a) do not exactly match with the music style covered in the book

b) had a brief life story

c) their work goes beyond the chronological time frame of the book

LEO ANTÚNEZ

One of the few soloists that played hard rock. His only LP from 1972 (Un tal Leo Antunez -Macondo Gam 557) features Jorge Barral (Opus Alfa/Días de Blues), Yamandú Perez (Génesis/Moonlights) and Jorge Silva (Génesis) as guest stars. However, the album greatest achievement is to demonstrate how angry Leo Antúnez was.

LA BANDA

Isolated example of fusing oriental arrangements with candombe. A peculiar single for Sondor ("Chocho va a llover alegría'') constitutes their entire recording legacy.

LOS CAMPOS

A true pop band: no dance party was held at the beginning of the 70s without this group being played. Good arrangements, well sung... no risks or commitments. Their biggest success ("Isla de Wight") was included on their first LP (Mi reino bajo el sol -Clave 14471) from 1971. The next year, attempting a more complex rock sound, they released a second album (Naturaleza Viva -De la Planta KL 8324).

Their recording career concluded with a really representative title [Sin lujos y sin pretensiones (Without luxuries and without pretentious) -Sondor 44048]

CEIBO

A private adventure of Psiglo's guitarist Luis Cesio. They released a single for Clave. More of the same.

COLD COFFEE

Authentic or not, Cold Coffee [Ernesto Soca (ex-Los Malditos) on guitar, Lelé Paglia and Daniel Amaro on vocals, Quique Cano (next-Kano y Los Bulldogs) on bass, Ricky Levy on drums and Pippo Spera on guitar] represents a clear example of psychedelia in Uruguay. Their version of Country Joe Mc Donald's ''Love'' -included on the international sampler Soul'n'rock (CBS-Sondor) from 1970- is simply unforgettable. Unfortunately, besides that they only released singles for Sondor label and recorded a song for the compilation Sonido del año que viene.vol 2 (De la Planta KL 8331).

EDUARDO DARNAUCHANS

The inclusion of Darnauchans in this work is somehow an exception. Basically he is a balladist a la Donovan. Anyway, when he rocks he knows what he is doing! Possibly his unique personality has conspired against his artistic career; he is one of those musicians worth being recognised.

From his vast discography, starting in 1973 with six studio and one live LPs, Sansueña (Sondor) from 1978, is the most highly recommended.

DEMOS

Amílcar on bass, Jorge on drums, Martín on guitar and Danilo on Keybords were a hard rock group fairly well known before as Demons. They changed their name for their only single for the Sondor label in 1973.

DIANE DENOIR

A female singer with a considerable success in the early 70s, Diane is almost a traditional folklorist with some very good ballads. A good voice and string arrangements find their way on her only LP (Diane Denoir -De la planta 8313) from 1973, which best songs ''Y hoy te ví" and "Mejor me voy" were written by Eduardo Mateo.

LOS IRACUNDOS

Natives of the city of Paysandú (400 km from Montevideo), Los Iracundos were one of the biggest sellers in Latin American during the late 60s and early 70s. Their highly commercial music spans instrumentals (resembling The Shadows), melodic songs, traditional rock, and so forth. Their discography, basically for the Argentinean RCA label, is possibly the most extensive of any Latin American rock-pop band. Their artistic achievements are frankly poor, but nobody can deny their indisputable commercial success.

LA LEGIÓN

A straightforward rock band, very popular in their time, they released two recommended singles for the Sondor label. Their biggest success -"Sorpresas de mi chica"- is included on the compilation Rock Nacional 1971/76 (Sondor 44521), available on CD.

LIMONADA

Band formed by Walter Cambón (ex El Kinto), Luis Sosa, Dardo Martínez and Ricardo Landa. Their only LP from 1972 (Limonada Sondor 33111) is an interesting fusion of candombe and rock. But the small ''marketing office'' of the record label was someplace else, and the record flopped.

EDUARDO MATEO

Mateo is the legendary folkloric character of the Uruguayan rock scene. Musician of extensive trajectory and alma mater of El Kinto, his solo career includes several albums and endless collaborations with other artists. His flamboyant recordings -not always inspired- can hardly be described as ''rock'', anyway.

Exaggeratedly deified because he went mad and later died, Mateo is in fact and important musician that deserves a place in Uruguayan music history but -once again- outside of the context of this book. Those interested in his work may want to start with his album Mateo sólo bien se lame (De la planta) from 1972.

MIGUEL Y EL COMITE

Led by Miguel Livichich (ex-El Sindykato) this band released an LP (Para hacer música para hacer -Sondor 33123-1972) and several singles on the same company. Basically it is a highly political-concerned candombe band with some rock touch.

OVNI 87

A sort of psychedelic band from the early 70s. Rubén Melogno (next- Psiglo) on vocals, Leonardo Goldberg on bass, Omar Picún on percusion, Atilio Fonseca on keyboards, Freddy Anzorena on guitar and Hermes Calabrini on drums, released two singles for the Uruguayan RCA, one of them with picture sleeve. ''Siento'' is probably their best track.

JAIME ROOS

Jaime Roos is nowadays the most popular musician with rock background in Uruguay. He used to play in Epílogo de Sueños, a band that can be heard on the compilation El sonido nacional (Macondo Gam 585).

Roos was later seduced by the candombe and the murga (carnival rhythm, sort of an Uruguayan Mardi Gras). His versatility and international experience, achieved in Europe, can be better appreciated in his debut: Candombe del 31 (Ayuí A/E 12) from 1977). He later drifted away from rock to a more popular style.

SEXTETO ELECTRONICO MODERNO

Muzak-rock. They were very popular in their time, especially with their second LP Sin comentarios (Clave) from 1969. They later turned into Éxodo [band included on the El sonido del año que viene vol. 1 (De la Planta KL 8318) compilation] and emigrated to Mexico. Their keyboard player was Armando Tirelli.

ARMANDO TIRELLI

Tirelli was the keyboard player for Sexteto Electrónico Moderno. In 1978 he released El Profeta [The Prophet (SEM-LD 7801)] an album of keyboard music based on the book by Khalil Gibran with a narrator reading the story. Not exactly a masterpiece, this LP enjoys fame among symphonic rock collectors. The original version included a little medal (!). Extremely hard to find, it was reissued on CD by an independent Brazilian label.

ZÓCALO

Integrated by unknown musicians, this group managed to release a peculiar LP in 1972 (Que te aproveche -De la Planta KL 8316-) without any known live performance. Not recommended, except for the good cover idea!