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Symphonic Prog • Spain

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Triana biography
Formed in 1974 in Andalusia, Spain - Disbanded in 1983 - Reformed from 1994 to 2002 and again since 2007

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, QUALDAQUIVIR, 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.

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Buy TRIANA Music

Hijos Del AgobioHijos Del Agobio
Warner Spain 2002
$7.54 (used)
Un EncuentroUn Encuentro
Warner Spain 2002
$7.61 (used)
El PatioEl Patio
Warner Spain 2002
$8.46 (used)
Patio: 40 AniversarioPatio: 40 Aniversario
Dro 2015
$11.72 (used)
Sombra y LuzSombra y Luz
Warner Spain 2002
$7.48 (used)
Un Mal SuenoUn Mal Sueno
Warner Spain 2002
$7.31 (used)
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TRIANA discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

TRIANA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.16 | 176 ratings
Triana (El Patio)
3.95 | 89 ratings
Hijos Del Agobio
3.65 | 55 ratings
Sombra Y Luz
2.93 | 26 ratings
Un Encuentro
2.47 | 23 ratings
Triana [Aka: Un Mal Sueño]
2.30 | 18 ratings
Llegó El Dia
1.69 | 11 ratings
Un Jardín Eléctrico
2.08 | 7 ratings
En Libertad
2.59 | 8 ratings
Un Camino Por Andar

TRIANA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.92 | 3 ratings
En Directo

TRIANA Videos (DVD, Blu-ray, VHS etc)

TRIANA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.70 | 9 ratings
Una Historia
3.22 | 4 ratings
Una Historia de la Luz Y de la Sombra
2.05 | 2 ratings
Triana Vol. 2. Jesús de la Rosa. Canciones inéditas
5.00 | 7 ratings
Sé De Un Lugar (2CD+DVD)
4.40 | 5 ratings
Quiero Contarte

TRIANA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 2 ratings
Tengo Que Marchar

TRIANA Reviews

Showing last 10 reviews only
 En Directo by TRIANA album cover Live, 1981
3.92 | 3 ratings

En Directo
Triana Symphonic Prog

Review by TenYearsAfter


Here is a live registration (around 50 minutes) of a concert during the Un Mal Sueno tour by Triana, in 1981. This legendary Spanish band is known for speerheading the prolific Rock Andaluz movement in the Seventies. It started in the late Sixties but was fueled by Triana in de mid-Seventies, many young Spanish music fans took the band in their hearts, due to the poetical lyrics about dreaming of freedom (during the Franco dictatorship in those years), especially in the passionate composition Abre La Puerta. Triana made three pivotal albums between 1975 and 1979 but when this live album was recorded the exciting Rock Andaluz had turned into a polished blend of pop and melodic rock with some flamenco elements, more Pop Andaluz than Rock Andaluz' However, this live album is interesting because half of the setlist contains songs from their highly acclaimed first album El Patio (1975). The other tracks songs are from Un Encuentro (1980) and Un Mal Sueno (1981). The concert was recorded in Madrid, the city where Triana was founded and the line-up featured all three original members, with the addition of a bass player and a guitarist.

1. Recuerdos De Una Noche (extended to 15 minutes) : First the sound of the Hammond organ and flamenco guitar (the distinctive rasgueado technique), accompanied by Jesus his melancholical vocals, this is top notch Rock Andaluz. Then an exciting synthesizer solo and halfway a fine electric guitar solo And finally a psychedelic sounding synthesizer solo and again flamenco guitar, passionate vocals and intense Hammond work, a great start.

2. Tu Frialdad : A ballad with strong, a bit wailing vocals, flamenco rhythm guitar and sensitive electric guitar runs with soaring Hammond, simply beautiful ' Blues Andaluz?

3. Una Vez : Varied and tasteful melodic rock but featuring the distinctive Triana sound (vocals, flamenco guitar) with nice work on piano and electric guitar (howling solo).

4. En El Lago : Another great rendition of an El Patio composition: Hammond, flamenco rasgueado guitar, Jesus his distinctive vocals, halfway another sensational synthesizer solo, culminating in a bombastic, very compelling conclusion, what an outstanding blend of Hammond, howling electric guitar and propuslive flamenco rhythm guitar, unsurpassed Rock Andaluz!

5. Corre : A catchy beat, swinging piano and a bit poppy vocals (not with his usual emotional flamenco overtones), fiery electric guitarwork, this is pleasant melodic rock, no more or less.

