TRIANA

Triana is a Spanish progressive rock band. It was formed as a trio in the early 70's. The three musicians came more or less battered to play around and seek life, the drummer Juan Jos' Palacios, the guitarist Eduardo Rodr'guez and the keyboardist and singer Jes's de la Rosa. Jes's de la Rosa was the poet and the absolute soul of the group. Unfortunately, in 1983, he died in a tragic car accident, and with him the group died, for more spurious play-offs that have seen the light since then. The band remained under the name of Triana, without any original member in ts ranks.

In their origin, Triana practiced a unique and incomparable mixture of musical elements of marked Andalusian roots with others from newly discovered progressive paradises and which weren't strange to them. Not was in vain that they were called 'the Andalusian Pink Floyd'. It's still admirable even today how they were able to mixed the psychedelic atmospheres, with the Spanish guitar, the buler'as rhythm, the cadence and the typical cante Andalusian with palmas.

The first three albums of Triana, those of their progressive/psychedelic era or as we want to call it, release a parsimony, a tranquility, a certainty in what is said and in what is done. Triana's first album, 'El Patio' of 1975, already had everything it had to have. Without promotion, without any support, it spread like wildfire among the youth, among the progressive lovers, among the hippies. However, economically it was a disaster because it only sold 75 copies. The fact is that their second album, 'Hijos Del Agobio' of 1977, wasn't anything more than a logical continuation of what was made in 'El Patio'. In its turn, 'Sombra Y Luz' on 1979, took beyond all what was proposed on both two first albums.

Triana is perhaps the best known and most successful prog rock band to come out of Spain and it's really not hard to see why. Certainly the band was off with a slow start with their debut, but their second album sold better than their debut thanks to a high profile festival held in Madrid. There's a big reason why Triana was popular in their home country. Their music was quite accessible, included local cultural elements in their music, and unlike Gentle Giant's albums, you don't need to listen to it many times to get in it. It's actually pretty accessible prog. In fact, someone had pretty much described them as a flamenco version of The Moody Blues. I notice some Pink Floyd and King Crimson elements as well. Like the more obscure early 70's British prog rock acts, Triana was more interested in writing and recording great songs, and giving it that Spanish touch which obviously differentiate them from those British acts, than going for tons of tempo changes every second. Yet, the music is progressive enough for the prog rock fan that doesn't always need Gentle Giant's complexity to enjoy it. Triana has that instantly recognizable sound, helped by the vocals.

'Hijos Del Agobio' has eight tracks. The first track is the title track. Lyrically, the poetry of Jes's de la Rosa, always full of symbolism and enigma, is deep and heartbreaking, but not for that desperate. Musically, it has lots of flamenco guitar and tasteful keyboards. The second track 'Rumour' can be described by a torn and wonderful melody that rides on the trepidante and subtle battery work, undoubtedly one of the architects of the incredible and peculiar sound of the group.The third track 'Sentimento De Amor' is a calm and slow track that speaks of departure, of search of oneself and of encounter. It's a beautiful ballad more oriented towards the classical guitar sound than to the free gypsy spirit. The fourth track 'Recuerdos De Triana' is signed and played almost entirely in the same musical line all over the album and is accompanied by the end of voices unleashed. Again, everything on this track reflects the magical music of the all album. The fifth track 'Ya Esta Bien' is on the other hand the band from their more 'energetic' side. The music ain't very complex or challenging, and it wouldn't be too far from the truth to call Triana a flamenco-version of The Moody Blues. The sixth track 'Necesito' is the logical continuation of the argument that they sustained in the last song. The music is as flamenco as heavy as the psychedelic music, but with very interesting lyrics. The seventh track 'Sr. Troncoso' is a nice ballad, whose rhythmic concept is very curious, in principle accompanied only by a Spanish guitar. Step by step, with a progressive increase in speed, it can bring to us a balsamic climax, beautiful and unique. The eighth track 'Del Crepusculo Lento Nacera El Rocio' closes the album with a touch of a very special variety that blends excellent guitar solos and a spectacular synthesizer work. The lyrics are marvelous. It's a perfect end to a nice album.

