430:: "it is not only a masterpiece of our domestic rock but it contains the entire musical landscape sung in Spanish during the last decades". The particular sound crafted in "La Canción de Juan Perro" was to become, later on, the touchstone of the Spanish musical scene. Also, beginning with this record, Santiago Auserón gave renewed importance to the lyrics, he has since become one of the finest lyricists in Spanish, earnestly using and renovating popular terms which had gone partially out of fashion.
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contribution: Latin rock based on a highly intellectualized basis (front man
Santiago Auserón holds a degree in Philosophy and is known for lengthy answers in flourishing vocabulary) but, notwithstanding, aimed at the streets and addressed to the general populace; this popular turn became the standard in Spain after them, but was a virtually unknown territory back in the day when Radio Futura started defining its boundaries.
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487:. The band was finally back in a studio by the end of the year with a new line up (Antonio Vázquez takes in the drums and Halsall was kept along with Enrique Sierra, whom the Auserón brothers waited on until he was recovered for the sessions). Also in 1989, the band is elected by popular vote as the best Spanish band of the 1980s.
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These three completed the line up in 1981 by recruiting drummer Carlos Velázquez, known as Solrac, who had already participated in the first album. After what had been a rather impromptu and basically amateur record, the new line up decided to take on a professional approach in their music career and
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The band had a struggle to escape from their contract with their original record company, Hispavox (nowadays a part of EMI, itself, due to EMI's regional offices being part of the
Parlophone group, now part of Warner Music Group) since it desired to keep for their second album the same whimsical or
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The record is characterized by a much more organic approach than its predecessor, from which it marked a new departure; their musical evolution brought to the band international hit singles such as "37 grados and "A Cara o Cruz". It aimed to get closer to the traditional sources of
Spanish popular
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They also remixed their previous "Semilla Negra", increasing its Latin cadence and creating another cult pop song. The band was willing to explore a more Latin style in the fashion of songs like their own "El Tonto Simón" and drummer Solrac, who opposed this direction, abandoned the group in 1986.
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By the time the tour was finished, the band members had grown weary of the musical business and the enormous amounts of money generated around the band, with no precedent in the
Spanish indie pop-rock scene. Having achieved notoriority and an almost uncontested lead in the Spanish pop-rock scene
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based on standard Anglo Saxon pop-rock but, at the same time, deeply rooted in
Spanish popular music, while striving for renovation at the same time. Santiago Auserón said regarding this record "we want the best with this record. We want to lay the foundations of Hispanic Rock"; the critic wrote
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By 1986, the band was looking for new textures for their music, more clear arrangements and a rhythm section leaning towards Latin sounds while keeping a rock attitude. Once the drummer position was filled with Carlos Torero, an additional fifth member was also recruited: Pedro
Navarrete, at the
307:, a double album, came out. A few years had passed from their first release and this interim helped the band to leave behind the echoes of their impromptu and whimsical, yet successful, debut album. At the same time, the hiatus allowed the band to work intensively on their new songs, which they
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represented a big leap from its predecessor: it revolved around a punk attitude but, at the same time, it saw the band finally leaving behind their amateur times. Their record company provided a decent budget for the recording sessions, which allowed a state-of-the-art production and, with it,
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This their second album, whose sound was completely different from their debut, became another unexpected commercial success, with the hit single "Escuela de calor". Tracks included in this record such as "Semilla Negra" introduced the first hints of what would soon become their signature
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marked a success in the band's career, yet, following the suggestion of the label to compensate the relatively high budget (for a
Spanish 1980s band) spent in NYC, the last two concerts of the tour were recorded, mixed and released by beginning 1989 as Radio Futura's only live album:
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The album went straight to #1 in the charts and stayed there for weeks; prodded by their record company, the band took on their biggest live tour to date. On Sept. 30th, 1990, the band closed it in Madrid with what was going to be their last live performance as a band.
417:) for the recording sessions being probably the most clear statement of the new musical direction taken. The New York sessions are recalled by the band as their finest. The record had a good response and became their biggest seller to date. In retrospect,
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By 1988, Enrique Sierra had overcome his health problems but the band decided to keep Javier
Monforte as an additional guitar player, thus turning the band into a sextet (in the meantime, drummer Carlos Torero had been replaced by Óscar Quesada).
