jueves, 24 de septiembre de 2009

Man Ray



Primer disco de Man Ray, homónimo, 1988. La banda que lideraban Tito Losavio e Hilda Lizarazu. Este es el unico publicado en los ochenta, luego vendrían todos en la decada siguiente. El segundo recien en 1991, pero reeditado con otra tapa y teniendo explosión en 1992, convirtiendose en un grupo masivo (o semi, segun como se mire).

Luego quedarían pegados a toda esa onda pseudo rockera menemista tinellizada de los noventa, de la FM sHit, la 100aga, etc, aunque uno sospecha que tambien el grupo hacía hits a la medida de ese tipo de radios (y, de algo hay que comer....), sino no se explican temas como "Todo cambia", el de Montaña Rusa (agregado al relanzamiento del disco "Hombre rayo")....

Por suerte en los ultimos dos discos se deformaron y acoplaron, pero no demasiado. Pero este primer album es una joyita, con temas propios y otros de Miguel Zavaleta (de Sueter) -"Extraño ser", que luego grabaria tambien su grupo- o "Señal que te he perdido" de Calamaro -que tambien grabaria luego Andrés-.

El disco lo re exprimió la Rock & Pop en su momento y tuvo varios hits, como "Ser turista" o "Hay confusion".

Uno de los mas brillantes, frescos y redondos discos de los ochenta.

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1 comentario:

  1. In 1982, Tito Losavio (who has
    been previously performing as a
    freelance musician at ‘El
    Papagayo’, brazilean night club,
    located near the BsAs ‘Recoleta’
    neighborhood in intersection of
    Cordoba Ave./Anchorena St.),
    formed ‘Biorsi’, a band with
    tropical influences.

    Although ‘Biorsi’ went through
    different formations, the one in
    1983 is remembered as the finest
    of them all:
    Tito Losavio (guitar, vocals),
    Adrian Lobato (bass, vocals) - son
    of choreographer Eber Lobato and
    formerly a member of Ruben
    Elena’s argie ‘Hair’ musical - ,
    Guillermo Medin (Quistral, Final,
    Berklee College of Music 1983
    Composition Award, Klhasch)
    (keyboards), Juan Manuel
    Basavilbaso (percussion) and Pablo
    Mendez (drums).

    ‘Biorsi’ rehearsal space was
    precisely at 2452 Paraguay
    St. (also near the BsAs ‘Recoleta’
    neighborhood) and in the same
    block and right opposite to artist
    Omar Emir Yaban’s Einstein Cafe,
    which at that time was the chosen
    place for underground performing
    arts. Other artists such as Luca
    Prodan (Luca Prodan) and ‘Geniol’
    rehearsed there. Although ‘Biorsi’
    did some live performances and
    played in the Spring’83 Monte
    Hermoso Festival, Bahia Blanca
    province, they never released their
    material.

    Simultaneously, ‘Biorsi’ musicians
    Tito Losavio, Adrian Lobato and
    Guillermo Medin were as well
    playing as the support band of
    female singer ‘Pinin Folgado’.
    Probably is during this period
    when Tito Losavio started
    developing his compositional trend
    of writing tailored songs for soloist
    female singers.

    Early 1984, keyboardist Guillermo
    Medin was hired by mime ‘Olucaro
    Ocimotana’ as musical director of
    Theatre of The Invisible in Brazil
    and since there weren't signs that
    ‘Biorzi’ would ever reach the pre-
    production stage, departed to Rio
    de Janeiro.

    Some believe Tito Losavio/Hilda
    Lizarazu (Hilda Lizarazu) earliest
    musical affair started in 1985, in
    the midst of ‘Biorsi’ disbandment.
    Others instead say ‘Comida China’
    (Comida China) was the real
    springboard for Hilda Lizarazu’s
    singer career, referring to the fact
    that she joined this band by the
    hand of her boyfriend singer
    Miguel Zavaleta (Suéter).

    Although is uncertain how did
    exactly this cute couple first met,
    by 1986 Hilda Lizarazu’s new boy
    friend, Tito Losavio, became Man
    Ray’s leader and composer at 2170
    Humbolt St., the so called
    ‘Palermo Hollywood’ neighbor-
    hood by Real Estate developers.

    Undoubtly ManRay’s first album
    has the compositional finger print
    of Tito Losavio’s ductility for the
    Pop/Rock genre: songs are catchy,
    unsophisticated and straight
    forward, resulting in an overall
    well-shaped album, rounded off
    with a latin flavour inherited from
    his past musical experiences.

    While mixing in Studios ION,
    between April/May 1988, long time
    fellow musician keyboardist
    Guillermo Medin was invited to
    participate in future ManRay`s
    projects. Worked together at their
    Humbolt St. place (aka ‘the
    bottling district’ because beverage
    companies bottled wine in the
    surroundings), till Guillermo
    Medin returned to Cambridge,
    Massachusetts, where he migrated
    in late 1979.

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