Conclusion: 'Hijos Del Agobio' is a very good album and is very well balanced too. It has some very good tracks, of which standout, in terms of prog, the title track, 'Sentimiento De Amor' and 'Necesito'. But, in general, all tracks on the album are good. They played quite simple soft symphonic prog rock music with a very strong flamenco-influence. 'Hijos Del Agobio' is, definitely, one of the highlights of the playful, highly melodic flamenco-prog. Triana can by added to Carmen, as one of the best and most representative prog bands with a cross between prog and the flamenco music.

Prog is my Ferrari. Jem Godfrey (Frost*)

Triana's debut album is the classic symphonic prog type, that you are used to listening to in Yes and Camel. With a minor tweak the heavy influences of Spanish tango.

This element is inserted in two ways, first, there is an acoustic guitar which is present in the songs, it's always used in a creative form and help to give the feeling of the music, sometimes with fast-paced rhythms and other times in a more slow, focused and beautiful manner. The other tango element is the vocals, they are all sung in Spanish in a very emotive way, the singer can hit high notes and have an excellent voice.

These ingredients make the music feel different from its other counterparts at the time and give kinda a "national touch" to the opus, remembering us of his origin country but never crossing the borders and becoming folk. The progressive aspect of the band is perfect too, they transit between the epic and emotional and all tracks are just incredible pieces.

The electric guitar is used in a sophisticated way, always gaining the highlight in the right moment and playing crazy dope solos. The keyboard is inserted sometimes as an atmospheric instrument, playing in the background to help us feel the music, or it takes the lead and shows us equally great solos.

The drums and bass are utilized more like support instruments (as usual in rock). The drummer uses his parts to create an epic feel to the tracks, with loud and strong sections before the other members of the band receive the highlight, it has certain segments of fast-paced drumming where it shows the great skill of the musician. The bass is naturally a more "modest" instrument and is just used to keep the beat of the song and tie everything together, but even with their simple lines, it is still inserted in a very effective way.

To summarize, we have an awesome vocalist, perfect instrumentation with delightful songwriting. "El Patio" is a masterpiece of prog-rock music and must be listened to by every fan of the genre. 5 Stars.

The second track Luminosa Manana is another favorite. Honestly if you got social anxiety, just pop in some earbuds while out in public and throw this track on, it just pumps me up. It opens with very "free" feeling instrumentation before the acoustic guitar takes over dropping this filthy Spanish guitar motif with claps and synths layering on top of it. The vocals once again just blow me away with their brooding and larger than life delivery. The track develops into a more flowing cadence with stunning sonic details soaring past you on all sides. Another great track.

Recuerdos de una Noche keeps the same energy with more of that very sinister and menacing sound i've been noting. We kick into a smooth 5/4 groove with very organic instrumentation and vocals providing memorable counterpoint to the afforementioned headbanging rhythm. In the latter half there's a very hard hitting distorted guitar solo and man, that tone is genuinely HEAVY.

Se De Un Lugar was a track that blew my socks off right from the get-go. With a voice seemingly coming from the heavens, grand and passionate vocals kick off the track. This is another song with a very catchy main hook, but what really stands out about this track is the experimental nature of it. The passage starting at 2:11 is gorgeous and it just demands my attention with these layered electric guitars and synths leading us through instrumental ecstasy. It's twists and turns like these that make this album so special, every time I revisit it I'm just blown away because of the density of some of these tracks. Every listen you just hear so many new details. Every note of this instrumental is just on the dot and dialed in and the way it seamlessly flows the listener right into the mighty conclusion that's delivered is just as satisfying. I have to highlight how they choose to end the song, because I love how sort of unconventional and quirky it is. Rather than end on a big crescendo, this track ends on a very fascinating note moreso fizzling out with a greater emphasis on the atmosphere and the overall feel,

Dialogo is another very solid song and it's a nice breather between two very grand and epic songs. This is a very acoustic guitar-centric song stripping down to just that towards the middle of the track for a little spanish guitar solo. The synth begins playing around it carefully easing the listener back into the vocal passage. I find this track to be the most subtle of the songs we get here. It's more of a slowburn but it stands tall with its strong song structure as well as gratifying contrast and pay-offs.