6. Abre La Puerta (extended to 12 minutes): One of their best songs featuring the distinctive blend of Hammond (lots of awesome soli), flamenco rasgueado guitar and Jesus his emotional vocals. Halfway strong interplay between senstitive electric guitar and powerful Hammond, supported by flamenco guitar (rhythm and solo), goosebumps, again top notch Rock Andaluz! The final part includes a short drum solo and then again a bombastic eruption with howling guitar and Hammond floods, the crowd loved it!

This is a good impression of the legendary Rock Andaluz formation Triana with great renditions of their early work, very well appreciated by an excited crowd. But it is also obvious that 1981 Triana is more Poprock Andaluz than Rock Andaluz, listening to the 1980 and 1981 tracks. Triana disbanded after the tragical death of Jesus De La Rosa in 1983 but their heritage is incredible, just listen to Rock Andaluz bands of the last two decades, from Taifa and Arabiga to Sin Rencor, Mendigo and Calle Silvio, to name a few.

My rating: 5 stars for their early work and 3 stars for the rest, so still an excellent addition if you are up to the exiting world of Rock Andaluz.

 Hijos Del Agobio by TRIANA album cover Studio Album, 1977
3.95 | 89 ratings

Hijos Del Agobio
Triana Symphonic Prog

Review by Warthur
Prog Reviewer

4 stars Suitably for its unusual cover art, Hijos del Agobio is a more mysterious and less inviting release than Triana's debut (El Patio). The intervening time had been a dramatic era for Spain, with the death of Franco in 1975 beginning a gradual transition to democracy which would lead to elections a few months after this album's release, and with more directly political songs Triana here flex their wings and see just how far they can take their newfound freedom. The progressive side of their sound remains intact thanks to the keyboard contributions of Juna José Palacios and the album's combination of serious and then-timely subject matter and continued musical development makes it a worthy successor to El Patio.
 Triana (El Patio) by TRIANA album cover Studio Album, 1975
4.16 | 176 ratings

Triana (El Patio)
Triana Symphonic Prog

Review by Warthur
Prog Reviewer

4 stars Emerging in the waning years of the Franco regime, as the authoritarianism of the Spanish government scaled back sufficiently to permit a flowering of artistic expression ahead of the eventual transition to democracy, Triana played a distinctly Spanish style of progressive rock in which they took the intriguing step of introducing a hefty dose of flamenco into the mix. This adds a dramatic flair to the band's sound they make excellent use of, and they also take the opportunity to find interesting contrasts with the styles; there are some breathtaking moments as an acoustic flamenco guitar line from Eduardo Rodriguez melts into an electric guitar line from guest Antonio Perez.

The "Andalusian rock" of Triana and others represents a distinctly Spanish style of prog, just as Italy's prog scene had spawned its own distinctive style a little earlier, and I'd say that this album is a great way to start exploring it.

 Triana (El Patio) by TRIANA album cover Studio Album, 1975
4.16 | 176 ratings

Triana (El Patio)
Triana Symphonic Prog

Review by Epignosis
Special Collaborator Eclectic Prog Team

3 stars El Patio is, as Latin-infused symphonic progressive rock goes, par for the course I'd say. It has the expected elements (a variety of keyboards, flamenco guitar, percussion, even exotic birds) and the compositions are respectable. The lead vocalist possesses a sense of urgency and sounds like a Spanish version of Sting from The Police. There just isn't much here that impresses me, nor is there anything that turns me off. This is, simply put, a good album.

"Abre la Puerta" The record opens with simple chord progression with acoustic guitar flashing over it. The verse picks up the pace with more basic chord progressions, but adds a feisty piano and garish synthesizer leads. The final three minutes begin quietly with choral Mellotron and weeping electric guitar before a bit of flamenco guitar and percussion take over completely, leading into the finale guitar solo.

"Sé de un Lugar" Heavy chords and an almost shouted vocal quickly taper off for light acoustic guitar and softer singing. Overall, this is initially a pleasant moderate rock song in a Spanish style, but nothing to write home about. The instrumental middle section, with its buzzing guitars and Spanish psychedelic atmosphere, is superior and creates a haunting mood.

"Todo es de Color" Exotic birds chirp as a guitarist strums and the singer croons.

"Luminosa Mañana" Organ and acoustic guitar begin this more ominous track. The vocalist and sleek synthesizer lead weave around each other.

"Dialogo" In terms of tone, this song could have fit on Yes' Tormato. That said, it is one of the best songs on the album.

