Sunday, 8 July 2018

Modulos ‎ “Realidad"1970 debut album + "Variaciones” 1971 second album + “Plenitud” 1972 third album Spain Psych Rock,Symphonic Pop Rock


Modulos ‎ “Realidad"1970 debut album + "Variaciones” 1971second album + “Plenitud” 1972 third album Spain Psych Rock,Symphonic Pop Rock 

Modulos."El Sonido Del Silencio" 1970 Spanish Psych Pop Rock  in a cover of "Sound Of Silence" by Simon & Granfunkel on google+

https://photos.app.goo.gl/zzU5TYjVXdwGhzkf6
discography lafonoteca
http://lafonoteca.net/grupos/modulos/discos

Modulos ‎ “Realidad"1970 full sporify remastered

https://open.spotify.com/album/3GYH0a1rFTdlpKh1SOYLTy

Modulos "Todo Tiene Su Fin” 1969 video on google+

https://photos.app.goo.gl/sykX7nQ99cjBTufh7

Modulos ‎ “Variaciones” 1971 second album full spotify remastered

https://open.spotify.com/album/4pnG5lE6kkRngwg3bdI9MJ

Modulos ‎ “Plenitud” 1972 third album full spotify remastered

https://open.spotify.com/album/7ngUZ72lmRrgUWrSpq33ck

full discography on discogs

https://www.discogs.com/artist/1223606-Modulos


Modulos ‎ “Realidad"1970 debut album

"Realidad” was the first album of the Modulos, one of the best rock groups that has known the Spanish discography with influences from musicians as diverse as the Beatles, Vanilla Fudge, Bach or Keith Emerson. His talent for musical creation and execution is of melancholic tone and rich in instrumental textures with risky prog-rock orientations that do not lose melodic sense transferred to the lyrical by the unbeatable voice of his singer and guitarist Pepe Robles.

At his side the enveloping keyboards of Tomás Bohórquez, a prominent rhythmic section and the diversity of arrangements served to configure taciturn atmospheres of heartbreak with psychedelic passages as found in the homonymous theme that opens this debut, “Reality”, hypnotic progressive piece dominated by the splendid work of Bohórquez, key piece in Modules, combined with rhythms of lysergic character initiated in a tribal way, and a text of hunger for happiness in luminous surrounding realities. An authentic wonder and one of the best tracks on the album.

“Noche de amor” begins with a splendid and distressed violin by drummer Reyzábal rooted in medieval prints, to continue with a beautiful melody and a vocal tremolo similar to that found in Barry Gibb of the best albums of the Bee Gees, those of the 60’s , “Odessa” or “Horizontal”, influencing the emotionality of the text, the same one found in “Luz Errante”, standard pop song, not too prominent, with good vocal support, a fibrous work by bassist Emilio Bueno and work of the rhythmic guitar of Robles with the omnipresent Bohórquez showing himself in the middle and end of the piece with his dynamic organ.

“Todo Tiene Su Fin” is his most well-known song and one of the summits of his career. Home of church organ, celestial voices, a wonderful melody and a masterful Pepe Robles in the disconsolate interpretation for the loss of love. The exquisite wind arrangements emphasize the painful tone of the theme, without a doubt one of the great triumphs in the history of Spanish pop-rock.

The ability to create melodies and suggestive atmospheres is given throughout the album, a good example are pieces such as “Cuando Te Espero” or “Nada Me Importa”, a song in which the vocalist intends to leave his existence of hardships and begin a new life with the goal of being happy. The sparkling and confident refrain, of optimistic perspective, contrasts with the quieter and plaintive tempo of the verses.

“Dulces Palabras” shows the instrumental power of the band, manifested optimally in the interaction of its four components.

Apart from his own compositions, “Realidad” includes two brilliant versions of the Beatles, “Yesterday” and “Hello Goodbye”, totally taken to the prog-rock terrain of the Modulos, with classical exercises, especially by Johann Sebastian Bach, and psychedelics, adorning without recharging the pieces, and sometimes emphasizing the Andalusian oak leaves to characterize adaptations that are already sufficiently unique…..~