En El Lago is essentially the big grand finale of the album and it's just an exciting trip front to finish. The emphasis on the vocals on this song, more great catchy vocal melodies and ardent instrumentation to back it up. The track stays steady at a high place for a while before delving into a both beautiful and vigorous playout in the final minute and a half. Bookending the album is the short and sweet Todo es de Color with more of a folky feel to it with the sound of flowing water, birds, and just acoustic guitar and vocals closing out the album with a little bit of a peaceful whimsical feel. A very nice little cooldown

Listen to this album, an essential for any 70s prog fan.

9/10

Classified as Rock Andaluz or Flamenco prog, "El Patio" confidently synthesizes their own style as an invigorating alchemy of flamenco with the symphonic prog and RPI of its day. I will add you don't need to have heard this in 1975 to wax nostalgic about it today, which is a rare gift indeed. The acoustic and electric guitars, mellotron choirs, string synthesizers and organ are all arranged in vintage permutations and, combined with the robust yet languid romantic vocals, set my spine a-shivering. The opening number "Abre la Puerta" is the longest and also the most accomplished, and, while it might be a mere love song, seems a call to arms for the entire movement, distilling the idealism that only comes naturally to youth. Even the drum solo that ushers in the instrumental reprise is note-perfect.

Not surprisingly, Arabic sounding motifs swirl about in tracks like "Recuerdos de Una Noche", while as power balladeers they flatten the tentative opposition on the penultimate "En El Lago" with a twin attack of shimmering organ and mostly acoustic or sweetly plucked lead guitar. Well, except for a 30 second passage towards the end that might be the heaviest moment of all. I can imagine that early TRIANA established the influence on numerous yet unformed Andalusian bands, MEDINA AZAHARA for one.

"El Patio" is one of the most fully realized inaugural prog releases of its day. It remains a milestone album for a sui generis prog offshoot, and is eminently listenable to boot.

Yes, who knew that flamenco and keyboards would make such a happy marriage? I am really surprised on how thick and rich Triana's sound is. Frankly, I thought at first that they were Italians because their approach is really original and intense. In fact, it's pretty much a gypsy-symphonic-Le Orme blend meaning grandiose moments of thick keyboard beauty, sexy classical guitar licks (oh so plenty) and talented singing...in espagnol por favor (not italian).

They did a splendid remastering for their 40th Anniversary and even without the super production, I was still sold at the very first listen. When 'Abre la Puerta' started, full mellotron ahead, grand piano and sizzling spanish guitar I thought 'Oh wow! How did I miss this in 15 years as a progger?!?' A record with the perfect atmosphere for dusk listenings, plunging you into a dynamic blend of flamenco swing and tempered progressive elements. It's just the right dose, not too much keys, not too much flamenco but still rocking in the Andalousian free world.

It's my only ecounter with this special formula and I must say that these guys knew what they were doing. Many times I shouted 'damn!' half smiling in awe, relishing on this well crafted record. If you missed it, take a few minutes to get around this great, great album and like me, raise your eyebrows in admiration.

A not-so-well-known-classic (it's so unusual!) but deserving more praise from the proggers.