"En el Lago" Melancholic organ begin this one, which morphs into an agreeable symphonic progressive rock song, very engaging and with several excellent guitar and keyboard moments. The ending with the delayed guitar trickling down like rain is fantastic.

"Recuerdos de una Noche" With a raging rhythm in 5/4, this song features gritty lead guitar, and soaring vocals.

 Triana (El Patio) by TRIANA album cover Studio Album, 1975
4.16 | 176 ratings

Triana (El Patio)
Triana Symphonic Prog

Review by seventhsojourn
Special Collaborator RPI

5 stars Triana were at the forefront of the nascent Rock Andaluz of the mid-1970s with their particular blend of flamenco and progressive rock, characterised by multi-layered analogue keyboards, elaborate flamenco guitar and intense, at times tortured, vocals. Flamenco is of course a musical genus from Andalusia; the neighbourhood in Seville that gave this Spanish trio its name is generally considered to be the birthplace of flamenco. Triana, 'the gitano barrio', was home to a large population of Romani people who usually lived in communal homes, called corrales, which were organised around a patio. Many corrales have now disappeared due to housing pressure thus the patio is an important symbol of gitano culture and of the struggle between tradition and modernity. While Triana's 'El Patio' has similar cultural significance it differs in that it features the harmonious synthesis of tradition and modernity, represented respectively by flamenco and progressive rock.

During Francisco Franco's dictatorship flamenco was redefined as generically Spanish in order to prevent local allegiance within the ostensibly unified nation. The gitano experience of oppression was erased and, with the rise of tourism, flamenco was used as nationalist propaganda. While Franco's declining regime relaxed some of its regulations during the 1960s and early-1970s it was really the influx of foreign tourists and the return of Spanish workers from abroad that introduced democratic values to Spain: 'The trees had stories of other worlds' ('Luminosa Mañana ).

'El Patio' (1975) was released in the same year that Franco died but before democracy was established in Spain therefore political themes are not as obvious as on the follow-up album 'Hijos de Agobio' of two years later. Flamenco lyrics tend to have several different interpretations that rely on myth and metaphor and are able to speak to the marginalized without being overtly political in tone: 'I know a place where flowers bloom for you, where the river and the mountain love, where the child is born happy' ('Sé de un Lugar'). The child here may be a metaphor for the gitano's rights and status in society, and for the broader changing social values of the new Spanish nation.

The lyrics on 'Abre la Puerta' concern dreams and 'life and illusion' and these notions relate to metaphor and myth and the magical status of gitanos. Running water is symbolic of life itself and patios usually had a central fountain: 'There is a fountain, girl, they call it love'. This traditional view of gitano culture contrasts with the acid trip of 'En el Lago': 'Yesterday afternoon I went to the lake with the intention of meeting something new / We met there and everything started to emerge like a dream'. The use of recreational drugs was one of the transgressions that accompanied freedom of expression after Franco's death, but Triana's lyrics are typically couched in allegory.

The combination of poetic lyrics with plaintive melodies makes for bittersweet listening but there is a considerable history of collaboration between flamenco singers and poets such as Federico García Lorca. Although not a gitano himself, Lorca was killed along with many gitanos during the persecutions of the Franco regime. Lorca's 'Romancero Gitano' (Gypsy Ballads) features the familiar contrast of tradition and modernity, as well as repetition and typically gitano related themes such as water, the moon, love, etc. The same repetition and allusive imagery are prominent in Triana's lyrics: 'I asked the moon if it is love that shines in your smile' ('Diálogo'). This song exemplifies the personification of nature, with the protagonist asking the moon for motherly reassurance like a pagan calling to a female deity for guidance. The moon can be a symbol of death but here it represents the Cosmic Mother who will protect the protagonist. Nature is seen as active rather than passive throughout the album; mountains love, stars dance, and 'the moon bathes in the river' ('Recuerdos de una Noche').

'El Patio ' is a wonderful musical evocation of southern Spain but in my opinion the words are as important as the sounds, which is the reason the review focuses on the lyrics. This was one of my earliest 'discoveries' when I began visiting this site several years ago and it was this kind of eureka moment that drew me in. My one word of warning is that the ethnic and symphonic elements are on an equal footing so symphonic fans might want to tread carefully. However for me this is the yardstick against which all other Spanish progressive albums are measured.

