Pequeñas anécdotas sobre las instituciones

Pequeñas anécdotas sobre las instituciones (Small Anecdotes about the Institutions) is the third album of Argentine group Sui Generis, released on 1974.

Pequeñas anécdotas sobre las instituciones
Studio album by Sui Generis
Released	December, 1974 (Argentina)
Recorded	1974
Genre	Folk rock, progressive rock, progressive folk
Length	40' 26" 48' 24" (1994's remastered version)
Label	Talent (4)
Producer	Charly García, Jorge Álvarez
Sui Generis chronology
Confesiones de Invierno (1973) Pequeñas anécdotas sobre las instituciones (1974) Adiós Sui Generis (1975)

A concept album, it was originally meant to be titled "instituciones" (Institutions), but Sui Generis' producer suggested they change the name to "pequeñas Anécdotas sobre las Instituciones" (Little Anecdotes about the Institutions), reflecting the unstable nature of Argentine social and political institutions at the time. Charly García's concept was to write a song about every influential and traditional institution, including the Catholic Church, the government, the family, the judicial system, the police, the Army, and so on. Two tracks, "Juan Represión" ("John Repression") about the police and the peronist regime (and a specific reference to president Juan Domingo Perón), as well as "Botas locas" ("Crazy Boots") about the army, were eliminated from the album by the music label, who was concerned with the growing political violence at the time. Other tracks had to be partly changed, including "Las increíbles aventuras del Señor Tijeras" ("The incredible adventures of Mr. Scissors") about someone who controls film censorship, "¿Para quién canto yo entonces?" ("Who am I singing for, then?") also about censorship, and "Música de Fondo para Cualquier Fiesta Animada", which had to be completely rewritten.

When first released, the album wasn't as welcomed by the audience as its two predecessors had been. Though folk rock in nature, it contained aspects of progressive rock, a genre that wasn't too well known or accepted by the majority of listeners. With the passage of time, it would inspire new generations of Argentine musicians and become a classic in its own right. In 2007, the Argentine edition of Rolling Stone ranked it 31st on its list of "The 100 Greatest Albums of Argentine Rock".[1]