This is the Holy Grail of the Spanish progressive rock, a very comprehensive box set featuring a 2-CD compilation and a DVD from Triana, the band that speerheaded the Rock Andaluz movement. The Spanish people loved their music and sung the emotional lyrics after the dictatorship of Franco (1939-1975): 'The guitar in the morning, it spoke of freedom, you hear a rumor in the corners, that announces that it will join, the day when all men, together they can walk, the guitar in the morning' (translation from Spanish in Rumor, 1977). Triana often played for massive crowds in Spain and most of their albums got the platinum status! Unfortunately in '83 band member Jesus De La Rosa died in a car accident and Triana was no longer. Then their record company released a lot of compilation albums during the years. This one from 2004 contains two discs with 24 tracks: 6 out of 7 from El Patio (1975), 7 out of 8 from Hijos Del Agobio (1977), 4 out of 6 from Sombra Y Luz (1979), 4 out of 9 from Un Encuentro (1980), 1 out of 7 from Triana (1981) and 2 out of 7 from ' Llego El Dia (1983). So the record company decided to focus on their best and most progressive era, the first three albums.

The 16-page booklet features the lyrics of the compilations songs and the tracklist of all 6 studio albums, along some nice band pictures. On the back of the 'fold out covers' of this box set you will find short stories in Spanish from the first Triana manager Javier Garcia-Pelayo , the first producer of Triana Gonzalo Garcia-Pelayo and Triana biographer Luis Clemente.

The DVD is a 55 minute documentary with (often) rare footage from several TV music programs like Mundo Pop (1974), Ahora (1975), Popgrama 1979 (beautiful scene in a Morish palace), and Aplauso (from '79 until '81), along two live tracks (Tu Frialdad and Una Noche De Amor Desesperada). Most of the 13 songs are interrupted by commentary from the band members, people who worked with Triana and who are influenced by Triana, like a musician from Ketama, the known 'new flamenco movement'. The DVD footage is an exciting visual impression of the band members playing the distinctive flamenco guitars (propulsive flamenco solo - and rhythm guitar), and the electric instruments, from howling electric guitar (great double-neck guitar) to a lot of vintage keyboards: warm string-ensemble, distinctive Fender Rhodes electric piano, slow Moog synthesizer runs, and lots of organ. This is topped by moving Andalusian vocals, expressive with a bit wailing undertone. Some songs from the later period sound a bit polished (like Corre), but in general this DVD shows a stunning and very talented band. Triana made unsurpassed music that sounds like the perfect marriage between the world of progressive rock and the world of the ethnic Spanish flamenco, generally known as Rock Andaluz.

If you are up to discover Triana, the most legendary Spanish progressive rock band and most pivotal Rock Andaluz formation, this is an exciting historical document, despite the less interesting tracks from the 1980-1983 era.

While the band started out as a progressive rock band they would jump ship and become pure pop in the 80s. On this third album SOMBRA Y LUZ (Shadow and Light) the band completed the trilogy of progressive rock albums that have become the most well known of their output. SOMBRA Y LUZ is a much different album than its predecessors and while it's always a good thing that a band doesn't ride the same wave album after album, on this one they started going a little more into the mainstream with a heavier emphasis on blues based rock mixed with the expected flamenco and symphonic prog. Despite the prog part of the equation still in play, it has been clearly tamped down and replaced with more straight forward rock segments.

There are still plenty of unadulterated flamenco aspects such as the breakdown on the title track which displays the ubiquitous flamenco styled singing style albeit less Italian prog influenced this time around as well as the flamenco guitar style that is allowed to express itself as the dominant factor. The tracks are a little uneven in how they flow. The first couple of tracks "Una Historia" and "Quiero Contarte" are clearly less prog oriented and almost pure rock whereas the excellent title track takes the band sound into the next logical synthesis of its disparate elements with an interesting mix of staccato guitar, atmospheric mellotron action and proggy time signatures.

The most progressive moment on the album comes from the lengthiest track, the ten and a half minute "Hasta Volver" which goes through various movements and sounds more like the material from the previous album with lengthy bass grooves punctuated by time signature deviations and a return to the Italian symphonic prog sound with the similar classical constructs. The track slinks along at a mid tempo pace and features a mix of the symphonic prog style along with what sounds like a mandolin but probably the flamenco guitar along with a guitar solo and a rather PFM vocal style. The track despite its running time never really deviates from a rather persistent groove and doesn't pick up much steam either as it seems to spin its wheels and leaves a rather unsatisfying result. While a chorus or equivalent section does pop in now and again, the track is actually fairly repetitive.