 Hijos Del Agobio by TRIANA album cover Studio Album, 1977
3.95 | 89 ratings

Hijos Del Agobio
Triana Symphonic Prog

Review by shockedjazz

5 stars "Hijos del Agobio" is much more proggier than its predecesor. The basic cadence of Triana is complicated with strange changes and moods, lyrically it seems more akin to be a conceptual album, with a great political intensity ( in the very turn of spanish History at the moment in the dead of Franco, in wich censure was not completly removed), it have more variety, still being a sad intense album. "Hijos del Agobio" is great, very, very sad, with spacy sections, mellancolic to the extreme, with interesting changes. "Rumor" is an uptempo with bluesy touches, and rumbesque cadence....still sad as true....very intense in its reclamation of freedom. One of the most explicit lyrics of those times and with nothing of the naive feeling of other "protest songs". "Sentimiento de Amor" is a great composition, again the atmosphere is the clue.....feels like laid back, very dreamy, the mix of rock and moorish themes is perfect, De la Rosa,s voice is great, the guitar solo is alien and near at the same time, the acoustic enters nicely....the lyrics are hitting the spot. "Recuerdos de Triana" is a silly number, a weak point in the album. "Ya esta Bien" is simply superb, the lyrics are perfect....the music full of changes, strong, quite heavy sometimes, and placid some other times...difficult to describe. "Necesito" is the "logical" continuation of the argument that they substain in the last song, the music is as flamenco as heavy as psyche, with not so many changes but not linear...the lyrics very interesting. "Sr Troncoso" is one of the most beatifull songs that ive heard, the composition is simple and moving, the acoustic cant be more emotional, the singing voice outstanding....the lyrics, well i think is interesting to know what the song is words from De la Rosa it was about a old guy who lived in the street and was drunk almost all the time, but they began to speak with him and they "discover" it was one of the most interesting persons they have meet. "Del Crepusculo..." is a song singed by the acoustic player Eduardo with a quite broken voice, the music lost in a heavy nightmare/dream whats in connection with the title, a psyche atmosphere goes round and round.

One thing to add: "Hijos del Agobio" is not really "Children of opresion" as it will be "Hijos de la Opresion"...."Agobio" is a spanish word, i dont know if it have a proper translation in english as it means for one side when someone is too much over you, and also means suffocation by heat....well it means the sensation when any of those things happens to you. It also means stress (the sensation caused by..).

The album is different from the first one, wich i like best, but i cannot find any argumented reason for my preference, especialy taking on account that were on a prog web and "Hijos" is a prog masterpiece! so i give it five stars also.

 Triana (El Patio) by TRIANA album cover Studio Album, 1975
4.16 | 176 ratings

Triana (El Patio)
Triana Symphonic Prog

Review by shockedjazz

5 stars I really feel few have understood the album, not to blame no-one.........but the problem is Trianas "El Patio" is not "just" progressive mixed with flamenco, as Crimson debut is not just rock mixed with jazz and classical influences....this an average descriptions of what are new creations. I understand is difficult to see how especial is this disc if you are not spanish (not spanish speakers, i mean spanish from the Bull Skin) is easier to see that Crimson debut is not any other disc for evryone (almost) in this site, or first Pink Floyd. El Patio as huge as them, but maybe in another sense. The sadness is not faked, not over intelectual, is speaking of the very soul of spanish youth in that particular zeitgeist of the first seventies. I feel quite out of place to say that the disc misses alegrias, like this disc was a demonstration of the ways prog could be mixed with flamenco....¿Anybody could say the Crimson debut misses some happy rock and roll numbers?¿Does it makes any sense? ¿Or saying that Floyd debut is too psychedelic or strange?. It amounts to say "Okay, i feel something, but i didnt understand nothing of it" Anybody missses "Obladi-Oblada" in Joys Division "Closer"? (Alegrias are quite nice but have nothing to do with El Patio, i was just a caricature, an exageration)......i could keep on but is useless. The truth is El Patio is whole new thing not flamenco, not rock, not prog....Is Triana a heartrendering cadence were the most beatifull goes hand in hand with the most sad, the most mistic with the most grounded and telurical, as a spanish critic said "they dont complicate the music (like prog groups did at that time) they complicate the atmosphere"..they make it dense, dreamy, intense. Is a disc not for surface listening but to sink deep into it. Then at some point you realize that they got your heart grabbed and they taking it from the ground to sky, and wayback again, back and forth. The lyrics are as simple as superb, and i prefer them to a lot of "english-male-private-school" overpretentious erudite displays, ¿Why to say something un-understandable when your speaking of something important? opinion,but.. ( everything have its moment, being serious). Lets go to the songs: "Abre la puerta" is an incredible straight arrow to the center of your heart, i feel nothing is missing here not any note not any word, you can taste the intensity, the mistery, the simplicity...for me bordering with religion or best put with mysticism. An intro with a strange change, then the goes low and then it rise wonderly again. "Luminosa Mañana" is surprisingly ( not really if you know how luminous rapports are linked with suffering in flamenco) sad and little bit somber, the lyrics are great again,. It builds slowly till De la Rosa screams then it fades away..... Not really because "Recuerdo de una Noche" recovers the theme what its full of meaning if you compare the meaning of both song titles.....then the atmosphere gets as dense and driving, and hipnotic as can get taking you down and down...i dont feel the lyrics to be so great but it doesnt mean much with such an intensity blowing trough your ears. "Se de un Lugar" is superb with morisc musical themes mixed with Vanille Fudge....the guitar solo is great getting psychedelic and aerial......then it comes up with some complex changes and De la Rosa incredible voice. "Dialogo" with great simple lyrics and a great flamenco acoustic guitar. "En El Lago" is with "Abre la Puerta" the highlight of the album, the lyric is beatifull, misthy, psychedelic, simple....the music outstanding, almost perfect, De la Rosa attacks and tone are daring and inspired. Really beatifull,the guitars are olso precious....the whole with the mellotrons and echoes just has your heart in a palm...then it speeds up getting more and more intense. "Todo es de Color" is a great composition by Tele and Manuel from "Lole y Manuel" (their version that you can check in youtube, being the only one that superates it, really something to see), a hazy end for one of the greatest discs ive heard.
 Hijos Del Agobio by TRIANA album cover Studio Album, 1977
3.95 | 89 ratings

