Capikua Records archives: 2018

II. MEZZANINE Period

In early 1978, Roberto Gessaghi and Alejandro Magurno

realized that transforming their Folk/Urban songs into
a Progressive Rock genre meant calling in experienced
musicians. For this purpose and advised by a common
friend, composer Daniel Montes, they were introduced
to:

drummer Willy Iturri ( Willy Iturri ), who brought with
him extensive rhythmic resources practiced with Cèsar
Pueyrredon in ‘Banana’, a Pop/Rock group; and

keyboard player Guillermo Medin ( Quistral, Final,

Berklee College of Music 1983/1985 Composition Awards,

Theatre of The Invisible of Buenos Aires, Biorsi, Klhasch ),

who besides incorporating the orchestral/arranging crafts-

manship implemented for Gabriel Ogando in ‘Quistral’

( Quistral ), a Folk/Rock trio, he brought in the Latin

feeling once exhibited with Tito Losavio ( Man Ray ) in

‘Burbujas’, a Tropical/Dance group.

The formation was completed with Pablo Guyot (G.I.T.)
in lead guitar and Quique Conte (spelling needs confirma-
tion) in bass. Later on, due to Quique’s style discrepancy
with band leaders, he left the group and was replaced by
Carlos Corallo. All tunes were crafted in the basement of
Quique’s aunt house in La Lucila, North Buenos Aires.

‘Final’ was signed to EMI-Odeon in October 1978 and

the contract stipulated the release of an album shortly

afterwards the ‘Para ser / Dia de ciudad’ single, but

this was never accomplished due to economical reasons:

adverse economic measures taken by the Dictatorship’s

minister, which abruptly reduced consumption, mingled

with the uncertainty of a possible war with neighbor

Pinochet regime in Chile (‘Operaciòn Soberania’),

persuaded the Recording Label to halt the production of

new groups and reconsider instead substitute releases
of pre-existant signed artists such as Raùl Porchetto.

Consequently, ‘Final’ band contract was ignored by

EMI-Odeon and by the end of 1979 the group members

moved on to pursue fulfillment of projects on their own.