Radio Futura
The final selection included the Auserón brothers, Luis and Santiago (who wrote reviews at the time in a music magazine under the name 'Corazones Automáticos'), Enrique Sierra (guitar player from Kaka de Luxe) and percussionist Javier Pérez Grueso.
Herminio Molero contributed with his fusion of electronic and traditional music to the style of the group while Enrique Sierra added a punk touch.
After what had been a rather impromptu and basically amateur record, the new line up decided to take on a professional approach in their music career and get rid of their initial aura of "media pampered one hit wonder boys".
Tracks included in this record such as "Semilla Negra" introduced the first hints of what would soon become their signature contribution: Latin rock based on a highly intellectualized basis (front man Santiago Auserón holds a degree in Philosophy and is known for lengthy answers in flourishing vocabulary) but, notwithstanding, aimed at the streets and addressed to the general populace; this popular turn became the standard in Spain after them, but was a virtually unknown territory back in the day when Radio Futura started defining its boundaries.
Since the tour of La Ley del Desierto, La Ley del Mar had actually taken place before its actual release, it only took them one year to finish, in 1985, their next record De un país en llamas, a risky, stark and somewhat baroque new studio album recorded in London (an unusual choice for a Spanish band back in the day, due to a series of reasons -budget too).
The band was willing to explore a more Latin style in the fashion of songs like their own "El Tonto Simón" and drummer Solrac, who opposed this direction, abandoned the group in 1986.
The record is characterized by a much more organic approach than its predecessor, from which it marked a new departure; their musical evolution brought to the band international hit singles such as "37 grados and "A Cara o Cruz".
In retrospect, La Canción de Juan Perro is now considered, by the band and critics alike, as Radio Futura's finest effort.
Also, beginning with this record, Santiago Auserón gave renewed importance to the lyrics, he has since become one of the finest lyricists in Spanish, earnestly using and renovating popular terms which had gone partially out of fashion.
Soon after the supporting tour for "La Canción de Juan Perro" started, Enrique Sierra was diagnosed with polycystic kidney disease and had to be temporary replaced by another newly hired session musician: Javier Monforte.
La Canción de Juan Perro marked a success in the band's career, yet, following the suggestion of the label to compensate the relatively high budget (for a Spanish 1980s band) spent in NYC, the last two concerts of the tour were recorded, mixed and released by beginning 1989 as Radio Futura's only live album: Escuela de Calor which became a big seller.
The band was finally back in a studio by the end of the year with a new line up (Antonio Vázquez takes in the drums and Halsall was kept along with Enrique Sierra, whom the Auserón brothers waited on until he was recovered for the sessions).
Having achieved notoriority and an almost uncontested lead in the Spanish pop-rock scene (only challenged by the synth-pop oriented trio Mecano), and also influenced by Enrique Sierra's health problems and Halsall's death due to an overdose in 1992, they decided it was time to disband at the height of their careers before the music industry devoured their creativity as artists.