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Molero and Pérez soon abandoned the group due to disagreements on the concept of their music, which left the band as a trio formed by
Santiago Auserón (frontman, lyrics, guitar, vocals), Luis Auserón (bass guitar) and Enrique Sierra (guitar).
506:), and also influenced by Enrique Sierra's health problems and Halsall's death due to an overdose in 1992, they decided it was time to disband at the height of their careers before the music industry devoured their creativity as artists.
303:(part of BMG, itself now a part of Sony Music). During these months they had built a repertoire of several songs, which they played live, waiting for the record deal to release their second album. This was finally possible in 1984, when
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There was not any new LP scheduled for 1988 but the band toured instead and, in the meantime, released a new maxi-single, "Paseo con la Negra Flor", which is basically a new studio take of their song "La Negra Flor" (included in
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was one of the first ever produced in Spain, soon followed by "Dance usted", the former gave them a cult hit, with the latter they introduced what they described as a "funky-punky" sound virtually unknown in Spain by that time.
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mainstream touch of their first record, while the band's new line up had decided to break free from the fad and amateuresque touch of their first record, and devote themselves to developing a long term career.
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In 1979, painter, amateur singer and synthesizer experimenter
Herminio Molero approached some of his acquaintances in order to form a pop-rock band. The final selection included the Auserón brothers,
344:, a risky, stark and somewhat baroque new studio album recorded in London (an unusual choice for a Spanish band back in the day, due to a series of reasons -budget too). The album reads close to a
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was released six years after, in 1998, as a new compilation with different takes and re-recordings by the own band of some of their classics. In 2003, there was a final compilation in box format
522:) which became their last original recording. With this one, their record deal with Ariola was finished and so too the band, as they had decided not to tour to support this record.
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group. They rose to become one of the most popular bands in Spain during the 1980s and early 1990s. In 1989 they were voted the best Spanish act of the 1980s by the Spanish public.
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is now considered, by the band and critics alike, as Radio Futura's finest effort. It is also credited for establishing in Spain the virtually unknown formulations of a
494:. The self-produced album remained faithful to the Latin Rock its predecessor had defined, with no major style changes other than an even more basic or "clean" sound.
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at the end of 1986 (that was, possibly, the first time that a Spanish band recorded in New York). Again, Jo Dworniak was in charge of production. The band delivered
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Still the band was forced by contractual ties to make a further record. To fulfil this obligation, in 1992 they went into the studio again with Dworniak to produce
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including covers of the band's hits by a selection of contemporary bands and artists from the Spanish speaking world. In 2008, "Escuela De Calor" was featured in
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by Cristina Tango. The first analysis on the importance of Radio Futura in the Spanish rock. With an interview with Santiago Auserón, the band's frontman.
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and he who was to become their longtime musical companion and, in Santiago Auserón's words, some sort of a fourth band member in the dark:
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Herminio Molero contributed with his fusion of electronic and traditional music to the style of the group while Enrique Sierra added a
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Once the live album was released, the sextet disbanded and the remaining core trio planned what was going to be their last studio LP.
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had actually taken place before its actual release, it only took them one year to finish, in 1985, their next record
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which intends to be an ultimate luxury compilation aimed at the fan base including all of the band productions.
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In 1989, the band hit the road again for a tour. Again Enrique Sierra fell ill and was temporarily replaced by
454:), including features of what had been its growth as a song when performed live. The new single included a
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854:"Recuperamos un texto inédito de Enrique Sierra alrededor de "La canción de Juan Perro", de Radio Futura"
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Soon after the supporting tour for "La Canción de Juan Perro" started, Enrique Sierra was diagnosed with
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technical innovations and music effects new to the Spanish musical scene back then handled by producers
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After they disbanded, there have been a number of rarities, compilations and tribute records, such as
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and had to be temporary replaced by another newly hired session musician: Javier Monforte.
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section which represented, once again, a big novelty in the Spanish musical scene.