Hijos Del Agobio
Triana Symphonic Prog

Review by Epignosis
Special Collaborator Eclectic Prog Team

3 stars If my Spanish is correct, the English translation of the album title is "children of the oppression." For me, this is a solid record with some excellent moments. The vocals tend to be lazy but boisterous- not bad, but not really what I like. However, the various displays of guitar- both acoustic and electric- when paired with a more experimental keyboardist is the outstanding aspect of this album. Fans of Steve Hackett and Camel will likely enjoy this casual, Spanish-flavored light symphonic rock.

"Hijos del Agobio" Relaxed keyboards and a thick vocal open the record, while the bass offers occasional arpeggios. The electric guitar interruptions are very similar to those of early Steve Hackett.

"Rumor" While more buoyant and with a danceable Hispanic flair, the second piece still retains the comfortably loose symphonic texture of the first song. The guitar playing is more impassioned and heavier, with some wildly creative leads.

"Sentimiento de Amor" Pounding percussion gives way to an easygoing piece with slowly swirling synthesizer and nylon-stringed guitar.

"Recuerdos de Triana" This is a more experimental track, with strange keyboard tones and a bland drum solo- not exactly something I care for.

"¡Ya esta bien!" A quick drum fill brings in a heavy song consisting of noisy guitars and sleek synthesizer. I don't really enjoying the overbearing, rolling vocals, but that's just me. More Eloy-like swirling synthesizer serves as a basis for an electric piano solo. "Necesito" The sixth song starts with powerful guitars. With large vocals and simplistic keyboard runs, Triana sounds like a thick, muddier version of Camel.

"Sr. Troncoso" After the loudness of the previous song, it's nice to have a peaceful acoustic tune to balance out the album. It steadily picks up tempo with handclapping and distant electric guitar.

"Del Crepusculo Lento Nacera el Rocio" Lovely acoustic guitar is juxtaposed with more discordant synthesizer. The electric guitar is layered and ghostly- one of the most wonderful moments of the album. What soon follows are disharmonious strata of keyboards and thudding percussion.

 Triana (El Patio) by TRIANA album cover Studio Album, 1975
4.16 | 176 ratings

Triana (El Patio)
Triana Symphonic Prog

Review by DTJesus

5 stars "Everything began to spring like a dream..."

The best spanish album ever recorded. Pure magic progressive rock music from a band that broke in the 70's all the rules in flamenco-folk world. If you like albums albums like Elegant Gypsy (Al di Meola), Moonmadness (Camel), Storia di un Minuto (Premiata Forneria Marconi), Aqualung (Jethro Tull) or, even, Meddle (Pink Floyd) this is a real treasure to discover. The Jesús de la Rosa (underrated genius) poetry lyrics and voice from the deep of his own soul touches my heart every time I listen their songs. Also the subtil and beautiful spanish guitar from Eduardo Rodríguez is real manna from heaven. They was really connected to the english progressive scene. Hammonds, synthesizers, folk percussion, epic electric guitar solos, long instrumental parts, etc. "En el lago" was a minor hit in 1975 but it turns me crazy when I listened for fist time.

