body{ text-shadow: 0px 0px 4px rgba(150, 150, 150, 1); }

13 May 2017

Tartessos “Tiempo Muerto"1975 Prog Rock Andaluz LP + Singles


















Tartessos “Tiempo Muerto"1975 Prog Rock Andaluz LP + Singles
full
Tartessos was a rock band originally from Huelva, but also had a lot of activity at Seville, as part of his musicians were in Seville.
Was active between 1972 and 1976, although two years earlier was the name of Keys. Were considered precursors of Andalusian rock, as were the germ of what later became Alameda.
In the beginning, Tartessos conducting a very, very standard rock, singing in English and playing songs by The Allman Brothers Band, with hints of Jethro Tull or Caravan. In this line recorded four singles between 1973 and 1974 for the Phillips label, which later led to the LP "Time Out" published in 1975 and generated a fifth single.
As a curiosity it should be noted that the Sevillian joined as drummer Antonio "Tacita," which came from his experience with his band underground New times, band that also other musicians would come out of Alameda.
Anecdotally it should be noted that while the first singles were released with a single "S" for the LP edition of the group chose to put an "S" do not know if legal issues of public record or just consider it a modern .
The issue that gave title to the LP did show a clear relationship with the Andalusian rock. The LP included songs in English and Castilian, with some compositions of Jesus Conde, lyricist then continue to work to Alameda.
The biggest success was the group with the theme "Shoulder", of a more pop and came to ring the radio stations of the time.
Dissolved in 1976, incorporating Marinelli and Alameda Rock music and leaving the other components.. 

Tartesos edited five singles in addition to the LP "Tiempo Muerto" (Phillips, 1975). The made rock mixed with folk folk. It was formed from the ashes of bands like Nuevos Tiempos and Green Piano, and some of them played in Alameda later. Colaborations: David Rodríguez (flute), Fernándo Gómez (drums and vocals), Alfredo Lago (bass and vocals) and Andrés Olaegui (guitar).

On the Iberian shore of the Atlantic Ocean and behind the marshes of the Odiel, there are many expert voices that place the first settlements of the Tartéside civilization in our land. Cohesioned under the vertebral axis of the oil river, then known as Tartessos and under the shelter of the Tinto mouth, this unprecedented society found an incipient progression in its development. Development prior to a rapid decay and disappearance, condemning centuries of forgetfulness and inadvertence, an ancient legacy that, certainly, conforms our present. We will ask what is the relationship between this brief historical preamble, which also serves as an introduction, with our thematic line. Surely you have already guessed. Today we write about the magnificent band of the 70, Tartessos.
Allow us therefore the present prolegomeno, not without first pointing out to you some curious parallels between the band and the happened culture, to which the members of the group certainly remembered. It is not only the geographic location but, save the pertinent differences, seems to establish a simile between the evolution of the group with the future of the Tartéside civilization.

Tartessos is a group formed there in 1968 in Huelva, although with greater activity in Seville, with a trajectory that is lost by the dissolution of the ensemble in 1976. Formed by Pepe Roca and José Barros (guitars and singers), Manuel Marinelli (keyboards) , Eliseo Alfonso Bazo (bass) and Antonio Tacita (drums). That is to say, the germ of the indisputable band later Alameda, without which it could not be understood the own Andalusian rock
Initially the set is conformed under the name Keys, that will maintain until 1972, from that moment will be known like Tartessos, one of the precursors par excellence of the rock in our earth.

In the beginning, Tartessos performed a very standard rock, singing in English and playing songs from The Allman Brothers Band, with nods to Jethro Tull or Caravan. In that line they record four singles between 1973 and 1974 for the seal Phillips, that later they ended in the elepe Dead time, published in 1975, and that generated a fifth single.

Dead time is a clear commercial cut, overproduced and limited in terms of the compositional freedom of components. This creates a strange composition of dye collage, interweaving melodies easy of the English beat scene with some songs in the purest progressive rock style with clear influences of Genesis or Yes.

He emphasizes on the eleven songs that make up the mythical and enigmatic album "Living for the Moon", a subject that seems to be extracted from the very same Tales from Topographic Oceans and that gives us a quite correct idea about the quality that these lads of "twenty-first "Were developing. Pure progressive rock of the first wave (at least in our land), pillar or omen of the upcoming events that were about to explode.

The greatest success was obtained by this group with the song "Bandolera", of more pop cut and that came to sound in the radio stations of the time.
In 1976 they dissolved, incorporating Marinelli and Rock to Alameda and leaving the music the rest of the components.

As an anecdote it should be noted that while the first singles were released with a single "s", for the edition of elepé the group chose to put an "s" more, we do not know whether for legal issues of public record or simply considering it a modernity .

It is Tartessos not only a reference to progressive Andalusian rock, but one of the first traces of that movement that began to take its first steps, under the protection of a society thirsting for freedom...............

The LP catches the group at a good time. We heard a vocal group and instrumentally very well settled. Nevertheless, the struggle between the musicians' ideas and the commercial pursuit of the record company is felt. Thus appear several nondescript subjects that try to exploit the commercial clichés of many other groups of the time. This is the case of the two songs that open the album: "Somewhere" and "Tiempo muerto", which gives title to the LP. On the other hand, moving forward in listening to the album we encounter other more elaborate instrumentally in which the band flirts with touches of folk and jazz as is the case of "Living for the moon" or the subtle musical hall of "To your eyes ".

The voice and keyboards of Marinelli and the flute of Pepe Roca shine with their own light on the rest of the instrumentalists of a group, which on many occasions seems to play more by trade than by conviction. The overall result is therefore quite uneven.

Among the best of the album we find "Cerca del sueño", which reminds us of some tracks from Supertramp with their guitar and electric piano dialogues, and a way of saying the song by the very typical singer of the 70's. "That's right" , The strangest track on the record, a sort of lyrical journey with Clapton guitar and chorus voices in the Crosby wave and his boys.

As for sales, this album worked less than expected and perhaps less than it deserved. Even less worked the only single that was extracted from him, formed by the first two cuts of the LP....by....Julián Molero ........

Credits
Bass – Eliseo Alfonso
Composed By – José Roca*
Drums – Antonio Tacita*
Flute, Keyboards – José Roca*
Guitar, Percussion – José Barros
Voice, Keyboards – Manuel Marinelli*
Voice, Percussion – Jesús Conde

Tracklist
A1 En Algún Lugar
A2 Tiempo Muerto
A3 Eres Estrella
A4 To Your Eyes
A5 Tan Lejos Como Puedo Ver
A6 That's Right
B1 Living For The Moon
B2 Vuelvo A Cantar
B3 Cerca Del Sueño
B4 Búscame
B5 Canción Agradecida

Discography

Albums
Tiempo Muerto ‎(LP, Album) 1975 Philips

Singles
Campos De Algodón / Buen Hombre ‎(7", Single) 1973 Philips
Ven A Mi / Creo En Ti ‎(7", Single) 1973 Philips
Well Allright / Come And Go Blues ‎(7", Single) 1974 Philips
Bandolera / Desde Mi Balcon ‎(7") 1974 Philips
En Algun Lugar/ Tiempo Muerto ‎(7", Single) 1975 Philips

johnkatsmc5, welcome music..