The Law of the Desert / The Law of the Sea - La ley del desierto / La ley del mar
|The Law of the Desert / The Law of the Sea|
|Studio album of Radio Futura|
|Recording||Doublewtronics Studios, Madrid , December 1983-January 1984. Mixed from February 1 to 10, 1984.|
|Genders)||Pop rock, new wave|
|Record label||Ariola Eurodisc|
Radio Futura Chronology
|Singles from The Law of the Desert / The Law of the Sea|
The law of the desert / The law of the sea is the second studio album published by the Spanish musical group Radio Futura in 1984. Published by Ariola , the album is the second work of the band, and the first that it recognizes as its own after the renounces the previous Modern Music . [ 1 ]
At that time and after the abandonment of some of the original members, Radio Futura was composed of the brothers Santiago (voice, guitar) and Luis Auserón ( bass ), along with Enrique Sierra ( solo guitar ), to whom was added in this stage of the group the drummer Carlos Solrac Velázquez, who had already been working with the group for some time.
Background and recording
In the autumn of 1983, and after ending its controversial contract with Hispavox , Radio Futura reached an agreement with the Ariola record company to edit its second album, La ley del desert / La ley del mar , recorded at the Doublewtronics studios in Madrid with the Directed by Jesús Gómez between December 1983 and January 1984, and mixed from February 1 to 10 between Gómez and the group, launching later. [ 2 ] [ 3 ]In reality, given the bad experience with its previous record company, Radio Futura prefers not to sign any contract (this one ends up signing for the next album), and self-produces the album ("we asked for a cheap studio where we could spend a lot of hours and to learn"). In the group's opinion, that ended up weighing down the album due to its lack of experience and is at the root of the reason why some songs from La ley ... have been re-recorded on several occasions. [ 4 ]
In any case, the album, whose repertoire has been rejected for years by Hispavox but is already known by the band's followers, having been profusely performed live, makes it a quick bestseller.
Conceptual proposal and musical references
As its name suggests, the LP is divided into two parts. The first part, The Law of the Desert , has a more punk and metallic character, dry and hard; the second, La ley del mar , with more watery sounds, begins the "Latin" path of Radio Futura. In the texts included in the album folder, Santiago reflected:
The law of the desert is water. But the law of the sea? It is not the land or the ship, but the metal, a fearful vibration of the spirit: the will of Captain Ahab , stretched out like a harpoon forward, the light of the abyss that draws bodies [...] But the law of the desert it is even more unforgiving. No one can sink once and for all into its immensity, but wander alert, waiting for a noise: the joy of water, in small doses. Deserts are the beaches of the future.
From that mix of musical references the album is born, which represents the transition between the first works influenced by the New Wave (with The Stranglers or The Clash as references) to the incipient Latin rock ; in that step the influence of the Talking Heads continues to be noticed, as it had already done in the single released a year earlier "Dance You". All this with the care of the band's own lyrics. [ 5 ]
The law of the desert
In the first part we find those primordial influences still latent: the metallic and electronic percussion of «Sandstorm» or the glam echoes of «Hadaly», until we find the first hint of African fusion with the otherwise very funk « Escuela de Calor », perhaps the best known song on Radio Futura.
Santiago Auserón in Rolling Stone. [ 6 ]
A video clip of Escuela de Calor would be made as part of a project for the television program La age de oro by Paloma Chamorro , which provided the means for the band itself to do it, [ 5 ] being one of the first in music Spanish. [ 7 ]
The law of the sea
In the second part of the album, “ Semilla negra ” stands out emphatically , becoming the first stone on the long road to that first Latin rock of which the band would be a pioneer, and which would end up having an appreciable influence on the production of pop-rock in Spanish. in the coming years.
Curiously, the song was not originally intended for the group: in addition to his work with it, Santiago sometimes composed on request. Together with Luis he composed « Semilla negra » for Miguel Bosé , [ 8 ] who asked him to perform a song "in a modern style". Once the demo of the song was composed, recorded and delivered , Bosé discarded it (in a radio interview in 1998, and without revealing the artist's name, the group joked about his supposed inability to sing it, given the almost "feminine" voice of Santiago). In addition, Santiago confessed that he was sorry to "let go", and took her to the group's rehearsal room. The group, especially Solrac He expressed his doubts: it was not the style of "tough aesthetics" they were looking for, it sounded "a little ... Hispanic American."
The fact is that it was the first time that they spoke of ... As soon as they said no to something,
I drew my weapons of philosophy and tried to convince them "look, I think that in the futureLatin rock, logically, has to end up existing ... "Santiago Auserón
Interview on M-80 Radio , July 1998.
