Local commercial record labels took advantage of the launching of the “first discs” by several artists. They often ended up reaping the fruits of stars that made their recording debuts with Ayuí/Tacuabé, having avoided the risks naturally involved in the promotion of emerging artists. There are always numerous individuals willing to provide support, as well as performers, who whether belonging to the label or not, participate in solidarity shows organized to help overcome times of economic hardship. In 1986, as part of the label’s 15th anniversary, the Carnelli movie theater (part of “Cinemateca Uruguaya”’s cinematheque complex) housed an exhibition of record jacket art under the supervision of artist Hilda López. As a way to overcome the ever-rising cost of publishing, novel co-production modes were devised and put into practice, allowing for partnerships with recording studios, producers and even with artists themselves. There came the publication of a generation of artists that had been barred access to the masses, who, during the military dictatorship, resorted to musical recitals in the absence of political rallies. Among them were the first recordings of Jorge Schellemberg, Mariana Ingold, Esteban Klísich, Alberto Wolf, Alejandro Ferradás, Walter Bordoni, Jorge Drexler, Tunda, Gastón Rodríguez, and Asamblea Ordinaria. The label continues to cover recordings of an ample variety of styles, ranging from “payador” (guitar-accompanied singer who improvises musical dialogues) Carlos Molina to rock group El Cuarteto de Nos, from Mario Benedetti and Eduardo Galeano to Eduardo Mateo and La Tabaré Riverock Band.
Listas de reproducción