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By January 1990 they had completed what came to be their last studio LP, entitled
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Interview. Universidad Internacional Menéndez Pelayo (UIMP)2009, Santander, Spain
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touch. The band soon became one of the iconic images of what came to be known as
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This new three core members plus two session musicians line-up gathered at
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La Huella Sonora is the recording studio of Santiago and Luis Auserón
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A Greatest Hits special edition was released in 2004 under the name
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a record which includes new takes of old songs and a brand new one (
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in 1980, which yielded them an unexpected success with their single
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Enrique Sierra in his distinctively punk look (early 1980s)
1057:. 2 April 2008. Archived from the original on 2 April 2008
1021:. 2 March 2003. Archived from the original on 2 March 2003
913:. 2 April 2008. Archived from the original on 2 April 2008
877:. 2 March 2003. Archived from the original on 2 March 2003
784:. 2 April 2008. Archived from the original on 2 April 2008
748:. 2 April 2008. Archived from the original on 2 April 2008
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Lo Mejor de Radio Futura: Paisajes Eléctricos (1982-1992)
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Lo mejor de Radio Futura: Paisajes eléctricos (1982-1992)
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949:. 25 May 2005. Archived from the original on 25 May 2005
689:(RCA, 1991; the band remixing some of their own songs)
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as one of the first music videos ever shot in Spain"
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387:keyboards, innovating this position in the band.
266:get rid of their initial aura of "media pampered
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1111:La Transición y su doble. El rock y Radio Futura
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675:Escuela de calor. El directo de Radio Futura
593:(1979-1987, 1988-1989, 1989-1992; died 2012)
544:. Also in 2004 appeared the tribute record
50:of quality, and to make it neutral in tone.
510:Remixing, compilations and tribute records
947:"La Huella Sonora - Memoria Radio Futura"
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66:Learn how and when to remove this message
818:"MTV Spain Bio on Radio Futura mentions
725:Arde la Calle. Un Tributo a Radio Futura
546:Arde la calle. Un tributo a Radio Futura
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282:"La estatua del jardín botánico", whose
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291:"La Ley del Desierto, la Ley del Mar"
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657:La ley del desierto, la ley del mar
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338:La Ley del Desierto, La Ley del Mar
305:La ley del desierto, la ley del mar
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911:"ARTÍCULOS - Boogie 26 Enero 1989"
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983:"ARTÍCULOS - BOGGIE nº 28"
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452:La Canción de Juan Perro
428:La Canción de Juan Perro
419:La Canción de Juan Perro
409:, released in May 1987.
407:La Canción de Juan Perro
381:La Canción de Juan Perro
782:"ARTÍCULOS - SAL COMUN"
677:(RCA, 1989; live album)
551:Guitar Hero: World Tour
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1055:"ARTÍCULOS - ABC 1990"
632:(1989-1992; died 1992)
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31:may be written from a
856:. Efe Eme. 2012-02-18
441:Sextet and live album
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37:neutral point of view
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250:- their first album
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157:Past members
133:Years active
85:Radio Futura
62:
53:
30:
683:(RCA, 1990)
671:(RCA, 1987)
665:(RCA, 1985)
659:(RCA, 1984)
640:Discography
616:(1986-1992)
606:(1981-1986)
586:(1979-1992)
580:bass guitar
575:(1979-1992)
456:spoken word
392:Sigma Sound
365:Jo Dworniak
284:music video
44:clean it up
1127:Categories
860:2012-04-27
732:References
426:regarding
423:Latin Rock
146:Ariola-RCA
110:Latin rock
56:April 2023
614:keyboards
379:Quintet:
137:1979–1992
114:Punk rock
1071:cite web
1061:13 April
1035:cite web
1025:13 April
999:cite web
989:13 April
963:cite web
953:13 April
927:cite web
917:13 April
891:cite web
881:13 April
831:13 April
798:cite web
788:13 April
762:cite web
752:13 April
217:Santiago
201:pop rock
122:New wave
118:Pop rock
527:Rarezas
369:I-Level
270:boys".
198:Spanish
196:was a
42:Please
826:Mtv.es
727:(2004)
714:(2004)
645:Albums
630:guitar
591:guitar
573:lyrics
569:vocals
565:guitar
504:Mecano
301:Ariola
280:single
142:Labels
126:Reggae
106:Genres
95:Madrid
91:Origin
604:drums
401:) in
99:Spain
1077:link
1063:2023
1041:link
1027:2023
1005:link
991:2023
969:link
955:2023
933:link
919:2023
897:link
883:2023
833:2023
804:link
790:2023
768:link
754:2023
240:punk
215:and
213:Luis
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