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- KANO (v,g)
- NENGO (lg)
- RICARDO (d)
- JORGE (b)
Los Bulldogs began their career in 1964 as Los Epsilon, recording a single for Clave label. They later emigrated to Buenos Aires, where they released covers such as ''Black in black'', ''San Francisco nights'' or "Voy a encontrar una cueva" b/w "Winchester Cathedral" (RCA Vik 31Z-0996) before the original editions were released locally.
The first two
albums, besides the mentioned covers, featured a highly ''garage'' sound that didn't
matched the South American market of that time. Thus, the singles sold well, but the LPs
flopped. Actually, those first two albums are much more interesting today that 30 years
ago.
By the time of their third LP, Kano, the singer, forced the group to
call themselves Kano & Los Bulldogs. This album included
the mega hit "Sobre un vidrio mojado" an excellent song widely covered 
even today.
Internal problems forced the group to divide and return to Uruguay, where in 1972 they recorded their last LP (Carita con carita). This album, only released in Uruguay, includes both ultra commercial songs and others which are a little more challenging. They also express their thoughts about the music business ("Las cosas que tiene que hacer uno" - ''The things that you have to do").
Since their first two LPs were sung in English, among other facts, lthey eft Los Bulldogs without any cult following. Thus there are difficulties in gathering technical information about their recordings.
They released many singles, most of them with picture sleeves. None of their records were reissued (and are rare).
- JULIO "JULY" FONTENLA (lg,v)
- JORGE "COYO" ABUCHALJA (g,v)
- MARIO AGUERRE (b)
- ESTEBAN HIRSCHFIELD (k)
- JORGE "CHOCHO" VILA (d)
Every now and then, musicians are good businessmen as well. Such is the case, no doubt, of Los Delfines. Having begun their efforts early in the 60's they developed a financially career in which, unlike other Uruguayan bands, money was never a problem.
Basically a pop act, with some rock licks (the b-side of their debut single was a cover of The Kinks' ''You Really Got Me''), Los Delfines released sporadic singles and played profitable performances that allowed them to acquire first rate gear.
Toward the end of the decade, with Esteban Hirschfield (ex- Los Mockers), they cut their only album, a typical product of this era.
Full of complicated arrangements, featuring strings, wind instruments and well-studied melodies the LP sounds today, at hindsight, like many of the British groups of the time (Kaleidoscope, July, Honeybus, etc.) ranging from direct rock ("Estamos seguros") to the psychedelia ("Look without seeing") to safe pop ("Todo") or a true jewel like (''Two blind mice").
In short, Los Delfines are not recommended for searchers of long solos or disconcerting rhythm changes. But soft psycho pop lovers with sense of humour will be delighted.
Finally, when things became difficult, Los Delfines split. Hirschfield moved to Spain.
Shortly before separating, they recorded some songs included on the compilation El sonido del año que viene, which is reviewed elsewhere.
The LP is scarce and was never reissued.
- DANIEL BERTOLONE (lg,pia,v)
- JORGE BARRAL (b,g,v)
- JORGE GRAF (d)
After the break-up of Opus Alfa in 1972, the keyboard player returned to his job as sound engineer, the singer went solo and Bertolone, Barral and Graf formed the power trio Días de Blues.
Live shows began immediately, endorsed by the excellent background reputations of the members.
Their music, an absolutely wild and raw mixture of hyper electric drug-induced progressive blues with social -concerned lyrics, was influenced by Cream, Led Zeppelin and Cactus.
Their only LP, recorded in Buenos Aires, Argentina, by the end of 1972, captures the roughness and vitality of their concerts like few groups ever managed to.
Conceived inside the typical parameters of the time, the album is an indisputable representative sample of progressive hard rock. It is absolutely recommended to understand the acid-progressive rock of that time.
Daniel Bertolone -who couldn't afford a guitar of his own- plays the hell out of his solos and riffs. He got a sound that most guitar players only dreamed of in those days. Jorge Barral, strongly influenced by Jack Bruce in the vocal and instrumental parts, lends a global sound to the group with his strong melodic sense. On the other hand, Jorge Graf, an astonishing effective drummer, contributes with his constant accurate solid meter.