Santiago Auserón. [ 8 ]
As for the singles drawn, " Escuela de calor " would be released alongside "Historia de play-back" as side B. [ 9 ] The single would soon reach number 1 in sales. [ 2 ] In fact, later a maxi-single would be released with four songs: on the A side, the two versions of " Escuela de Calor " included on the album (including the instrumental), with "An African on Gran Vía" and "Dub" on B. [ 10 ] This last track would only be released in this maxi single and in cassette format (along with another track not included on the vinyl, "Duda"). [ 11 ]
Also it would appear like simple " Black seed " (with "In Portugal" like face B). [ 12 ] The song would be remixed in London together with the guitarist and composer Raimundo Amador , who would add his flamenco touch to the Caribbean rhythms present in the original version , obtaining some international repercussion. The production would be in charge of Joe Dworniak and Duncan Bridgeman; [ 2 ] the band was so satisfied with the production that they would retain the producers for their next job; [ 13 ]In fact Dworniak continued to collaborate with the group for years, and on occasion has been described by the group as just another member of Radio Futura.
|The Law of the Desert|
|1.||“ Sandstorm ” ( L.Auserón / S.Auserón )||4:07|
|2.||Hadaly (S. Auserón)||3:05|
|3.||" School of heat " (JCVelázquez / E.Sierra /L.Auserón/S.Auserón)||3:31|
|4.||“ School of heat (instrumental)” (S.Auserón)||3:05|
|5.||“History of Play-Back” (S.Auserón)||3:06|
|6.||"The law" (JCVelázquez / E.Sierra / L.Auserón / S.Auserón)||4:06|
|The Law of the Sea|
|7.||“In Portugal” (L.Auserón / S.Auserón)||3:37|
|8.||"Dark Affair " (E.Sierra / L.Auserón / S.Auserón)||3:21|
|9.||"The sect of the sea" (E.Sierra / S.Auserón)||3:32|
|10.||"An African on the Gran Vía" (L.Auserón / S.Auserón)||3:25|
|11.||"The swimmer" (S.Auserón)||3:37|
|12.||“ Black seed ” (L.Auserón / S.Auserón)||4:14|
Position in the popularity charts
|At the border||United States||A edge - The Top 250 Latin American rock [ 17 ]||2006||62|
|Efe Eme||Spain||The top 200 albums of Spanish pop [ 16 ]||2003||33|
|Rockdelux||Spain||Top 100 Spanish discs of the twentieth century [ 16 ]||2004||13|
|Rockdelux||Spain||30 years: 300 discs [ 16 ]||2014||63|
- The Law of the Desert / The Law of the Sea at discogs.com. Accessed 2/1/2012.
- Radio Futura: 1979-2004. The sonic legacy. 1984: Opening paths At lahuellasonora.com. Accessed 2/1/2012.
- The Law of the Desert the Law of the Sea Discography of Radio Futura. In lahuellasonora.com. Accessed 2/1/2012.
- Interview with Radio Futura The Country of Temptations, 3/7/1998. Accessed 2/1/2012.
- Alonso, Raúl La Ley del Desierto / La Ley del Mar Critique at lafonoteca.net. Accessed 2/1/2012.
- 8. Escuela de calor - Radio Futura, 1984 List of the 200 best Spanish pop songs . Rolling Stone. Accessed 2/1/2012.
- Quintanar, Francisco (documentary filmmaker for the program) La bola de cristal. 5. The video clips of the Ball. Accessed on 2/1/2012.
- Marcos, Carlos 89. Black seed - Radio Futura, 1984 The 200 best songs of Spanish pop. Rolling Stone . Accessed 2/1/2012.
- Radio Futura - Escuela De Calor / Historia De Play-Back Single reference. On dicogs.com. Accessed 2/1/2012.
- Radio Futura - Escuela De Calor Reference of the maxi-single. On discogs.com. Accessed 2/1/2012.
- The law (cassette) In RADIOFUTURA Its image and its design (from 1982 to 2004). Accessed 2/1/2012.
- Radio Futura - Black Seed Reference of the single. On discogs.com. Accessed 2/1/2012.
- Black Seed - Radio Futura File in lafonoteca.net. Accessed 2/1/2012.
- Jesús Ordovás (2010). The essential records of Spanish pop . Lunwerg Editors. ISBN 9788497856744 .
- The 100 essential albums of Spanish pop, by Jesús Ordovás Rolling Stone. Accessed 2/1/2012. Question: Which one have you doubted the most when it comes to including it or leaving it out?
Answer: What has cost me the most has been choosing a Radio Futura album. In the end I chose The Law of the Desert, the Law of the Sea, but it was difficult for me to decide because all the records by Auserón and company are authentic jewels.Jesús Ordovás, in Rolling Stone.
- "Acclaimed Music - The law of the desert, the law of the sea" . Acclaimed Music . Archived from the original on August 20, 2016 . Retrieved July 7, 2016 .
- «Al Borde - The 250 best Latin American rock albums» . To the Edge . Retrieved July 7, 2016 .