Friday, 6 July 2018

Ramoncín Y W.C.? ‎ “Ramoncín Y W.C.?” 1978 Spain New Wave Punk


Ramoncín Y W.C.? ‎ “Ramoncín Y W.C.?” 1978 Spain New Wave Punk
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official web site

https://www.ramoncin.com/

Comete una paraguaya (1978) 

https://www.youtube.com/watch?v=4MQF3-J4dxE


Known as one of the most prolific composers on the Spanish rock scene, singer-songwriter Ramoncín started writing poems while attending acting classes. After working for the EMI-Odeón label, his debut album, Ramoncín y WC, went on sale in 1978. That same year, Ramoncín received awards in the categories of Best Composer and Best Artist. In 1979, he published his book Animal of Fallen Eyes. He has also played the leading role in the film Adolescencia in 1981. He published Ángel de cuero: 20 Years of songs in 2000 to celebrate his twenty-year career. ~ Zaira Sánchez….~


Ramoncín’s first album was, simply and plainly, spectacular. Personally, my favorite will always be “Scratching the city” (although its own author seems too clean), but surely it would be followed by this “Ramoncín y WC”, a perfect album from beginning to end, with the attitude of British punk and the arty roll of the American, but especially with a Spanish cultural component that is what gives it originality. It is still current, modern and apocalyptic. In fact, listening to “Ramoncín and WC” on a night walk was quite an experience. I mean that Ramón has always been very good at describing landscapes and urban animals, but in this first album he almost borders on terror. It is not a joke.The only moment more relaxed is ‘Rock and roll dudua’, a brutal reinvention of the rock and roll cincuentero to the rhythm of pure nihilism. It was the least lethal moment but at the same time one of the best songs on the album, in which it seemed that the world was going to sink although in reality it did not matter if such a thing happened. Now, entering into slaughter, the vicious guy who sang 'Eat a Paraguayan’ was scary, he seemed to flee from an asylum, and what about the psychopath who commits atrocities in 'Night of five hours’ or the stranger’ Crazy of the long street ’ It was not a quiet landscape, no, but of darkness and artificial lights, of a lost city. 

It’s 1978, punk has exploded in England the year before and now comes to Spain but instead of becoming a vulgar imitation finds its own identity thanks to a pioneer as was Ramoncín. Later, other bands would arrive to give their vision of the phenomenon, but he was one of the first, despite whoever is. And it imposed a lot. Today is a man cultivated with history and career, but then it was nobody and from the mythical cover of this “Ramoncín y WC?” (Shot by Martín J. Louis) it looked like a brown beast ready to eat alive to the one that approached. And you do not want to, that’s what happens when you blow the record and it catches you between its claws…by…JUANJO ORDÁS…~


Unexplainable acts. What did Ramoncín do with a jazz-rock band in the early days of the filthy Madrileño movement? From what I understand, after being accepted as a puppet for the concerts of the authentic and first band Vallecana WC, he left with several of the songs (not composed entirely by him) to record his debut album with studio musicians closer to the legendary Urban Music or Iceberg that to the thieving formats that began to mine the capital at that time and that irremediably untied in the pestilent carnival that grouped the new “talents” like Alaska, Berlanga and the rest of the troop. Neither short nor lazy he entitled the new group and the album Ramoncín & WC, without asking permission from his former colleagues, co-authors of some compositions (sweet paradox). 

