Spanish Progressive Rock overview

Triana is one part of the Spanish Prog Armada, a legendary Prog band to emerge out of the gifted hills of Spain. The roots of Triana pounded out of the flamenco capital of Seville,where Jesus de la Rosa (keyboards/vocals) found international success with Los Bravos and their single “Black Is Black”. Jesus then recruited Eduardo Rodriquez Rodway (vocals/guitar) and Juan Jose Palacios ‘Tele’ (drums/percussion) and called themselves Triana, named after the most traditional part of the town. The groups first single “Bulerias 5×8″ was released in 1974, followed by their outstanding Flamenco laced debut ‘El Patio’ in 1975. The Choir heavenly opener “Abre La Puarta” washed with mellotron and flamenco reels into some really fast guitar, while the electric “En el Lago” powered through drum exhortations and reeling organ. These are the illuminations of this characteristically, very Spanish Folk fused Prog. By 1976 Spain was quaking with a young revolution which Triana celebrated with their second album ‘Hijos Del Agobio’ stamped in Prog grandeur on the title-track and “Sentimientos De Amor” while urgent takes surge through “Ya Esta Bien” .This was followed by the single “Rumor”( lyrics about hope after the end of general Franco’s dictatorship). Radio broadcasting of the single inflamed the youth and Triana became the first revolutionary Prog band with many more to follow.

From the Spanish hinterland came forth a musical artistry called Atila that flexed it’s freeform musicianship into the avant-garde capital of France, Paris. Atila was born within the ancient walls of Girona in 1973 comprising ex Metafora guitarist Edwuardo Alarez Niebla, keyboardist Francisco ‘Paco’ Ortega and drummer Joan Punyet. In March 1975 they pushed out their debut entitled ‘The Beginning Of The End’ , recorded in Paris amIdst the mentoring of the philosophy heads of the day, Jaume Xifra and painter Jean Messagier. Performing with the Community Arts theatre, the groups live performances were a blend of dancers, art and light shows. On returning to Spain keyboardist Paco is replaced by Benet Nogue. Compulsory military service hampered the group with several changes amidst the pinnacle of outstanding live performances. Atila’s second album ‘Intencion’ was beyond imagination with sizzling fuzz extensions by Edwuardo on “El Principio Del Fin” or the Catholic child choir entry of the title track. In the same symphonic fuzz dimension as Vanilla Fudge the groups guitar inquisitions were always in overload and reaching impeccable heights.Unlike Triana with it’s flamenco reflections this Catalonian group were cosmic astronauts reaching untouched realms with a Galleon of Synth and Mellotron fuzz overload. Edwuardo who started out as the tender age of eleven with his group Los Helios later came to prominence with Guevara. He was ranked seventh best guitarist in Spain amidst names like Jaume Rivera of Evolution and Paca De Lucia,while keyboardist Benet Nogue severs into the twilight hemispheres with Synth sounds straight from the Mars volta. Drummer Francis Downie -Kuay has rips like Bill Bruford, but never acknowledged other than his astounding solos. These Spanish conquistadores were in a league of their own and my God it was superior. Guitarist Edwuardo has this organic ability to change his guitar tones as in “Un Camel De Xocolata”. The group released a third entitled ‘Reviure’ and then disbanded in 1978 and Spain lost it’s Gods in a moments breath.

Although Italian Banco stride gloriously above most due to their operatic virtuosi, a far more superior rival is found in Madrid Spain called Rafael Cabrera. Rafael was one part of the Prog quintet Tarantula comprising a superb bassist called Jose Pereira the secondary strength of this monumental Prog spider. Tarantula’s first egg was a single called “Blancanieves” / “Éxtasis” which pre-emted their self titled debut. Guitar staggered creations like “Un Munda Anterior” with shimmers close to Jane or Eloy remain unsurpassed from this vastly underrated debut. Tarantula was headed by keyboardist Vicenti Guillot who comes to his best on “Imperio Muorta”, allowing drummer Emilio Santonja to freefall into the chasms of his mellotron soundscape. Guitarist M. G. Peydro apart from Spanish guitar on “Lydia” remains understated through the entire album. Rafael ‘s opus the opening “Recuerdos” although very PFM has some mountainous refrain that holds no flaws. After a second single “La Danza del Diablo” / “Un Mundo Anterior “, ‘Tarantula 2’ released in 1978 leaned more toward a Uriah Heep edge with only Vicenti left in the fold. Tarantula were one part of the Prog Spanish renaissance that included groups like Granada and Iceberg.