The psychedelic blues "Amasijando los blues", the acid rock "Están desubicados" and pro drug assertions like "Dame tu sonrisa, loco" ("Smile to me, dude'') are great examples of the band effectiveness. The strange psycho-folk of "Esto es nuestro" or the brutal energy discharged on "Toda tu vida", round up this great album of inspired compositions. A must have record!
Burdened by the political and economic problems that shook the country, the band split and its members emigrated to Germany (Graf), Spain (Barral) and Australia (Bertolone), where he finally could buy himself a guitar!
The album was released in Uruguay and Argentina (Trova XT80054) with different covers. Both editions are extremely rare, particularly the Uruguayan. Beware of European counterfeits (both on vinyl and CD). Surprisingly, in 1977 Clave released a rare LP with one side by Días de Blues and one side by Opus Alfa (!).
Dino (born Gastón Ciarlo in 1945) is, in spite of his uneven career, one of the most important characters (and less visible) of Uruguayan rock.
He began his career playing guitar and vocals by mid 60s in a band called Los Gatos (no relation with the Argentine band of the same name) which played covers by American and British acts.
By the end of the 60s, he debuted with two singles for RCA. He slowly achieved a more mature sound as heard on his first LP (released by the small ECO label); despite the poor production, the album is still good.
Dino later joined Montevideo Blues and played on their only homonymous LP, where he successfully mixture blues with local rhythms. This album features the original version of ''Milonga de pelo largo'' as well as the essential ''Montevideo Blues''.
After this period of experimental sound, Dino returned to more straight-up pop rock when he joined Los Moonlights.
In 1976, Dino released the folky Vientos del Sur (Winds of the South), a calm but sensitive album, yet still another classic mainly due to title track.
In 1979, Dino managed to record a third LP (Hoy canto) with some excellent rock songs despite military censorship. "Me importa", "Dámelo todo" and "Aleluya meu pai" are great examples of a skilled musician with a strong personality.
With each record Dino summarises, in his own way, the sound, the evolution and even the limitations of rock music in Uruguay.
Unfortunately, there are no reissues, and Montevideo Blues is the most rare.
- EDUARDO "EDDY" PATRÓN (v)
- RUBÉN LABORDE (g)
- CARLOS SOUZA (b)
- JORGE SILVA (g)
- YAMANDÚ PÉREZ (d)
Génesis, who benefited through the years with a more than
coincidental name similarity to the English band, is one of the most peculiar groups in
Uruguayan rock.
Formed in 1969, the band was strong live act, playing at blastingly high volume. Eduardo
Patrón was fascinated by Roger Daltrey's image. Their first two singles, released before
the LP and both with picture sleeve, are straightforward hardrock tunes with a primitive
production that emphasises the wild drumming and the Hendrix style guitar.
Maybe considering that their singles had been a little too much, for their only LP the
hard rock moves aside for a more experimental sound, based on Silva's elaborate guitar
solos and the complex rhythmic drumming of Pérez, who displays great knowledge in his
rhythms.
Best tracks are "Mañana", "Ya", and "Solo voy despertando"
(with superb guitar).
The final result is interesting and keeps an experimental atmosphere within the framework
of the song.
By the middle of 1973, the group suffered severe line-up changes that are reflected in
their last single which that went unnoticed. Years later Yamandú
Pérez (after leaving Los Moonlights) would alternate his work in the
construction business with part time jobs in the ''Canto Popular'' (Popular Song)
movement.
Génesis' recordings have not been reissued on any format, and are extremely hard to get.
- CÉSAR BADIN (d,v)
- GUSTAVO BADIN (g, v)
- JULIO ZABALETA (g,v)
- JORGE RICCA (b,v)
This outfit was, possibly, the only group of importance formed outside the capital city. Natives of Colonia (city distant 150 km of Montevideo and at only 45 km of Buenos Aires), Hojas had a considerable success with their basically melodic and well dressed rock. The guitars, surprisingly very well recorded for the time, interweave intense climax with really prominent passages. The Gustavo Badin solos are great. The compositions are full of arrangements and César Badin vocalisations are superb.