The case, Blessed band accompaniment !!!! Carlos Michelini was quite a vulture, as Ramoncín goes, but you have to recognize his worth as a guitarist in other formats. The record is horrible but it makes you think; the type of arrangements and music that surrounds the hype of the moment is unthinkable today, despite the quality of the musicians who accompany the bustamante, sanz and company. At a time when the punk began to take the rehearsal venues, the monigotes monopolized media attention and we peeked into the black hole of the 80s, Urban Music accompanied Serrat on one of his best tours, Blay Tritono came out on TVE1 and Carlos Michelini and his band played ball to calf like this one…..by…shed ….~


Biography 
Always controversial personage who debuted in 1977 with the single “Marica de velpelo”, a standard-bearer of Spanish rock of the second half of the seventies. With a transgressive image, steely guitars, and lyrics that discover the darkest and sordid side of the human soul, Ramoncín manages to gain a place among the punk bands of the time. Next to WC? record his first album, Ramoncín and WC? , in January 1978, and for the story there are songs like “Cómete una paraguaya”, “Rock and Roll Duduá”, or the emblematic “El Rey del Pollo Frito”, that from the moment of its publication, and very much in spite of from Ramón himself, it becomes a second name for the artist from Madrid. The second album, Barriobajero, it goes on sale a year later presenting us some subjects closer to the (sad) reality of that time to the detriment of the extreme characters of the debut album. Some characters that would not appear again. 

However, Ramoncín refines his technique, turning into heroes the real protagonists of the roll , those guys who walk down the street with their hands in their pockets and who watch the world through dark glasses, holstered in their leather jackets. Thus, Arañando the city is presented in 1981 as a superb ode to the cockiness, the underworld, drugs, sex (very present in all the work of the artist): ultimately, rock 'n roll. This album would be followed by Corta! (with the collaboration of people likeRosendo , with whom he would play again on his next lp, Salvador Domínguez, and an ex- Bad Company , Boz Burrell) and Ramoncinco (where Manolo Tena gives him authorship and bass in “Nicaragua”), closing a cycle of neighborhood barbarism . 

For the recording of Como el fuego , Ramoncín has a band, more or less, stable and the result is noticeable. The stories continue to be the same despite the fact that age seems to have endowed its creator with another approach with which to put them on paper. Something that is appreciated, no matter how much we miss cousin Felisín . 

Life on the edge (with Brian May participationto the guitar in “Like a whisper”) and blind faith are the discs that precede the one that, until now, is the most profitable disc of Ramoncín. And it is that the limit: Live and wild is a sound document of the real power of summoning of Ramoncín at the beginning of the Nineties. The double album, recorded live, makes a review of the career of Vallecas, leaving us some foreign jewels such as “Hill St. Blues” (which serves as an introduction masterfully performed by the band) or “Cold Turkey” by Lennon , and others of their own that reveal themselves as generational hymns: “Angel de cuero”, “Putney Bridge”, “Hola muñeca”, “Al Límte”, … Essential. 

After the publication of Al límiteand his subsequent tour (concerts of up to three hours in crowded pavilions), Ramoncín takes a musical break, broken in a few and exceptional occasions to honor some of his heroes (in the case of Elvis , Springsteen , again Lennon , Pepe Risi , …) and companions ( Loquillo , Antonio Vega , 091 , …). It is not until 1997 that he re-enters the recording studios with the intention of recording an entire album, and a year later appears Fear of Dreaming , a lazy job despite good intentions. Because there is no doubt that the album is 100% Ramoncín, with those stories of broken lives and born losers…~ 


José Ramón Martínez, Ramoncín, born in a taxi in front of the Puerta de Alcalá in Madrid in 1955, went on stage in the shadow of punk, Tierno Galván and his move, and the vindication of suburbs. Under these shadows he has been typecast and against these shadows he has had to fight hard throughout his career, without managing to overcome his first image of neighborhood punk and impose his own personality over punkies, new waves, urban rocks and other encasillamientos (Brus Espringstin de Vallecas, although he insists that he is from Legazpi, where he was educated by his maternal grandfather). Ramoncín debuted discographically with 'Ramoncín y WC’ (1978), followed by 'Barriobajero’ (1979) and 'Arañando la dudad’ (1981). In them a hard singer is presented who, due to his aggressiveness, well it can fit in the punk, with songs like 'The king of the fried chicken’, 'Rockandroll dudua’, 'Queen of the night’, 'Chuli’, 'Angel of leather’, 'Putney Bridge’, 'Hello doll’, 'Concrete, women and alcohol’ and 'Marica velvet’. However, the same songs, under their rude arrangements, showed a sensitivity that did not correspond to punk. They foreshadowed what was later shown, that under the make-up there was something. under their rude arrangements, they showed a sensitivity that did not correspond to punk. They foreshadowed what was later shown, that under the make-up there was something. under their rude arrangements, they showed a sensitivity that did not correspond to punk. They foreshadowed what was later shown, that under the make-up there was something. 

