adolescence; Morir en aquesta vida, a rejection of suicide which contains a literal citation of Mayakovsky; Amb tots els petits vicis, about being in one's thirties; and the sober love song Com un puny. It was dedicated to Victor Jara, Chilean singer assassinated by the Pinochet government in September 1973. This same year, two more albums appeared; the first in France, T'adores, amic, had several songs banned in Spain. The other, Campus de Bellaterra, was recorded live at a performance at the Universitat Autònoma de Barcelona. Many of the songs had strong social/political overtones: Qui ja ho sap tot, A un amic, 18 de maig a la Villa, No em mou al crit, Quan jo vaig nàixer, and the poem of Espriu, dedicated to Pompeu Fabra, El meu poble i jo. In 1975, while Franco ailed, Raimon sang at the Palau dels Esports de Barcelona, where he debuted one of his classics, Jo vinc d'un silenci. The democratic era The following year, during the optimism preceding democratic rule, he sang in the sports pavilion of Real Madrid on April 1. This was originally to be the first of four concerts, but the final three were cancelled. The performance was captured on a double album, El recital de Madrid. In the spring of this same year, he appeared for the first and only time at the Sis Hores de Cançó in Canet de Mar. More than sixty thousand people filled the Pla d'en Sala de Canet. During Raimon's performance, while he performed the song Inici de càntic en el temple, a crane elevated an enormous Catalan flag on the side of the stage. From this moment, Raimon dedicated much effort to avoiding irrelevance as a resistance artist. Despite making four appearances at the Palacio de los Deportes de Barcelona in 1977, he began to steer clear of large concerts and stayed away from organized actions for political parties. Also, he began to play accompanied by a double bass, before assembling a full backing group. Up until then, Raimon always had played solo, with his guitar. Before touring Japan for the first time in 1977 he released the album Lliurament del cant, which combined settings of Joan Timoneda (Bella, de vós so enamorós, Qui té anguila per la cua), Espriu (Potser arran de l'alba), and some of his own texts: Qui pregunta ja respon, Un lleu tel d'humitat, Tristesa el nom, Com