The word Zupay or Supay is a Quechua term that corresponds to a demon-god of indigenous origin who was the protagonist of many legends and ancestral dances in the northwestern region of Argentina, historically and culturally linked to the Andean civilization.

[7] Furthermore, their seventh album's cover adopted a symbolic image that was used henceforth as isotype of the group, consisting of an inverted black triangle with a smiling devilish face in the center and painted in red, which corresponds to the folkloric description of Zupay.

Located in Lima 670, La Botica del Ángel was one of the strongholds in Buenos Aires where artists linked to what was then called "the new Argentinian song" were promoted, which sought to break away from the traditional schemes of the tango-folklore duality, with unclassifiable singer-songwriters such as Nacha Guevara and María Elena Walsh—the latter would be the author with the greatest presence in the historical repertoire of the quartet.

The album is similar in its thematic structure to the first, but is much more complex and daring, both in the vocal arrangements, the inclusion of dissonances, the participation in four tracks of Oscar López Ruíz's instrumental ensemble, and above all, the use of a drum kit and electric guitar, a radical innovation for folklore.

[17] Thematically, the album contains songs of a more varied style, among them Los castillos, by María Elena Walsh, who would become the group's favorite author; Mi pueblo chico by Pérez Pruneda and Adela Cristhensen, also released as a single with great success; Por un viejo muerto, by Damián Sánchez and Bernardo Palombo, a song with social content about a homeless old man freezing to death in the street; and the well-known tango Milonga triste by Sebastián Piana and Homero Manzi.

[20] Juglares shows a remarkable evolution and marked the consolidation of the quartet's own style where the boundaries between folklore and tango seem blurred within a broader framework dominated by freedom of form and a new sound.

[21] The album had tracks that would become fundamental in Cuarteto Zupay's repertoire, such as Si Buenos Aires no fuera así by Eladia Blázquez, Chiquilín de Bachín by Horacio Ferrer and Astor Piazzolla, Jacinto Chiclana (a poem by Jorge Luis Borges set to music by Astor Piazzolla), El violín de Becho by the Uruguayan Alfredo Zitarrosa, Romance del enamorado y la muerte (an anonymous Spanish song from the 15th century), and two protest songs (a genre that had a great development through Latin America at the time), Margarita and the tigres, a humorous chacarera by Mónica Cosachov against the ruling military junta, and Canción de cuna para gobernante, by María Elena Walsh, against the Latin American military dictatorships, which became a classic.

Juglares features prestigious musicians such as Mónica Cosachov, playing piano and harpsichord, Cacho Tirao on guitar, Pedro Pablo Cocchiararo on bassoon and Antonio Yepes on percussion.

[21][7] The press of the time emphasized the youth and student attendance regarding the album, as it happened during a massive recital at the Club Atenas of Córdoba, broadcast by the radio of the university:Over 6,000 young people listened in complete silence to the concert of Cuarteto Zupay...

[21]In 1971, they performed at the Teatro Diagonal in Mar del Plata, presenting the multimedia show ¿Queréis saber.... (si un país está bien gobernado y reinan en él buenas costumbres?

[20] Cuarteto Zupay accentuated by then the political and social criticism that the group had already hinted at in Juglares, which would become a central feature of their repertoire and that naturally led them to adhere to the Movimiento del Nuevo Cancionero that Armando Tejada Gómez, Mercedes Sosa and Manuel Matus had started in Mendoza in 1963.

[23] In 1972, a year of great political turmoil due to the decision of the military dictatorship to call for free elections, the popularity that Cuarteto Zupay was gaining among students and young people with transforming ideals was evidenced in a well-remembered recital they performed on May 3, with Piero at the Faculty of Medicine of the University of Buenos Aires.

In 1974, Cuarteto Zupay, the playwright Juan Carlos Gené, and the actor Pepe Soriano teamed up to stage El inglés, a dramatic-musical play written and directed by Juan Carlos Gené and musicalized by Rubén Verna and Oscar Cardozo Ocampo, recreating the First English Invasion of 1806, when a British military government was imposed on Buenos Aires and the subsequent reconquest by a popular army.One day, Soriano phoned me to tell me that he had talked to the people of Zupay to do a national tour together.

It includes twelve songs compiled or recorded by Juan Alfonso Carrizo, Manuel Gómez Carrillo, Andrés Chazarreta, Alberto Rodríguez, Isabel Aretz, Carlos Vega, Augusto Cortázar and Leda Valladares.

The title is a phrase of María Elena Walsh included in the song Canción de caminantes and has a clear political meaning.Siempre nos separaron los que dominan, pero sabemos que hoy eso se termina.