Side B is considerably better than the first one, highlighting such songs as ''Somos estraños'' (We are strange) with good guitar. Maybe one of the most professional groups show business-wise, Hojas -like so many others- could not overcome the coup of 1973 and faded to oblivion in the second half of that year.
Their only recorded legacy is worth a listen and includes their two big successes: "El mundo es una flor" (The world is a flower) and "Mi ciudad a través de la ventana" (My city through the window). The album is very rare and was never reissued.
- MARCELO BERRO (v,g)
- ROMANCHO BERRO (d,v)
- ROBERTO LEVY (g,k,v)
- JULIO MARTÍNEZ (b,v)
- VIRGINIA BERRO (v)
- INÉS BERRO (v)
High-class citizens of Montevideo, Los Killers hed two extremely valuable advantages for the limited local rock scene. First, they could afford expensive hi-tech gear. Second, they owned a vast record collection full of recent foreign editions -the ideal way to find hit covers for their shows.
Their first single, released through Clave label, included a cover of the main theme from the rock opera Jesus Christ Superstar. Their second single was a cover of Bloodrock, something absolutely unusual at that time.
Their only album (Goodbye) represents a turn of their politic of playing covers, since it only included two. The original songs, nevertheless, are very well composed, arranged and performed.
Marcelo Cress is particularly good on guitar. The best songs are ''After nothing'' and ''Sing Along'', with extensive guitar solos. Like so many other bands of that time, the military coup of 1973 put their career to an end. They moved to Spain where they continued working for some years.
Their charismatic drummer, Romancho Berro, returned to Uruguay by the middle of the 80s to become manager and promoter.
The album is rare and was never reissued.
- EDUARDO MATEO (g,v)
- RUBÉN RADA (v,p)
- WALTER CAMBÓN (g,v)
- ALFREDO VITA (b)
- LUIS SOSA (d)
- MARIO CABRAL (p)
- URBANO MORAES (b)
Although in 1967 the Uruguayan rock had already been born, the exodus of essential bands like Los Shakers, Los Iracundos and Los Mockers to Argentina -in order to achieve greater exposure- left Uruguay without its rock foundation. Within this context, the importance of El Kinto is absolutely decisive and seminal for what would later come.
Formed around the nucleus that Eduardo Mateo, Rubén Rada and Walter Cambón formed, El Kinto represents the most interesting way of combining the influence of The Beatles with the local rhythms and composition forms.
Based on compositions by a pre-Tótem Rubén Rada and Eduardo Mateo, the quality of the repertoire is outstanding. The basic distinction from another Beatles-influenced bands consists in that instead of imitating, or trying to reproduce the same songs, El Kinto melted that influence with candombe arrangements, achieving a completely unique sound that influenced many Uruguayan bands from then on.
Several problems and disorganisation made impossible the publication of any records while the band was active. The songs of their only album -released late in 1977- were possibly demos recorded between 1967 and 1969 with very little production. However, they are actually the very first rock songs recorded in Uruguay in Spanish language.
El Kinto is not advisable for those who seek an international sound; there are much better options indeed. On the other hand, is a must for those looking for a real cultural event: the candid mixture of American/British rock with local influences.
- POLO PEREIRA (v,g)
- JORGE FERNÁNDEZ (g,v)
- ESTEBAN HIRSCHFIELD (k,p)
- JULIO MONTERO (b)
- BETO FREIGEDA (d)
If Los Shakers, justifiably, have been pointed out as ''The Beatles of the South American rock'', the same approach should be used to say that Los Mockers were ''The Rolling Stones'' of that time and place.
Formed in 1964, as Los Encadenados, they emigrated to Buenos Aires the
following year and got a recording contract for Odeón, the local subsidiary of EMI. Their
first single, ''I wanna go'' b/w ''My baby'', remains the best rhythm & blues record
recorded at that time, with a lot of fuzz and a la Jagger harmonica. However, the audience
seemed not to be prepared for this new sound and thumbed-down their first LP (which did
not include the single). Thus, the band went into a kind of limbo for two years during
which they tried to survive with sporadic performances.
