UNA HISTORIA

When I started working for Prog Archives early 2004, one of my main goals was to be an 'ambassador for less known progrock bands', especially for the wonderful but often overlooked prog from Latin-America, Japan, Italy and Spain. One of the few bands that can compete with the legendary symphonic rock from the Seventies is Triana (subjective..!), a Spanish band that speerheaded the Rock Andaluz progrock scene, rooted in the mid-Seventies. Triana blended flamenco (the ethnic music in Andalusia, Southern Spain) and symphonic rock in a very captivating, often compelling way featuring vintage keyboards, flamenco - and electric guitars and passionate Spanish vocals with that typical wailing undertone. For me Triana is a mindblowing musical encounter between the wealthy 'upper-stiff lip' world of Southern England (like Kent and Surrey) and the 'poor, emotional and primitive' world of the Andalusian gypsies, their cradle is Sevilla, one of the most gypsy districts is .. Triana, full circle!

This 2-CD compilation was the first that Spanish label Fonomusic released, to be followed by many during the years. It is a comprehensive one and contains many great songs from their very interesting period between 1975 and 1980, later Triana sounded more polished and predictable. If you are interested, please take a look at the reviews on this site about Triana, especially the albums El Patio and Hijos Del Agobio, to get an impression what this music is about. Although this is a good compilation, I would like to recommend the 2-CD/1-DVD box-set entitled Se De Un Lugar because for a few bugs more you have a good 2-CD compilation and an extra DVD featuring great footage from early Triana. It's up to you!

This reissue re-joins the best and the most typical of Triana's production. To emphasize that it represents the fussion of the flamenco and the rock, since it has never been obtained. This remains specially demonstrated in themes as " Luminosa mañana", where the conjunction of the special way of singing of Jesus de la Rosa, his "quejíos" (shouts of pain or of sadness in the flamenco slang, the flamenco guitar and the keyboards, gives like proved a wonderful theme. They are of emphasizing also (IMO) " Abre la puerta", " Tu frialdad ", " Un nido en mi ventana" y " De una nana siendo niño". The whole album is a Triana's pure essence.

Hook

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.