la Ley del Mar, the band seemed to enjoy producing cohesive albums with some sort of internal leit motiv). De un País en Llamas represented a big leap from its predecessor: it revolved around a punk attitude but, at the same time, it saw the band finally leaving behind their amateur times. Their record company provided a decent budget for the recording sessions, which allowed a state-of-the-art production and, with it, technical innovations and music effects new to the Spanish musical scene back then handled by producers Duncan Bridgeman and he who was to become their longtime musical companion and, in Santiago Auserón's words, some sort of a fourth band member in the dark: Jo Dworniak, both members of the band I-Level. They also remixed their previous Semilla Negra, increasing its Latin cadence and creating another cult pop song . 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. Quintet: "La Canción de Juan Perro" By 1986 the band was looking for new textures for their music, more clear arrangements and a rhythm section leaning towards Latin sounds while keeping a rock attitude. Once the drummer position was filled with Carlos Torero, an additional fifth member was also recruited: Pedro Navarrete, at the keyboards, innovating this position in the band. This new three core members plus two session musicians line-up gathered at Sigma Sound recording studio (owned back then by the Talking Heads) in New York City at the end of 1986 (that was, possibly, the first time that a Spanish band recorded in New York). Again, Jo Dworniak was in charge of production. The band delivered La Canción de Juan Perro, released in May 1987. 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". It aimed to get closer to the traditional sources of Spanish popular music, the hiring of a horns section (The Uptown Horns) for the recording sessions being probably the most clear statement of the new musical direction taken. The New York sessions are recalled by the band as their finest. The record had a good response and became their biggest seller