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31 Aug 2016

Triana."El Patio" 1975 first lp Movie Play Label Spanish Prog Flamengo Rock

Triana."El Patio" 1975 first lp Movie Play Label Spanish Prog Flamengo Rock first album one of the best Spanish Prog Rock album 


TRIANA is the most legendary progressive rockband in Spain. Their stunning debut-album was a seminal blend of flamenco and progrock and paved the way to flamenco-inspired progrock in Spain, culminating in bands like Azahar, Cai, Alameda, Qualdalquivir, Mezquita and Medina Azahara. The story of Triana started in Seville, the beating heart of the flamenco. Jesus de la Rosa (keyboards/vocals) was a known musician in the local music scene and he even had international success with "Los Bravos" and their single "Black Is Black". But he wanted to form his own band to make progressive rock, so he recruited Eduardo Rodriquez Rodway (vocals/guitar) and Juan Jose Palacios 'Tele' (drums/percussion). The trio called themselves TRIANA, named after the most traditional part of the town and they moved to Madrid. With some help they were allowed to record their music in a studio with highly advanced equipment.

In '74 "Triana" first released a single titled "Bulerias 5x8" (it became a failure) and then the debut album "El Patio" ('75). Unfortunately their flamenco-progrock did little, eventually the album sold 1000 copies. But after a big presentation in Madrid in '76, things started to improve and in '77 the second album "Hijos Del Agobio" came out, followed by the single "Rumor". The emotional lyrics (about hope after the end of general Franco's dictatorship) were embraced by the Spanish youth when the radio started to play "Rumor". TRIANA's music boosted the youth's identity and it gave them a way to show their emotions. And how ironically, TRIANA's music became less progressive while the band became more and more famous. Their third LP "Sombra Y Luz" ('79) sold 300.000 copies and from the fourth album "Encuentro" ('80) TRIANA turned out to be Spain's most popular rockband. Further releases were "Triana" ('81) and "Llego El Dia" ('83) but then the story ended very sad because in '83 Jesus de la Rosa died in a tragic car incident and the other musicians decided to call it a day. Record company Fonomusic released some compilations, especially the beautifully packed 2-CD "Una Historia" ('95) is recommended.

The opener on the first album "El Patio Is Abre La Puerta" (almost 10 minutes), it starts with choir-Mellotron, piano and flamenco guitar (tremolo-technique). Then the typical sensitive and skillful flamenco guitar blends with piano and soft synthesizer chords. A fluent and tight rhythm-section carries the music to a powerful acceleration with the typical flamenco vocals, expressive and a bit wailing. The rest of this song contains lots of shifting moods that range from mellow with flamenco guitar and choir-Mellotron to propulsive with powerful drums and howling electric guitar, very moving. Most of the other six compositions are in the vein of "Abre La Puerta": beautiful shifting climates with typical flamenco elements like palmas (handclapping), rasgueado (quick downward strikes across all strings) and picados (quick runs on the guitar with two fingers), along with tasteful keyboards (organ, synthesizers, Mellotron and piano) and fine electric guitarplay. The final two tracks are splendid compositions: beautiful interplay between the flamenco - and electric guitar and a bombastic finale with rasgueado, organ and electric guitar in "En El Lago" and powerful drums and a howling and biting electric guitar in "Recuerdos De Una Noche". The second album "Hijos Del Agobio" is in the vein of "El Patio" but fails to generate the same excitement and the third "Sombra Y Luz" only sparks at some moments like the compelling titletrack. Later albums are tasteful but too polished poprock....

This is probably the best and most emblematic prog album from my country, Spain...
Triana made an unique and very original mixture between prog and psychodelic rock with the folk music of the south of Spain, flamenco. The strong feelings, voices and spanish guitars of flamenco are very present in this album, but you will also find here most of the usual elements of the 70's prog rock. True original and inimitable sound here. Nevertheless, because of Triana appeared a lot of prog bands at the end of 70's trying to emulate their sound, but never reaching this great levels...

