If La Charanga Habanera was reborn in the early ‘90’s pretty much fully formed and merely
evolved before exploding, El Medico followed only a slightly different trajectory. His recording career of the 1990’s marks distinct points from bud to flower, a sublime fruit then abrupt decay. Here you have the bud.
Much has been said of Manolín’s voice, or lack of it, and there’s no doubt it wobbles off the note at times when, strictly speaking, it really shouldn’t. Nevertheless, a strong voice is not everything in music. He had something as a vocalist as well as writer. Speaking of which, all the songs here are self-penned. Half veer strongly towards the teen market of a more innocent time, but a couple of these are nicely done. Lejania reappears with a slower treatment on De Buena Fe. Otherwise, the title track stands out particularly for me, as does A Pagar Allá. Si Te Vas Conmigo, which features some beautiful jazz infused modulation, is exceptional.
José Luis Cortés of NG La Banda discovered Manolín. He’s credited as the producer and it sounds like him on flute. Arrangements mostly go to Lázaro Agustín Hechavarría of whom I can find not a trace or reference. But the feel of this album borrows some from NG La Banda, particularly the La Que Manda album of the same year. This, at times intrusively, features a regular snare accent on the 3/7. Luis Bú Pascual whose revolutionary arrangements did so much to shape Manolín’s next two releases, is only credited with the final track, A Pagar Allá as well as keyboards.