In Spain, there are not a few groups and artists that have been infamously undervalued and underestimated. The legacy of many of them has been set apart from the collective and private memory of the glory that others, in most cases of much lower artistic substance, have enjoyed.
It is something that is not typical and habitual, it ceases to be lamentable and unfortunately a portrait of the orientation that popular culture has been doing, on the part of certain estates, in this country for decades.
There are plenty of examples, but today I want to focus on a rather flagrant one:  Modulos .
Stratospheric group from Madrid formed by Pepe Robles (guitar and voice), Tomás Bohórquez (keyboards, hammond),Juan Antonio García Reyzábal (drums, violin) and Emilio Bueno (bass). So great I think that someone like the one who subscribes, who usually has something more than reticence with progressive and symphonic rock, this band that practices these styles, is passionate about it.
It is true that Modulos’ symphonics has a Hispanic essence that differentiates it, with an enchantment that I do not see in foreign formations, in them I feel the soul that I can not find in the mythical British groups.
Perhaps the obvious influence of the sixties on the Robles band, especially The Beatles and The Holies , make the Modulos music more recognizable to me.
Its first disc dates from 1970 and it is titled  "Realidad". A magna work, that in any country would be pride of the native musical catalog, and that here practically goes unnoticed. So much so that the physical acquisition of the disk is complicated, and in certain expensive supports.
But today we are going to stop at this “Realidad”, which is already playing !.
Although the greatest compositional weight fell on the great Pepe Robles, all the components participated in these tasks, a true reflection of the great musicians that made up that first formation.
It is a pop base album, but with delicate baroque air orchestrations. With decisive participation of the organ of Bohorquez and the violins of Reyzábal, which give a lyrical and poetic tone.
The voice of Pepe brings a nostalgic and local air to the set, and the rhythmic base of Reyzábal y Bueno is of a remarkable subtlety.
The production, signed by Hispavox , is probably due to Rafael Trabuchelli, iconic producer of the great epoch of the Hispanic seal par excellence.
Apart from the two exceptional versions of two classic The Beatles: “Yesterday” and “Hello, Good-bye” , absolutely essential, baroque, intense and risky. The album offers unforgettable cuts like the famous:  "Todo tiene su fin", authentic cathedral of the Spanish prog , with church organs, dream choirs, perfect melody and a vocal interpretation of Robles absolutely priceless, permeating the theme of sadness and melancholy broken love winds and a guitar that cries complete an imperishable cut despite the baroque style that characterizes the whole Lp.
“Noche de amor” has a medieval tone to which Reyzabal’s violin contributes, and which is completed with keys that affect more if possible in this aspect. They join the strings and the rhythmic base to build a beautiful romantic, with impressive vocal performance again.
The more conventional and less ostentatious pop is found in “Luz errante” and “Nada me importa” , the latter with a certain nostalgic ye-ye essence.
The subject that gives title to the disc, is perhaps the most progressive moment of British character, next perhaps to the excellent composition of Bohorquez:  "Dulces palabras"
The violins and the falsetto voice are the most recognizable of the lyric and affected: “, precious subject maybe a bit plaintive.
"Realidad” is a wonderful work of rock, pop and Spanish symphonism. Maybe some accuse the album of being a bit excessive in terms of production. But the beauty of sounds and melodies in a baroque environment is so delicious, and with some stratospheric moment, that undoubtedly, and at least in the opinion of the undersigned, deserves a much greater recognition…..~

José Robles Rodríguez «Pepe» - Voz, Guitarra, Bandurria, Armónica
Tomás Bohórquez Nieto - Órgano Hammond, Piano Eléctrico Melotrón, Sintetizador Moog, Oboe, Trompa, Acordeón. Triángulo.
Juan Antonio García Reyzábal - Batería, Violín, Piano, Guitarra .
Emilio Bueno Flores - Bajo, Contrabajo.


Tracklist
A1 Realidad
A2 Noche De Amor
A3 Luz Errante
A4 Yesterday
B1 Todo Tiene Su Fin
B2 Cuando Te Espero
B3 Nada Me Importa
B4 Dulces Palabras
B5 Hello Goodbye





Modulos ‎ “Variaciones” 1971 second album

“Variaciones” (Hispavox, 1971) is a LP well interpreted and with mixtures that at all times make clear the different planes of what we are hearing. That is to say, a collection of songs well interpreted and well treated in the recording and post-recording. Despite this, your hearing leaves a taste of reheated food and one just had the impression that all this has already heard before, both disks Modules as in other Spanish groups. The problem lies in the weakness of the compositions. Of course, I exempt the majestic “Sólo tú” from the category of flimsy , precisely the shortest song contained in this long duration, which is commented on in the singles section of this same group. 

From the rest we can point out that “A new day” , the song that opens the album and “Bandolero” , two worthy commercial songs with notorious instrumental interventions and a hard rhythm well marked. 

The version of Paul Simon’s classic “Sound of silence” sung in Spanish repeats the same structures and arrangements that were used in the two versions of The Beatles contained in the group’s previous long play . 

