Ramoncín

Biography

Always polemic that makes début in 1977 with the single 'Marica de terciopelo', a topic standard-bearer of the Spanish rock of the second half of the seventies. With a hard style, steely guitars, and a few lyrics that discover the darkest and sordid side of the human soul, Ramoncín manages to do a hollow to him between the punk bands punks of the epoch. Together with W.C.? he records his first L.P., 'Ramoncín y W.C.?', in January, 1978, and for the history songs stay as 'Cómete una paraguaya', '...

Always polemic that makes début in 1977 with the single 'Marica de terciopelo', a topic standard-bearer of the Spanish rock of the second half of the seventies. With a hard style, steely guitars, and a few lyrics that discover the darkest and sordid side of the human soul, Ramoncín manages to do a hollow to him between the punk bands punks of the epoch. Together with W.C.? he records his first L.P., 'Ramoncín y W.C.?', in January, 1978, and for the history songs stay as 'Cómete una paraguaya', 'Rock and roll Dudua', or the emblematic one 'El rey del pollo frito', who from the same instant of its publication, and very in spite of the own Ramón, turns into the second name for the artist person. The second disc, 'Barriobajero', goes out to the sale one year later appearing a few topics nearer to the (sad) reality of that epoch to the detriment of the extreme prominent figures of the first album. A few prominent figures who would not to appear any more.

Nevertheless, Ramoncín purifies his skill, turning into heroes the authentic protagonists of the roll, these types that walk along the street with the hands in the pockets and that look at the world across dark glasses, sheathed(stuffed) in his you suck of leather. This way, 'Arañando la ciudad' he appears in 1981 as a haughty ode to the humorous speech, the low funds, the drugs, the sex (very present in the whole work of the artist): definitively, to the rock ' n roll. To this album they would follow him '¡Corta!' (with the collaboration of people like Rosendo, with which he would return to touch in his next l.p., Salvador Domínguez, and every one ex--Bad Company, Boz Burrell) and 'Ramoncinco' (where Manolo Tena yields authorship and bass guitar in 'Nicaragua'), closing a punk rock era.

For the recording of 'Como el fuego' (his 6th album), Ramoncín relies on a band, more or less stablly and the result is obvious. The histories continue being the same in spite of the fact that the age seems to have endowed his creator of another approach with which to form them in a paper. Something that is grateful, for much that some of us miss to the cousin Felisín (from his second l.p.).

'La vida en el filo' (with Brian May's participation to the guitar in 'Como un susurro' and 'Fe ciega' they are the discs that precede the one that, till now, is the Ramoncín's most profitable disc. And it is that 'Al limite: Vivo y salvaje' it is a sonorous document of Ramoncín's authentic drawing power at the beginning of the nineties. The double album, live engraving, does a revision to the career of that of Madrid, leaving some foreign jewels us as 'Hill St. Blues' or the "Cold Turkey" of Lennon, and own others that are revealed as generational anthems: 'Ángel de cuero', 'Putney Bridge', 'Hola muñeca', 'Al límte',... Indispinsable.

After 'Al limite' records and his tour (concerts of up to three hours in crammed pavilions), Ramoncín takes a musical respite, broke in few and exceptional occasions to honour someone of his heroes (in case of Elvis, Springsteen, again Lennon, Pepe Risi...) and companions (Loquillo, Antonio Vega, 091...). It is not until 1997 that returns to enter the recording studios with the intention of registering an entire disc, and one year later there appears 'Miedo a soñar', a sluggish work in spite of the good intentions. Because doubt does not fit that the disc is 100 % Ramoncín, with these histories of torn and born losers. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.