Among the top merengue acts from the 1990s, Grupo Guyía rode the very best from the charts through the style’s mid-’90s heyday, and although their superstar power dimmed steadily over time, they continued saving albums because of their core group of fans and were regularly nominated for Latin Grammys. Shaped in 1993 in Puerto Rico, Grupo Guyía (aka GrupoManía or Grupomanía) had been originally made up of three brothers — Héctor (aka Banchy), Edwin, and Oscar Serrano — and Alfred Cotto. Banchy got previously participated in rings led by Willie Berríoperating-system and Leny Pérez, while Oscar got also been within a music group led by Pérez, Grupo Uno. Billing themselves as Grupo Guyía, the Serrano brothers produced their documenting debut having a Bombazo…Si! The recording offered well in Puerto Rico, because of sufficient radio airplay, as well as the group’s profession was off to a good start. At this time, among the brothers, Edwin, was changed by Elvis Crespo, who like Banchy was an alumnus of rings led by Berríoperating-system and Pérez, as well as the group proceeded to record Explotó un Bombazo (1994), which continued to market over 50,000 copies. While that was amazing for an individually released recording, Grupo Manía’s following recording, Dance Manía (1995), offered twice as very much. Moreover, the recording presented their biggest strike however, “Como Me Haces Falta,” as well as for the third 12 months inside a row, the group received a Tambora de Oro reward. As a result, Sony Discos arrived knocking, and the people agreed to indication towards the label’s Sony Tropical subsidiary. Está de Moda (1996), Grupo Manía’s 1st recording for Sony, exhibited a far more marketable design. Evidently the minor makeover paid, as Está de Moda spun off many strikes (“La Condena,” “A Que Te Pego Mi Guyía,” “Linda Eh,” “Deja Que la Gente Diga”), topped the Tropical/Salsa recording graph, and broke in to the TOP of the very best Latin Albums. Crespo remaining at this time to pursue a single profession, and Grupo Guyía documented Alto Honor (1997) like a trio. The recording didn’t match the amazing achievement of Está de Moda, nonetheless it was still mighty well-known, spawning several strikes (“Me Miras y Te Miro,” “Corazoncito,” “Que Loco,” “Mírala”) as soon as again achieving the TOP of the very best Latin Albums graph. For the follow-up, The Dynasty (1998), Reynaldo Santiago (aka Un Chino), previously an associate of competitor merengue group Zona Roja, stuffed the gap still left by Crespo’s departure. The strike singles continuing unabated, with “Como Baila,” “Niña Bonita,” “Voy a Ganar Su Amor,” and “Magia” all charting, as well as the Dynasty was nominated for Greatest Merengue Record at that year’s Latin Grammy award present — the to begin many to arrive. Grupo Guyía recorded only 1 more record for Sony Discos, Experts from the Stage (1999), before shifting to Common Latino for Grupomanía 2050 (2001), their 1st recording to buying a Latin Grammy. In this changeover period, Sony shamelessly flooded the marketplace having a dizzying selection of compilations — 20th Wedding anniversary (1999), Baila Mi Guyía…Lo Mejor! (2000), Guyía Mixes (2000), Oro Merenguero (2000), Bombazos (2001), Colección de Oro (2002), 22 Best Strikes (2002), 15 Exitos (2002), Remixes (2002), and eventually more — obviously milking the group for everyone its back again catalog was value. Grupo Guyía marched on using their documenting profession yet. They implemented up Grupomanía 2050 with other albums for General, you start with Latino (2002), their initial to win a typical Grammy. The account of Grupo Manía continuing to shuffle of these old age, with Banchy and Oscar the just constants. Pursuing their departures, Cotto and Santiago banded jointly to create Grupo Superstars, a rival, albeit significantly less effective, merengue trio comprised also of Gabby Kenton. Grupo Guyía’s regular Grammy nominations notwithstanding, the group’s group of fans begun to dwindle during the period of the 2000s. Just rarely did among their singles register in the Scorching Latin Tracks graph, and by mid-decade, Grupo Guyía sunk towards the depth of re-recording an album’s worthy of of Sony-era strikes for discharge, Re-Haciendo la Historia: Los Exitos! (2006).