“Goodbye to yesterday” and “In my dreams” are perhaps among the weakest of the album and are those that most denote a use of effects that had given a lot of play on previous albums, but that already sound repetitive and with somewhat bland lyrics that they revolve around the topic of dreamed love more or less unattainable. 

In “Quiero olvidar” we find a romp with jazz , especially with the final part of the song 

“Juan” , composed by Reyzabal alone, means the discovery of some cane modules, far from the specialists in ballads and harmonies that usually show us. A drums with tachycardia rhythm and an organ attacking with claws form the instrumental base that allows a voice, for once unrestrained, and an aggressive guitar. 

Close this work “I would like to get” a complicated theme with a good role of the organ and the forceful rhythm section full of tempo changes that, saving distances, reminds some American group like Iron Butterfly. 

In short, an impeccable work in the technical and somewhat orphan of originality that obtained a few sales in comparison with the previous discs of the group. That is why the Hispavox label decided to publish at the beginning of 1972 a compilation with the main successes of the group, which sold much better and allowed a rebound of the income….by Julián Molero…lafonoteca….~


Tracklist 
Un Nuevo Día 4:37 
Adiós Al Ayer 3:12 
Sólo Tu 2:48 
El Bandolero 3:48 
Quiero Olvidar 3:48 
Sound of Silence = El Sonido Del Silencio 8:26 
En Mis Sueños 2:45 
Juan 3:25 
Quisiera Conseguir 4:40










Modulos ‎ “Plenitud” 1972 third album

From the cover, in which for the first time a photo of the group does not appear, it seems that we want to show that the Modules have changed, that this is something quite different from the previous one. Long tracks, a clear commitment to progressive music and symphonic rock -the influences of Yes and Genesis are obvious-, a duet between guitar and many-carat keyboards, the substitution in several themes of the Hammond sound by other more ductile keyboards such as Solina and the electric piano make a very important sound change. With this album there is an appreciable change in the profile of the group’s followers. While some of their usual buyers turn their backs on them, lovers of progressive musicand of the most avant-garde English groups of the moment fix their eyes on this group that until then many had considered simply one more of the commercial spectrum. It is not surprising that in many progressive Spanish music relations “Plenitud” (Hispavox, 1972) always appears in a prominent place. 

All in all, the album is irregular and the Torrelaguna sound still plans on most of the compositions. The tensions between musicians and producer are evident in some themes that mix parts of styles and very different arrangements. 

The album opens with “Promises” , a subject of about eight minutes, of which only two are sung. A lengthy instrumental prelude with a profusion of guitar drums and organ melodies give rise to a sung part in which the voice of Pepe Robles appears drier than usual. When everything appears to end, a classic rock and roll sung in English is unleashed . An interesting topic in the instrumental but somewhat unfocused in the alleged fusion of rhythms and styles. 

The listener’s heated ears are refreshed by “Once Again” in which the acoustic guitars, the bass and the tambourine are all the instrumental luggage that wraps up voices that seem to be taken from any subject of Crosby, Stills and Nash. 

“Piensa en mí” is a ballad with a plaintive voice and a soft accompaniment that hardens as the song goes on. Good intervention of the keyboards using several different instruments. 

It seems that when it was composed and recorded “I do not want to think about that love” everyone had in their heads the success of “Everything has its end” . Again a principle of ecclesiastical organ wrapping a velvet voice, a good arrangement of strings in the climax of the song and that air of majestic nostalgia so the style of the group. Absolutely recommended for those who want to know what a well-arranged song is. With this theme the Modules would again head the sales and popularity lists and it was the last hit of the group at the popular level. 

“Como un sueño” is a concession to symphonism by a classical piano as the instrumental protagonist of the theme and the psalmody voice of Pepe Robles as wonderful as in its beginnings. A subject that is not very remembered and that I would like to highlight. 

“Algún día sabrás, niña”  is tacky. The first plane is occupied by a bass in ostinato that does not vary during the whole subject. Little to note except the guitar solo on the West Coast plan that occupies the center of the theme. 

The album ends as it begins, with a long track titled “Upon awakening” in which they demonstrate the great musicians they were. The profusion of instrumental display almost blurs any hint of melody…….by Julián Molero…lafonoteca….~


Tracklist 
Promesas 7:50 
Otra Vez 3:21 
Piensa En Mí 4:35 
No Quiero Pensar En Ese Amor 2:55 
Como Un Sueño 4:17 
Algún Día Sabrás Niña… 3:50 
Al Despertar 7:35 





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