on July 17, 1973 commented that the song "speaks of the love of two workers, of any factory, anywhere, of what exists within the soul." Recording Pongo en tus manos abiertas was recorded when Victor Jara returned from his works in theatrical productions in England, it contains a much more direct political proposal than that of his predecessors, which he was able to carry out without problems on the then Jota Jota label (later known as Discoteca del Cantar Popular "DICAP"). It was created by the Cultural Commission of the Communist Youth and Vicente Larrea to grant production and dissemination spaces to groups and soloists of the then Nueva canción chilena. Among the first works done on that label is X Vietnam by Chilean group Quilapayun (1968). The success of this album led to the Communist Youth deciding to follow "a particular use and projection of the industry." In the album, Victor had the musical accompaniment of Quilapayun, on some tracks, the group offers from a quena to two guitars and also make more meaningful collaborations. In ""Móvil" Oil Special", embody the students who star in the song and contribute to its Son Cubano rhythm. It also used the sound of the protesters, their chants and the explosion of the gas grenades perpetuated by "fearsome special squads" of the Chilean police called Móvil Group (Spanish: Grupo Movil). The United States, in support of anticommunism in Chile, sent them weapons and riot gear. "A Cochabamba me voy" includes Quilapayun choirs that mark the guaracha rhythm, and is "Victor Jara's greeting to the guerrillas in Bolivia." Composition In this album, Jara maintains his average of five own songs per album; "A Luis Emilio Recabarren" is one of them and is dedicated to the founder of the Communist Party of Chile, Luis Emilio Recabarren. Jara is mostly dedicated to cover songs by other composers of the same folkloric or protest style, of the Uruguayan composer Daniel Viglietti were "A Desalambrar" and "Camilo Torres". The first is in milonga rhythm and "criticizes the occupation and ownership of land by wealthy landowners and foreign corporations who exploit the labor of poor peasants and leave toxic waste in mineral exploration". The last is a tribute song to the Colombian priest of the same name. Jara also versioned the Latin American lullaby, "Duerme Negrito" collected by Atahualpa Yupanqui and "Juan Sin Tierra", a tribute song to the