Requiem de madre is a feminist song, El Señor Juan Sebastián combines the baroque of Bach and the group's own style, while Manuelita la tortuga pays tribute to the powerful influence of María Elena Walsh on several generations of Argentine children.

[note 16] It opens with Zamba del nuevo día, one of the emblematic songs of the cancionero Zupay, already included in the first album, which this time has the author of the music Oscar Cardozo Ocampo, playing guitar and piano.

[34] The success and the audience it attracted, as well as the return to Argentine theater of Juan Carlos Gené, one of the most important playwrights in Latin America—then exiled in Venezuela—turned the staging of the play into one of the most representative cultural events of the post Malvinas War and the retreat of the dictatorship.

[27][26] The play received the 1983 Premio Prensario and was recorded on disc by Philips, with the participation of the following musicians: Mauricio Cardozo Ocampo on Spanish guitar and twelve-string guitar; Babu Cerviño on synthesizer; Carmelo Saíta on bells and metal hoops; Edgardo Rudnitzky on tam tam and timpani; José Luis Colzani on drums; Felipe Oscar Pérez on piano; Oscar Alem on bass; Telmo Gómez and Horacio Viola on trumpets; Carlos Hugo Borgnia and Norberto Claudio Tavella on trombones.

The album features on the cover a popular demonstration (photo by Juan Carlos Castagnola) and quotes as a main slogan a phrase by Joan Manuel Serrat, who was also part of the dictatorship's blacklist:"Memory is essential in order not to repeat mistakes...; if one does not remember exactly what happened, it is very difficult for one to appreciate what one has.

The other two tracks on side A are Milonga del muerto ("no conviene que se conviene que se sepa que muere gente en la guerra"),[note 21] an anti-war poem by Jorge Luis Borges, with music by Sebastián Piana; and two songs by Charly García, Inconsciente colectivo-Los dinosaurios ("los amigos del barrio pueden desaparecer, pero los dinosaurios van a desaparecer"),[note 22] this last song emblematic of the disappearance of people crimes that characterized the Argentinian dictatorship.

Side B opens with Informe de la situación ("duele a mi persona tener que expresar/que aquí no ha quedado casi nada en pie")[note 23] by Víctor Heredia, a song defined as "chronicle of the tragedy of a generation and a country",[36] followed by M. E Walsh's Balada del Comudus Viscach, a parody of the average man without ideals.

Track three is Aquí hay las madres..., an unusual song of García Caffi and Verna dedicated to the Mothers of the Plaza de Mayo, followed by Levántate y canta by Isella and H. Negro.

Among the musicians accompanying Cuarteto Zupay on the album are Litto Nebbia, Lalo de los Santos (bass), Norberto Minichilo (drums), Manolo Yanes and Babu Cerviño (synthesizer), Mauricio Cardozo Ocampo (Spanish guitar), etc.

[20] In April 1984, Silvio Rodríguez and Pablo Milanés visited Argentina for the first time to present a historic performance at the Obras Sanitarias Stadium, together with Cuarteto Zupay, León Gieco, Víctor Heredia, Piero, César Isella and Antonio Tarragó Ros, who were invited to share the stage.

The show was called Canto a la poesía, where each one contributed songs from their repertoire with lyrics by their favorite poets: María Elena Walsh for Cuarteto Zupay, Pablo Neruda for Víctor Heredia and José Pedroni for César Isella.

[7] The album coincided with a historical moment in which the world was changing drastically, since the fall of the Berlin Wall, prelude to the dissolution of the Soviet Union and the end of the Cold War, as well as the beginning of globalization.

Simultaneously, Argentina was living a moment of chaos and confusion, with constant military insurrections that had achieved the sanction of the Argentinian impunity laws and a crisis characterized by hyperinflation and an unprecedented increase in poverty, which forced President Alfonsín to resign and hand over power early to his successor, Carlos Menem.

The title of the album is taken from a song by Julio Lacarra which has as its central message the phrase "con los pies en la tierra y un sueño cierto" (English: with feet on the ground and a true dream).

")[note 29] by Isella and Héctor Negro, A redoblar, by Mauricio Ubal and Rubén Olivera, emblematic song of the resistance to the Uruguayan dictatorship by the group Rumbo,[42] Balada del ventarrón by Chico Novarro and María Elena Walsh, about the permanently renewed challenges that life presents, Piedra y camino ("soy peregrino de un sueño lejano y bello")[note 30] by Atahualpa Yupanqui, and a song by Rubén Verna and journalist Carlos Abrevaya, titled Todo está por hacerse todavía ("porque allí donde sea el fin será el principio").