By the time of the second album, the winds had changed and the LP shipwrecked as forced psychedelia blended with trifling bubble gum pop. After this big failure they spent the last months of their existence recording singles for small labels including covers of Neil Diamond, Grassroots, or whatever was enjoying hit status.
It took years until the meagre memory left by such an erratic career
allowed audiences to see a waht true jewel the very first record was. Totally sung in
English, it gathers the qualities of the first three Rolling Stones records, and adds a
touch of The Animals.
With the 60s revival during the 80s, the record became a collectors must. Though the original is extremely hard to get, it was reissued in Spain (Los Encadenados) and currently available on CD. (The CD includes the EMI LP, the first single, demos and the audio of TV performances).
When the band broke up, Polo Pereira joined Los Walkers (another wrongly forgotten Argentinean band) and Esteban Hirschfield (after leaving Los Delfines) moved to Spain, pursuing a long and successful career.
Look for Mockers videos here.
- SERGIO IRIARTE (g,v)
- OSVALDO IRIARTE (b,v)
- DINO (g,v)
- YAMANDU PÉREZ (d)
Los Moonlights was, maybe next to Los Delfines, the band with the most steady schedule of work in Uruguay during the years that rock music was worth a living. Formed at the end the 60s, they played live at the beginning of the following decade. Lead by the Iriarte brothers, and with a superb musician like Dino, Los Moonlights achieved a very important quantity of followers with their overwhelming sound of guitars and great vocalisations. After a couple of singles for the Clave label, the group signed with the decisive De La Planta, where they recorded a very good album. Oddly, it has never been reissued and is hard to get.
Simply titled Moonlights, the LP contains such songs as "Vamos dulce muchacha" or the mega classic "Milonga de pelo largo" (Milonga of the long hair) a key tune to understand the feeling of that time and place.
With the military coup of 1973, Los Moonlights, as so many others, suffered under abrupt change of rules. Unlike most of the other bands, they attempted to survive and kept playing live until the effort proved useless. Following the commercial flop of their second album, the band split and Dino pursued a solo career.
- DANIEL BERTOLONE (g,fl)
- JORGE BARRAL (b,g,v)
- JESÚS FIGUEROA (v)
- ATILIANO LOSADA (k,v)
- JORGE GRAF (d,p)
In spite of their brief career, Opus Alfa remains in the history of Uruguayan rock as one of the clearest exponents of an international sound. With a firm rhythm section (Barral-Graf) and the appropriate voice of Figueroa, the band was the ideal vehicle for the pyrotechnics of Bertolone in guitar and the blues riffs of Losada on keyboards.
A very effective hard rock, coloured with bluesy brushstrokes and a few pshychedelia, is Opus Alfa's language to express throughout their brief existence.
The rare first single "Casa de Huéspedes" is a good effort.
The superb album includes songs as "Calma de un día", "Blues de mi ciudad" and ''Miel y humo''.
After a highly publicised farewell, the band split to path the way for Días de Blues and Figueroa's solo career. He recorded two disappointing –but now very rare- records for Sondor label -Jesús con todos in 1973 (Sondor 44004) and Mágica fuente in 1974.
Unfortunately, the hard to get album was never reissued and is one of the most wanted by international collectors. Surprisingly, in 1977 Clave released a rare LP with one side by Opus Alfa and one side by Días de Blues (!).
- RUBÉN MELOGNO (v,per)
- GONZALO FARRUGIA (d)
- LUIS CESIO (g)
- CÉSAR RECHAC (b)
- JORGE GARCÍA (k)
Formed in the early 70s after the break-up of two or three previous bands, this outfit was possibly the only Uruguayan rock band to enjoy, so to speak, a brief ''stardom status''.
From the beginning, they had a very defined visual presence and a progressive hard-rock approach.
With an above average production level, their albums are indisputable strong, supported by the Keith Emerson/Jon Lord type keyboards and the decisive Deep Purple guitar style. However, it is Gonzalo Farrugia's ultra speedy and effective drumming that gives the band its unique sound.
Idols in their time, their works were supported by both the public and the press.