 Una Historia by TRIANA album cover Boxset/Compilation, 1995
3.70 | 9 ratings

Una Historia
Triana Symphonic Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

3 stars Not being a big fan of compilation albums in general ("greatest hits" is even worse! I often call it "grating misfits"! ), mainly because I see prog recordings as entities somewhat similar to books where there is a story unfolding musically, I shudder at the thought of reviewing the few compilations I possess. Triana's Una Historia is a different kettle of fish in that the first CD encompasses the early, symphonic period from 1979 to 1980, before this legendary Spanish band veered like so many other prog bands into more commercial pop rock ventures (PFM, Oldfield, Yes etc?) which is presented on the weaker second CD. So the first disc is where one will find all the fiery hispano-passion that makes this band so interesting, choice tracks taken from El Patio, Hijos del Abogio and Sombra Y Luz, a progressive trilogy of albums that will surely gratify the avid exploratory ear. There are traces of what was coined as flamenco rock mainly due to the hearty handclaps, impassioned vocals and fleet acoustic guitar passages but known in prog circles as Prog Andaluz . This comp kicks off tremendously with tracks such as "En El Lago", the splendid "Luminosa Manana" and the extended "Abre la Puerta" infuse hefty amounts of olive oil organ, saffron synths, pimiento piano and mezquita mellotron into the sonic paella, while leaving enough room for some soaring electric guitar solos from Eduardo Rodriguez , strong drumming and inspired instrumental workouts. The Spanish lyrics are expressive bold cries from the heart (as one would expect from such a proud country), with that undeniable Andalucia vibe that has hints of Moorish culture so prevalent in the south of Spain. Jesus de la Rosa has a warm expressive voice that enthralls and captivates. The next 4 pieces are from the second album Hijos del Agobio, very much in the same vein as their debut, featuring the charismatic "Rumor", the enthralling electric guitar-spun title track, the briefly savory "Sr. Troncoso" and the romantic ballad "Sentimientos de Amor". The handclapping only supports the mental applause as this is terrific and original music especially when you understand the lyrics which I fortunately do. The loopingly intense "Una Historia" and the playful "Quiero Contarte" are both from their third album and both feature wicked axe solos that ultimately send this musical armada into the glorious mists of legend. A five star disc One bar none, not a weak track to be found. 5 estrellas sevillanas. Olé!

Disc 2 is where the "el dorado" conquistadors turn into "peseta" popstars, preferring to overtake the Spanish charts and live accordingly the enchanted dream , a very obvious detour away from their creative prog influences and the results are predictable , mostly in terms of composition (way shorter tracks) and instrumental prowess (no more extended leads). The songs are culled from the next 3 albums (Un Encuentro, Triana and Llegó el Dia) and while still interesting, the creative sheen is now fading, soon to be gone. "Tu Frialdad" has an almost reggae rhythm guitar riff and some breezy vocals that contrast largely with earlier efforts but does include a luminous axe solo, crystalline and fragile as the title implies. "Un Nido en Mi Ventana" is mainly acoustic guitar and voice, not really interesting for progmadmen. "Cae Fina la LLuvia" is a bluesy exercise with wooing backing vocals and loping drums, a woozy too short electric guitar and a predictable lead vocal. Love the title on the next one (A night of desperate love!) but again, the mood here is closer to standard blues-rock with a smooth attitude but makes me feel like the condom is more vital than the lover! The "tchakatchak" tropical guitar riff is another giveaway that this is way too polished and deliberate. Carlos Santana could have done a way more expressive job here (with one of his patented whopping solos!). Both "Un Mal Sueno" and "Corre" are rather insipid affairs with lead guitar work that has little spunk and a jaunty attitude that is simply disposable. The horrible "Desnuda la Manana" is revolting, so please skip altogether. Not surprisingly, only two tracks are worthy of mention on this second disc, the 7 minute + "De Una Nana Siendo Nino" (still sloppy on occasion but does have some nice moments) and the 13 minute compilation closer , the half-decent "Llego el Dia" with its rather obvious Procol Harum influences.

This second volume of Triana's history is meritorious of 2 stars. Their further recording output will not improve over the initial trilogy. In all, a 3.5 rating urges one to concentrate only on those first three jewels.

Thanks to Ivan_Melgar_M for the artist addition. and to Quinino for the last updates

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