have spawned countless phrases and slogans that are still repeated in a lot of circumstances, in and out of context. Beilinson's riffs are so legendary and easily recognizable that argentineans (fans and not fans) can spot a song from the band just by listening to them. Mix those with a backing band with some of Argentina's most talented musicians (especially post-Oktubre) and you get a band whose influence reaches every corner not just of argentinean music, but also other fields such as politics, sports and arts.
• Broken Base:
  • Depending on where you come from, you either like Gulp! due to it featuring some of the band's most memorable anthems, or you dislike it for its quasi-electronic sound and Early-Installment Weirdness.
  • Depending on whether or not you liked the electronic elements added during Luzbelito, fans either like Último Bondi a Finisterre and Momo Sampler as interesting yet successful experiments or deride them as not having what made Patricio Rey, well, Patricio Rey.
• Ensemble Dark Horse: Semilla, Walter and Sergio are quite popular among fans. Even Solari himself went to the point of inviting them in order to record a song for one of his solo albums. Playing in almost every relevant album of the band may have to do with that, too.
• Fan Nickname: "Patricio Rey Y Sus Redonditos De Ricota" is too long a name for anything besides a CD cover, so everybody simply calls them "Los Redondos". "Ricotero" may also be used as an adjetive of things related to the band (such as "cantito ricotero", "concierto ricotero", etc).
• Fanon Discontinuity: General consensus among the fanbase is that there are bootleg albums that capture the essence of the band's live shows better than En Directo.
• Genre Turning Point: While there were some bands that experimented with uncommon instruments in rock music such as Sumo and Los Abuelos de la Nada, it was Patricio Rey the band that gave the so-called argentinean "Rock barrial" (at least the part of this su-Sub-Genre which wasn't inspired by The Rolling Stones) its distinctive mark by having saxophone as an integral part of the music, to the point that many bands which spawned during or after the band's existence (such as La Renga and Callejeros) started using saxophones as an integral part of their music as well.
• Growing the Beard: When the band transitioned from a troupe with a rock band added on top to said band taking full control of the whole thing, they hit it big.
• Refrain from Assuming:
  • While it was its Working Title at one point (even appearing as such in some bootlegs prior and after Gulp!'s release), "Unos Pocos Peligros Sensatos" from Gulp! isn't called "Golpe de Suerte".
  • "Ji ji ji", from Oktubre, isn't called "No lo soñé".
  • "Yo caníbal", from Cordero Atado, isn't called "Un cordero de mi estilo".
  • "Juguetes perdidos", from Luzbelito, isn't called "Banderas en tu corazón".
• Sacred Cow: Even two decades after its dissolution, the band's music is still being played all across Argentina, and a lot of fans are wishing Solari and Beilinson get over their Creative Differences and reunite the band.
• The Scrappy: Hernán Aramberri had the bad luck of playing in the band's two less-acclaimed albums, Último Bondi a Finisterre and Momo Sampler, which were less hit-oriented and more electronic-oriented.
• Suspiciously Similar Song:
  • "La Bestia Pop", from Gulp!, has a part which sounds similar to a piece from Adam and the Ants' "Feed Me To The Lions".
  • "Fanfarria del Cabrío", from Luzbelito, has a riff that sounds eerily similar to Black Sabbath's "Black Sabbath".
• Yoko Oh No: Subverted. Carmen "La Negra Poli" Policastro, the band's manager and Skay's life partner, is as well-regarded in the band for all she did as Indio and Skay.

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