Songs such as "Siénteme", "En un lugar un niño" and especially "Vuela a mi Galaxia" (all included on their great first album) were regularly played on radio and TV. The military coup found the group at its peak of popularity. So Psiglo was one of the few rock bands that continued working, with live shows selling out. But the magic sort of drifted away.
With a lower profile, and the departure of guitarist Luis Cesio, the band entered a period of darkness during which their second LP was recorded. The album, recorded as a quartet with César Rechac now on guitar, remained unreleased until 1977, when Psiglo was just a memory. Despite the long tunes, the excellent instrumental development and the clearly progressive rhythms, it was too late for a band that had moved to exile.
Gonzalo Farrugia later joined Crucis (the Argentinean band). Jorge García continued his career in Spain; years later he composed the Official Hymn of the Soccer World Cup of 1982.
The original version of the rare first LP featured gatefold sleeve and was reissued with a single one. The second LP is harder to get. Both records are available together on one CD.
- HUGO FATORUSSO (g,k,v)
- OSVALDO FATORUSSO (g,v)
- ROBERTO "PELIN" CAPOBIANCO (b,v)
- CARLOS "CAIO" VILA (d,v)
If there is a band that is worthy of an entire chapter about rock in Uruguay, that band is Los Shakers.
Formed in 1963 in Montevideo, they originally played at the Hot Club, thee place for jazz and avant-garde musicians to join informal jams; among them, the brothers Hugo and Osvaldo Fatorusso.
At the beginning of 1964, when the Beatles wave arrived in Uruguay, the four musicians decided to model their instruments, gears and hairstyles accordingly and formed a band that would constitute an absolute exception of quality in the local panorama of that time.
With a singular skill to play, arrange and write songs, they left a legacy that constituted a turning point: there is clearly a before and an after Los Shakers.
As soon as they were formed, moved to Buenos Aires, Argentina, causing a small revolution. They immediately turned into teenage idols, the local representation of the phenomenon that The Beatles were causing so far away. But Los Shakers did have many excellent original compositions as well (all featuring English lyrics), enhanced with great interpretations and memorable personal arrangements.
Their first album
(1965) has a strong dominating beat all along the tracks, framed within a completely
dynamic concept and excellent compositions. This LP includes "Rompan Todo"
("Break it all") their all-time biggest hit, as well as other remarkable songs
like "Qué amor" ("What a love") and only two covers: "Keep
searchin´" (by Del Shannon) and Lesley Gore's "It’s my party".
While the album sold a lot (it was released in almost all Latin America), Los Shakers continued to support their career through countless appearances on TV, ballrooms and theatres of Uruguay and Argentina.
Soon four singles followed, among them "Sólo en tus ojos" (Only in your eyes), "Paren el juego'' ("Stop the game") and "Quieres por favor" ("Won't you please"), all remarkable pearls of absolute personality.
For their second
album (Shakers for You) they made their music and image sophisticated, not only
abandoning the Beatles´ suits, but also introducing unusual musical styles like eastern
music ("Espero que les guste 042). In Brazil, the bossa nova based "Nunca
Nunca" ("Never Never") became a tremendous hit. Other singles were "No
molestar" and the percussion based number "Adorable Lola" (Lovely Lola),
one of the best songs they have ever recorded.
In 1967 they went to Venezuela, where they cut some new songs as well as new versions of their biggest hits (now in stereo), with the purpose of releasing an album in the USA. In fact, by the end of the year the LP was released through a small label, but flopped.
By this time the band began to lose direction. They recorded many songs for EMI Odeon Argentina (their only label), but only a few were eventually released as singles. The musical quality was not as good as before and one particular single "Marilu" b/w "Si lo supiera mama " (both sung in Spanish) was highly related to the Uruguayan carnival (Mardi Gras) repertoire, that little had to do with their previous production.
In spite of these signs of lack of inspiration, and the inevitable personal conflicts between the band members, in 1968 Los Shakers managed to release a true masterpiece.