The lyrics are also very important in this band, because Jesús de la Rosa was able to write beautiful love songs and stories for this complex songs, giving a strong romantic aura to the music of Triana. The singing of this man is also fundamental, with all the passion of flamenco. But it's not pure flamenco singing, it's a little "contaminated", because the style of these songs is not to use pure flamenco voices... This man gave a great influence for later bands of flamenco-rock (like Medina Azahara) and flamenco-pop (like the fantastic band El Último de la Fila).

All songs here are really good, but Abre la Puerta, Sé de un Lugar y En El Lago are true classics of spanish music. Abre la Puerta opens the album in an awesome way, with a great mixture between spanish guitars and pure prog keybords. Sé de un Lugar is more psychodelic oriented, but not as much as later Triana's albums like "Sombra y Luz", and here are the best lyirics of the album... En El Lago is a romantic love story, and has a very special magical feeling. The instrumental ending is also very good... Luminosa Mañana and Diálogo are very good too.

Best Songs: every track included here is just great... But Abre la Puerta, Sé de un Lugar y En el Lago are my favourites.
Conclusion: an obligated record if you want to know the best spanish prog rock, and one of the most original and unique bands in the world... But warning, if you don't like the south Spain's flamenco music, maybe this album will be a little difficult to appreciate for you. If you are not afraid to hear some of this style, then you'll discover that "El Patio" is a true by progarchives.......

Triana is a name I have seen mentioned many times while reading reviews of bands like Alameda, Cai, Tarantula and Granada. They were apparently one of the innovators of the modern fusion of flamenco and classical sounds in a rock setting, and are still clearly a legendary band in Spain. This is their debut studio album and the music shows they definitely earned that reputation.
The first Triana album I ever heard was Llegó El Dia, and that was only on the strength of so many good things I had heard about the band. Suffice to say I was not impressed by the rather mainstream soft rock sound and occasional jazz noodling that made up most of that record, and it turns out that was not a good one to start with since the band had taken a decidedly pop turn by that point (hey, it was the eighties after all). This album is completely different, and infinitely better. The dominance of Eduardo Rodriguez on guitar totally makes the album work, layered as that is on top of Antonio Perez’ psych- inspired electric guitar licks and a persistent rock beat.

The opening “Abre la Puerta” is a striking introduction to the Andalusian prog sound with that flamenco/ psych one-two, pulsating guitar cadence and the obligatory Spanish percussion cruising along atop a persistent drum beat and some creative transitions. If the whole album were that good it would rate an unqualified five stars. “Recuerdos de una Noche” is in much the same vein, although a bit shorter. The Spanish tenor vocals of Jesus de la Rosa are passionate and almost spiritual at times, with that rich inflection that Latin singers all seem to innately have. “Sé de un Lugar” continues the album in the same manner.

“Dialogo” is a slower tune with less electric guitar, more flamenco, and considerably mellower keyboard passages. A solid tune as well, but not quite as gripping as what came before it. “En el lago” is closer to “Dialogo” but the keyboards once again take somewhat of a back seat to the guitars again. The vocal track seems to have changed a bit here – possibly a different microphone, not sure, but the richness of de la Rosa’s voice seems to have been flattened a bit.

The album closes too soon with the short and mostly acoustic “Todo es de Color”, a mellow folk-like piece that reinforces my opinion this band is more accurately classified as progressive folk than symphonic. In fact I’ve heard three of their albums now and still don’t know why some people refer to them as a symphonic rock band. Oh well.

This is an excellent album that just about any progressive music fan would be happy to have in their collection. Bands like Alameda put out similar music, but I have to believe their influences included Triana. A solid four star record that I’d recommend highly to just about anyone, and especially to fans of Latin by progarchives...

Line-up / Musicians
- Jesús De La Rosa / vocals, keyboards
- Eduardo Rodriguez / flamenco guitar
- Juan José Palacios / drums, percussion

- Antonio Perez / electric guitar
- Manolo Rosa / bass

«Abre la Puerta» — 9:45
«Luminosa Mañana» – 4:02
«Recuerdos de una Noche» – 4:40
«Sé de un Lugar» – 7:05
«Diálogo» – 4:26
«En el Lago» — 06:36
«Recuerdos de una Noche» — «Todo Es de Color» – 2:00

johnkatsmc5, welcome music..





Cassete Deck

Cassete Deck