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Discograhy
Members featured in the album
JUAN CARLOS BAGLIETTO - Guitar and vocals
MARIO CORRADINI - Guitar and vocals
JUAN CHIANELLI - Keyboards
DANIEL WIRTZ - Drums
JORGE LLANCH - Electric bass
PIRAÑA FEGÚNDEZ - Flute
Biography
During the last military dictatorship, a group of friends from Rosario met to give life to Irreal, one of the emblematic local Rock bands. It was in different stages, because there was a change of musicians at one time or another. And although Irreal did not record any record production - they only recorded a demo on cassette - it gained great relevance due to the quality of the musicians that passed through the group. The first moment was from 76 to 78 or 79, and from then on until 81 when the group ended in the worst way: censored.
The neighborhood friendship, football and the shared streets made Irreal real. At least that's what Juan Chianelli remembers, one of the main members of the band that was from the beginning and to the end, that in addition to playing piano he was encouraged to grab the guitar.
Chianelli lived in the same block as Adrián Abonizio and Hugo Garcia. As summarized: "between the three went from football to Folklore" almost nonstop. And of course, after Folklore came Rock. At that point, Hugo Garcia already had his group and Chianelli his. Although they were always in permanent rivalry by the bands, the two began to file some harshness and with Abonizio in between they met to assemble a group that was already beginning to turn towards Rock. After Marcelo Domenech, also neighbor of the neighborhood, approached, later the Topo Carbone arrived (that was the unique one that did not come from another zone) and finally Yayi Gómez, the son of the saxophonist Walter Gómez was gotten up. "My idea was to play the keyboard, in those years there was the Farfisa but they were really very expensive, it was the sound of the time, the organs like in Los Gatos," he recalls. In '75 they already met to rehearse in the house of the grandmother of one of the musicians, in front of the Buratovich square in the heart of Echesortu.
The seventh member of the band was José Luis Aguilera, better known as the Zapo Aguilera, percussionist. His presence was so important (although he never touched) that it was the one that gave him the name Irreal, one night after a rehearsal at the old pizzeria Pedrín.
Although Irreal existed since July 1976, the official debut was on December 16 of that same year at Il Trovatore, theater of the Italian club of Rosario, along with the group Caballo de Mar, from San Nicolás. "Both the music and the lyrics by Adrián were very intuitive, the message itself was a lot of flight, a lot of lyricism," says Chianelli.
But the hardest thing in those years was to get a place to play. Such is the case that in several occasions they rented the rooms of the faculty of Engineering in exchange for a donation for the Cooperator. They even played in La Comedia with full theater and in that show, Mario Piazza Sueños' short film for a clerk was seen for the first time. That night can not be forgotten. Is that at the end of the concert they went to listen to the recording in the Plaza Buratovich and something happened that was fashionable at that time in the country, but they had never touched them. From that same night came the theme Panic in Buratovich, inspired by that bad moment.
Between 1976 and 1977 Irreal begins to maintain a cultural exchange with other provinces. Inner encounters are carried out with Redd de Tucumán, Trigémino Buenos Aires, Agnus de Santa Fe, Dibujos Animados of Córdoba and others. In the grias also gathered several anecdotes of raids. From the time they played a few meters from the Obelisk, in the Federal Capital, he remembers that one night when they finished playing, the lights in the room were turned on and they were forced to go out to the street with the document in their hands.
At the end of 1977 when the band was achieving definitions in terms of style and establishing professionalism, Abonizio decided to leave the group to develop as a soloist. What struck the other members for their strong authorial and inspiratory presence. Instead, and after some agreements and disagreements, he was invited to Juan Carlos Baglietto, an old acquaintance and opening act for Irreal and almost all the Rosario groups. Baglietto gave the group a strong stage presence.
At the end of 1978, Yayi Gómez left Irreal due to labor issues and Juan Piña Fegúndez joined in his place, on flute and percussion.
The last to leave the group, but not by his own decision, was Marcelo Domenech, summoned by the Compulsory Military Service. In its place enters Juan Ricci, former bassist of Síntesis.
In the middle of 1979, product of the desgranamiento that underwent in so little time and desencontradas personal aspirations, in a meeting realized in the house of Juan Chianelli, it is decided to end the band.
Information
* Generación Subterránea Rosario Site
# Apologies, translated by https://translate.google.com.ar