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Seguridad Social

Seguridad Sociable originates from Spain, but its 20-yr profession trajectory follows a typical pattern; starting with punk and ska in the first ’80s, the group shifted to a harder rock and roll sound later within the 10 years. Singer and main songwriter Jose Manuel Casañ dumped the initial lineup in 1991, as well as the revamped Seguridad Sociable enjoyed a couple of years of mass recognition before an instant decrease and rejection to be old-fashioned by the brand new alternative viewers in Spain. At its early-’90s maximum, the quartet shown a keen understand of rock and roll rudiments, merging a streamlined audio and smart preparations having a deft songwriting contact. Seguridad Sociable was shaped in Valencia in 1982 by Casañ, Cristobal Perpiñá (acoustic guitar), Emilio Doceda (bass), and Julián Nemecio (drums) within the movida period, when Spanish well-known music, artwork, and tradition exploded following a end from the Franco dictatorship. The group spread the term via home made cassettes and concert events that were apparently audience confrontations within the grand punk design; one cassette known as En Desconcierto was referred to as live and terribly recorded but crazy and fun. That fascinated the attention from the Valencian indie label Discos Citra, which released some singles, like the five-track No Sera Facil Ser Dios (“IT ISN’T Easy to Become God”) 12″ in 1984. The group’s 1st recording, Vino, Tabaco, Y Caramelos, premiered in 1987 (and reissued on Compact disc four years later on). “Que Te Voy A Dar” drawn some national interest and Seguridad Sociable adopted up with 1990’s Introglicerina, made by Andy Wallace; with “Acción” keeping the group’s well-known momentum building. Casan selected that instant to jettison the initial music group, and recruited Alberto Tarín (electric guitar), Jesús Gabaldón (bass), and Rafael Villalba (drums). The brand new lineup’s first work, Que No Se Extinga La Llama, sported low fat, clean preparations with occasional details of Latin and flamenco affects. The record spawned a huge strike in “Chiquilla” and continued to sell almost 100,000 copies. 1993’s Furia Latina verified the band’s brand-new mainstream position by apparently offering 300,000 copies and created another big strike in “Quiero Tener Tu Presencia.” A live record was a reasonable next thing, but Seguridad Public took an unorthodox strategy by releasing distinct albums concurrently in 1994. Compromiso, Vol. 1 and De Amor, Vol. 2 highlighted highlights through the group’s early punk stage with the very best songs through the its industrial break-out albums. However the band didn’t connect with the brand new indie/substitute audience that created in middle-’90s Spain. Alberto Tarín still left the music group and 1997’s self-produced En la Boca del Volcán was fatally flawed by studio room surplus. Neither 1999’s Camino Vertical, referred to as a go back to root base with some nods to techno/electronica, nor Va Por Ti, an record of songs connected with pioneering ’60s rocker Bruno Lomas (whom Casañ known as the Elvis of Spain within an on the web interview), in 2000, restored the group’s reputation. Grandes Exitos: Gracias por las Molestias, a biggest hits package deal (with extra Dvd movie) premiered in 2002, and Seguridad Social’s greatest days appeared to be behind it.

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