Tuesday, 10 July 2018

Solera ‎ “Solera"1973 Spain Pop Rock


Solera ‎ “Solera"1973 Spain Pop Rock,Psych Pop
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https://open.spotify.com/album/3NZxKFFcaF8Hh1PphCmJrt



Recorded in 1973, Solera’s debut was a superb Spanish interpretation of the US West Coast sound and late-period Beatles…~


In Madrid, around 1972, a duo called José and Manuel formed by the brothers José Antonio Martín and Manolo Martín , who had already recorded a record, mainly of folk music , joined two other excellent musicians, Rodrigo García , who had played the guitar in the Colombian group Los Speakers and in Los Pekenikes , and José María Guzmán , renowned studio bassist, to form the Solera group. Tanned also as session musicians, they were good instrumentalists, they had very good voices and the four were also good composers. 

It was not a good time for pop groups , even less if they sang in Spanish, in a scenario dominated by psychedelia and jazz-rock , progressive rock dinosaurs and songwriters with a political and committed theme. However, Solera managed to compose and perform sensational pop songs in the style of music that was cooked on the American West Coast, with groups like Left Bank, Keith, The Association or the Byrds themselves, or close to melodic pop and Baroque by Honeybus, with the warmth of that solo album by Pete Dello, Crosby Stills & Nash, Bob Dylan or the Beatles of "Rubber Soul” (Pharlopone, 1965). 

All these influences are manifested in his music, characterized by the care and good taste of the vocal harmonies, the sound rather acoustic and folk , and of course, the “touch Trabucchelli” in the orchestration, which envelops the songs perfectly without drowning them And it is that the only record they would record, edited by Hispavox, would be produced by Rafael Trabucchelli, creator of the sound known as “Torrelaguna” (for the place where the studios were) or “Trabucchelli” in their productions for groups like Los Angeles , the Modules or the Screams . 
Published on April 9, 1973, “Solera” (Hispavox, 1973) is an authentic wonder that would achieve, if not a great success, a certain repercussion, with songs like “Calles Del Viejo París” or “Linda prima” . 
However, these different ways of understanding music and this variety gradually transformed into musical discrepancies: the musicians evolved differently and the group would no longer survive the album, joining the following year Guzmán and Rodrigo in the mythical Cánovas, Rodrigo , Adolfo and Guzmán , and the Martín brothers joining the Nuevos Horizontes group to publish the sensational “Telaraña” (Hispavox, 1974) , one of the hidden treasures of Spanish psychedelic pop of the 70s…..lafonoteca….~



The first (and only) record recorded by Solera , edited by Hispavox in 1973, is called as the group and was produced by Rafael Trabucchelli, known for creating the so-called “Trabucchelli sound” or “Torrelaguna sound”, which responded to the idea of , in the manner of what was done in the American West Coast or in the sunshine pop , to produce quality productions, brilliant and full of details, capable at the same time of attracting and reaching the general public. 

This was demonstrated in his productions for Miguel Ríos or for groups such as the Modules , Los Angeles or Los Gritos , and that would make it clear again in this record, endowed with a sensational, simple, warm production, with very good arrangements in the instrumentation, and some orchestrations that, as in “Juan” and “El disclín de Merlín” , enrich and envelop the songs without overloading them. 

The album, however, is different from everything that had been done in Spain until then, with songs very influenced by the pop of groups like Crosby, Stills & Nash, by more folk sides and by the same Bob Dylan or the Beatles . The references of each one of the members of the formation are let notice, since here all they compose and they exert of soloists in some song. 

From the first moment, the value of the compositions, the interpretations and the sound, is clear. The first song, “Night after night” is, for those who subscribe to these lines, not only the best of the album but one of the best pop songs ever recorded in Spain. A beautiful melody, sensational choirs and the excellent voice of José María Guzmán . For his part, Rodrigo contributes with other songs such as “Linda Prima” (probably the most well-known song on the album, the one that most played at the time) or “Volverás” , composing besides Guzmán, apart from the aforementioned “Noche tras” night “ ,"The disciple of Merlin . ” 

On the other hand, Guzmán shows the most pop quartet vein with songs that can remember more to the Beatles’ last era, such as “Lost Time” , in addition to contributing the other great success of the group, “Streets of Old Paris” . The compositions of the Martín brothers also do not forget pop , as in “Una singular debilidad” and “Agua de coco y ron” , the most electric of the album, but fundamentally they show that they are folk- inspired musicians , as can be seen in “La Tempest ” or “ Wet Earth ” . 

In short, it is an inspired, imaginative and varied album in which, above all, the vocal harmonies and solo voices, the taste for melody, compositions, and the warmth of sound stand out. Separate chapter deserve the sensational letters, those that have something to tell us and tell us in the best way possible, perfectly adjusted. 

One of the best pop albums that have been released in Spain and that, however, despite being highly valued by the critics, has not gone from being an album of the so-called “cult”, without finishing the great public. 

The album was reissued on CD by EMI-Odeón in 2000, including an unreleased extra song ( “Jovencita” , composition by Rodrigo García). The curious anecdote of this reissue, according to Juan Puchades in the magazine Efe Eme -nº71, September 2005, article “Cánovas, Rodrigo, Adolfo and Guzmán (the miracle was possible)” - is that, reunited Cánovas, Rodrigo, Adolfo and Guzmán in the program Comediscos de Santi Alcanda in Europa FM, and when putting this extra song, Juan Cánovas realized that it was he who played the drums and, therefore, the song corresponded to a dismissal of the sessions of “Señora Azul” (Hispavox, 1974) of CRAG, not of “Solera” (Hispavox, 1973). So, if there are future reissues, this error should be corrected. 

Anyway, the truth is that the reissue is very appreciated, since the album had never been released on CD, and it was very difficult to achieve. Thanks to the reissue, many of those who, by age, we did not know at the time, we can enjoy this sensational and essential album…..by Rafa García-Purriños …lafonoteca…..~






Credits 
Acoustic Guitar, Rhythm Guitar – José Antonio* 
Bass Guitar, Flute – José Mari* 
Drums – Bob*, Conrado*, Regoli* 
Lead Guitar, Piano, Organ, Harpsichord [Clavicémbalo], Recorder – Rodrigo* 
Percussion – Manuel* 


Tracklist 
Noche Tras Noche 2:50 
Una Singular Debilidad 3:04 
Linda Prima 2:26 
La Tempestad 2:42 
Tierra Mojada 3:06 
El Discípulo De Merlín 2:15 
Volverás 3:43 
Calles Del Viejo París 3:00 
Juan 5:06 
Agua De Coco Y Ron 2:35 
Tiempo Perdido 2:31 

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