For example, he received for three consecutive years (1978, 1979, 1980) the award for the best lyricist of the year. Prize that will be received again in 1982, 1983, 1984, 1985, etc. Another proof that he is not a punkie is that in 1979 his first book appears: 'Animal of fallen eyes’. In his live performances, Ramoncín is shown as a provocateur and the response of the audience is usually heated (throwing eggs, for example). Thus, in 1980, a concert by Ramoncín at the Teatro Marín must be suspended twenty minutes into the unpleasant incidents that occur. His next two albums already show his departure from punk, when everyone thought he was dead, along with the death throes of that musical movement. These two albums were '¡Corta!’ (1982) which included 'Owner of the city’ and ’ Naked songs’, and 'Ramoncinco’ (1984), where 'Nicaragua’ is found, a tribute to the failed Sandinista revolution, 'The girl on the sixteenth door’ and 'Al límite’. Now, the show of their performances has varied and show an eclecticism that can betray both lack of personality and criteria, so that Ramoncín allowed himself to appropriate the most spectacular effects of his idols. 

Thus, mixed Bruce Springsteen poses, with Mick Jagger flags and climbs to the mountain of speakers like Ted Nugent. But Ramoncín is also declared an urban poet and to the delight of his admirers a new book appears that collects his texts and poems: 'Testimonios musicales’. To record his next LP, 'Como el fuego’ (1985), Ramoncín moved with his group to the studios of Ridge Farm in London. The result is the most complete work of the artist, a distinctly rock album, where the musician sings to sex and love, in a raw and torn tone, without forgetting the marginalized. Before getting into the London studio, they were rehearsing the songs, 'Do not stop’, 'Spanish love’, 'The date’, 'Do not be bad’, 'She is pervérsa’, for two months in Madrid. In 1985 Ramoncín is defined by Luis Cantero: 'Ramoncín is a rocker who detests heavy and techno, a sentimental anarchist who attacks with his guitar against the establishment a fallen-eyed animal that makes verses, an urban guerrilla capable of dismembering the king fried chicken, a grandson of Hamlet with doubt stuck in the soul, a provocateur who throws the stone and hand, a father of a family married for criminal, a rebel with a cause, a romantic and, to top it all, a friend of the president of the Government, with which he plays billiards in three bands without removing the cap of nonconformity. God bless you…’. a sentimental anarchist who lashes out with his guitar against the establishment a fallen-eyed animal that makes verses, an urban guerrilla capable of dismembering the fried chicken king, a grandson of Hamlet with doubt stuck in the soul, a provocateur who throws the stone and the hand, a father of a married family for the criminal, a rebel with a cause, a romantic and, to top it all, a friend of the President of the Government, with whom he plays billiards in three bands without removing the cap of nonconformity. God bless you…’. a sentimental anarchist who lashes out with his guitar against the establishment a fallen-eyed animal that makes verses, an urban guerrilla capable of dismembering the fried chicken king, a grandson of Hamlet with doubt stuck in the soul, a provocateur who throws the stone and the hand, a father of a married family for the criminal, a rebel with a cause, a romantic and, to top it all, a friend of the President of the Government, with whom he plays billiards in three bands without removing the cap of nonconformity. God bless you…’. a friend of the president of the Government, with whom he plays billiards in three bands without taking off the cap of nonconformity. God bless you…’. a friend of the president of the Government, with whom he plays billiards in three bands without taking off the cap of nonconformity. God bless you…’. 
And Ramoncín already has a cachet that almost reaches two million pesetas for three hours of show in which he sings thirty-six songs under 150,000 watts of light with an extraordinary sound amplification. He is invited to participate in the XII World Youth Festival in Moscow, where they arrive with their hands in their pockets (moving the equipment is very expensive) hoping to find there instruments to act. The result is simple: they can only act once, when the Soviet group Autograph lends them their equipment. Also in 1985, one of his great years, Ramoncín recovers his activity as an actor, who had already worked in an experimental theater group, and participates in two films, 'Verano infernal’ (Michael Skoe, 1985) and 'La rubia del bar’ ’(Ventura Pons, 1985), and in a theatrical production,’ Negro seco ’, with the National Center for New Performing Trends. With all these activities, it is not strange that his next LP, the seventh of his career, 'Life on the Edge’, does not appear until 1987. Critics who are running out of qualifiers or clichés to call him, talk about the rock philosopher Spanish. The album was also recorded in London, with the participation of Queen’s guitar, Brian May, in one of his songs ('Como un whisper’) and was the first in which the production was not at his expense, so He was able to concentrate exclusively on music without worrying about technical problems. Other highlights of the album are 'Cuerpos calientes’, 'Viejo como el dolor’, 'Fear’, 'Mensajero’, 'Por ti me loco’ and 'Atracador’. 