La Conferencia Secreta del Toto's Bar (The Secret Conference at the Toto´s Bar) was their last album. Great songs like "B.B.B.Band", the stylistic innovations of "Más largo que el Ciruela", the impeccable execution of "Candombe" and the superb "Siempre tú" are probably the best tracks.
The album goes from the pure and simple beat to the melodic psychedelia, along with jazz, candombe and even tango. All styles are played in one of the best albums ever recorded in South America. Absolutely recommended!.
Unfortunately, the group split.
Brothers Hugo and Osvaldo Fatorusso continued their career in the USA, initially as sidemen to the Brazilian musician Airto Moreira (they played on his album Fingers) and later joining fellow countryman Ringo Thielmann for the trio Opa. This group released a couple of good albums of latin-jazz-rock candombe for the label Milestone: Goldenwings in 1976, and Magic time (now with Rubén Rada as new member) in 1977.
Roberto "Pelin" Capobianco moved to Brazil where he currently plays in a symphonic orchestra, while Carlos "Caio" Vila went to Venezuela to become a record producer.
All their LPs and singles (eight of them were originally released with picture sleeves) are very hard to get in good shape. The albums are all available on CD, as well as several compilations.
Look for Los Shakers videos here.
- JUAN DES CRESCENZIO (g,v) AB
- MIGUEL LIVICHICH (g,v) A
- SANTIAGO POGGI (k,g,v) AB
- CARLOS TIZZI (b) AB
- OSCAR RIAL (v,d) AB
- CACHO TEJERA (p) B
- MARIO POGGI (fl) B
El Sindykato was one of those bands highly committed to the socio-political events of their country. They began to be involved in a fleeting movement called ''candombe beat'' that mixed the autochthonous rhythm candombe with English pop music. During this period they recorded their biggest success ("La fuga de la carbonería"), a song about a famous criminal. Soon Livichich quit to form Miguel y El Comité.
For their second and better LP beat music days were over. On this album, candombe and rock are melted together with great guitar and percussion jobs as can be heard on "Don Martín", "La vieja" and "Vida".
Unfortunately, the third and last LP was a disappointment. The band sounds tired and uninspired, with a ethnically curious song called ''La feria'' as the only remarkable tune.
Their albums were never reissued. The second album was also released in Argentina.
- RUBÉN RADA (v,p) AB
- DANIEL"LOBITO" LAGARDE (b) AB
- ENRIQUE REY (g,v) ABC
- EDUARDO USETA (g,v) ABC
- MARIO "CHICHITO" CABRAL (p) ABC
- ROBERTO GALLETI (d) A
- SANTIAGO AMEIJENDA (d) BC
- "CHOCHO" PAOLINI (sax) C
The inclusion of Tótem in this book is as exceptional as unavoidable. Exceptional in that the band doesn't sound like your average rock group, playing instead a mixture of rock with local rhythms, basically candombe (reminiscing Santana). And unavoidable because it is an absolutely decisive band in the history of the Uruguayan rock.
Formed under the "supergroups" fashion in vogue at that time, Tótem included peculiar personalities like Rubén Rada on vocals and percussion, along with jazz-educated musicians such as Useta, Lagarde or their first drummer Galletti.
The first LP was a complete surprise: elements of pure rock and roll blended with camdombe and jazz resulted in a distinctive work. Songs like "Biafra" or ''Dedos" are the best tracks.
For their second effort (Descarga) hippies arrived in South America and their influence is revealed on the cover, in the extensive instrumental passages (''Todo mal") and in the exploration and exploitation of alluring African-Uruguayan rhythms (''Descarga'').
They were big in Uruguay, but failed in their attempt to conquer Argentina.
For the recording of their third LP, the band had suffered the desertion of bassist Daniel Lagarde and its charismatic figure, Rubén Rada. On the other hand, with the inclusion of saxophonist Chocho Paolini the group went deeper into jazz. This last album (Corrupción) is an interesting sample of jazz-rock-candombe and a worthy farewell for this legendary band.
Rubén Rada later pursued and extensive solo career in Argentina, Mexico and Uruguay with periods of wide success.
The first two albums were released in Argentina and are available together on one CD.
Return to Magic Land - Appendix - Compilations
