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PI DE LA SERRA-Pijama de saliva
PI DE LA SERRA-Francesc Pi de la Serra
Francesc Pi de la Serra, better known as Quico Pi de la Serra, one of the historical representatives of Nova Cançó Catalana (Catalan New Song), a protest folk-rock movement, put this album out in 1967. In the words of fellow musician, Raimon, this album, with songs such as “El burgès”, “L’home del carrer” and “Els Fariseus”, provides “a very interesting key to understanding those years”. To do it honor, and following in the line undertaken by Picap some months ago, we are reissuing this jewel of an album, lest musical productions of such import, still fully relevant today, should fall into oblivion. Moreover, it would be a pity to forget Pi de la Serra’s top-notch work as a composer and guitarist.

Francesc Pi de la Serra i Valero was born in Barcelona on August 6, 1942. In 1962, he joined the group of musicians fostering Nova Cançó Catalana, Els Setze Jutges, as a guitarist accompanying Miquel Porter. His first performance was in La Selva del Camp and his debut album, PI DE LA SERRA (1962), containing covers of Brassens, came out towards the end of that year. Attracted by the world of jazz and blues, he joined the band, Els Quatre Gats. He recorded four EPs with them from 1963 to 1965 containing adaptations of American classics. L'HOME DEL CARRER (1964), his second EP, with its namesake song, the remarkable “L’home del carrer”, represented a significant qualitative change.

In 1966, Pi de la Serra put out his third and last EP as a member of Els Setze Jutges. That same year, he participated in AUDIÈNCIA PÚBLICA (1966), a collective album by the different members of Els Setze Jutges. FRANCESC PI DE LA SERRA (1967) was his first LP. He became consolidated in the seventies, after Els Setze Jutges broke up. On TRIAT I GARBELLAT (1971), his second LP, you’ll find such classics as "Un dia gris a Madrís", "No és Veritat" and "La Matança del Porc". DISC-CONFORME (1971) includes two small gems: "Ulls Tancats" and "Insolació".

After two years of silence, he came out with two more LPs: FILLS DE BUDA (1974) and NO ES POSSIBLE EL QUE VISC (1974). The repression of the Franco dictatorship forced him to record the former album in France. The latter album became one of his most renowned. Its repercussion on the market allowed him tour non-stop for three years, producing three live albums: A L'OLYMPIA (1975); PALAU D'ESPORTS: BARCELONA 27-2-76 (1976) and A MADRID (1977). One of his most prized live recordings is QUICO-MARIA DEL MAR (1979), containing the performance by the two singer-songwriters at Barcelona’s Teatre Romea for the play, "Corpus al Romea".

Francesc Pi de la Serra, in parallel with the Nova Cançó Catalana movement, experienced a period of stagnation in the 80s. PIJAMA DE SALIVA (1982) represents a turning point, the beginning of a second maturity, with tracks like "Maria Joana". QUICO, RENDEIX-TE! (1988) alludes to this crisis without making any concessions. In this low point in his musical and recording activities, Quico Pi de la Serra nonetheless persevered, diversifying his work, dividing his time between live performances and a blues show on Catalunya Ràdio. AMUNT I AVALL (1995), recorded in ‘93 and produced and arranged by Josep Maria Bardagí, marked his return to the recording studio. NO PASARÁN (1997) was his first album in Spanish, the basis of a show on Spanish Civil War songs done in conjunction with the actress and singer, Ester Formosa. Pi de la Serra has also participated as guitarist, arranger or art director in albums by singers such as Ovidi Montllor, Ramon Muntaner, Miquel Pujadó and Joan Isaac and on th
e CD, 20 ANYS DE FALSTERBO-3, as well as collaborating with the musician, Albert Pla.