Between performance and promotional action, he shoots the short film 'Happy Birthday’ by Jesús Font and the film 'El aire de un crimen’ by Antonio Isasi, based on the book by Juan Benet. In 1988, he returned to London to record his eighth LP, 'Fe ciega’, from which the song 'Ayúdame (I’m not a hero)’ was released as the first single, and included a song dedicated to Barcelona, ​​'Mujer de mar’ and another one to the figure of the Pope, 'That gentleman of target’, that caused the prohibition of the disc in the chain COPE. This year he declares that at his age, Ramoncín is fine, that everyone calls him Ramón and that he will sign as Ramón Solo. However, the project fails to appear someone who was really called Ramón Solo and ask for many millions as compensation. In 1989, He breaks with his record company and limits himself to some recitals without the commitment of having to present and promote a new album. These performances without pressure serve to prepare what is a project long cherished and promised: a double album recorded live. In 1990 the project becomes reality and appears 'Ramoncín to the limit, alive and wild’ recorded in Portugalete, Madrid and Barcelona. 

In the performances and on the album highlights the participation of Max Sunyer as guest guitarist. Performances that already have 300,000 watts of light and 60,000 of sound. Not bad for someone who started throwing eggs to the public and had to stop doing it when they happened to throw them at him. In the disc some of their songs of always are collected, next to a version of “Cold Turkey” of John Lennon. This is Ramoncín, (José) Ramón Martínez, who finally gives them one last piece of advice: 'Cómete una paraguaya’…..~ 





Tracklist 
A1 Cómete Una Paraguaya 3:55 
A2 Noche De 5 Horas 5:02 
A3 Paga A Tu Nombre 2:55 
A4 Ponte Las Gafas 5:00 
B1 Rock And Roll Dudua 4:13 
B2 El Rey Del Pollo Frito 3:39 
B3 El Loco De La Calle Larga 4:15 
B4 Marica De Terciopelo 6:31 


Credits 
Bass – Gaspar “El Doctor” 
Lead Guitar [Guitarra Solista] – Carlos Michelini* 
Rhythm Guitar – Eduardo Bort (tracks: A1, A4, B2) 


DISCOGRAFIA: 

1978- Ramoncín Y W.C.? 
1979- Barriobajero 
1981- Arañando La Ciudad 
1982- ¡Corta! 
1984- Ramoncinco 
1985- Como El Fuego 
1986- La Vida En El Filo 
1988- Fe Ciega 
1990- Al Límite, Vivo Y Salvaje 
1998- Miedo A Soñar 
2002- Canciones Desnudas Vol. 1 
2011- Cuando El Diablo Canta 

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