The finale two tracks "Tiempo Sin Saber" and "Vuelta A La Sombra Y La Luz" focus more on the flamenco grooves and take things into slightly more experiential realms with more creative ideas being implemented and perhaps the best tracks on the album. TRIANA once again delivered lyrics in its native Spanish regarding the changes of the nation and was accompanied by many session musicians to add extra touches however in the end, SOMBRA Y LUZ is very uneven and the tracks don't flow together very well. This signified a downturn in the band's most innovative material but yet would become their most successful album in their native Spain at a time when the public was becoming more familiarized with the progressive rock scene. After this one they would drop most prog and steer into the world of Andalusian pop. There are some great tracks on this one but many are rather generic at this point and the album as a whole is unsatisfying.

Soon after the release of the debut the band would experience the turn of events that would transform the entire nation but not without the pains of sudden change thrust upon everyone. The second album HIJOS DE AGOBIO (Sons of Stress) was recorded throughout the turbulent year of 1976, a critical time in the history of modern Spain when the political themes resulted in a time when true liberty and artistic freedom were finally allowed their day in the sun. The album title reflects the events that were experienced during these times and reflected in the Spanish language lyrics on the album which was released in February 1977. The prog scene had finally taken off in Spain as the Iberian nation was playing catch up with its European neighbors and suddenly many bands were jumping on the bandwagon. It was a time of hope for the future as well as a realization of what has been lost or prolonged in the past and HIJOS DEL AGOBIO reflects this melancholy as the album exudes a melancholy as if a dark shadow still lingered above.

At only 33 minutes, this sophomore release is a decidedly short one but still exhibits an impressive mix of the debut album's signature mix of Italian symphonic prog, Andalusian flamenco and touches of English prog via King Crimson amongst others. While the elements were more clearly pronounced on the debut, they are woven together in a tighter tapestry of sound on this one with more creative expressionisms which find the flamenco aspects tamped down and subdued into the background with the exception of the closing tracks "Sr. Troncoso" and "Del Crepúsculo Lento Nacerá el Rocío" which sounds closer to the debut. The album engages in a much more symphonic prog sound with the suffocating emphasis of heavily used synthesizers and mellotrons which create dark overcasts. Likewise the flamenco rhythmic drives of the debut have been replaced by the more angular time signature deviations expressed by the Italian prog greats of PFM, Banco and Le Orme and the like.

While "El Patio" had heavy guitar outbursts that brought in overt references to hard rock, HIJOS DEL AGOBIO is a much more sombre affair with less emphasis on heaviness and more attention paid to the thick atmospheric constructs that allow the majority of the tracks to float along in mid-tempo or slower form. A notable exception is the heavy drum solo beginning of "Ya Está Bien" and the following "Necesito" which offers a heavier guitar presence as well as a more dynamic flamenco presence. Once again TRIANA's main members are the trio of Jesús De La Rosa (vocals, keyboards), Eduardo Rodríguez Rodway (guitar, vocals) and Juan José Palacios (percussion, Fx, Moog) but are joined by four guests who contribute vocals, guitars and bass. The melodies are more subdued Andalusian rock melodies yet they seem to be the driving force underneath the heavy symphonic prog dominance. The musicians once again perform brilliantly in tandem and soloing is rare.

HIJOS DEL AGOBIO doesn't have the instant impact that the debut "El Patio" may have had upon first listen but this one is actually the more sophisticated album of the two as the band learned how to craft their hybridization into cleverer territories. The melodies are more complex and the entire album sounds less overtly commercial than its predecessor but yet it was this album that actually was more commercially successfully and launched TRIANA into the limelight of becoming Spain's most revered prog band as it lamented the instability of the political climate of the era by capturing sounds of the past and melding them with the current trends of the European prog scene. The results of which tied the nation to the long rich history through the sounds of flamenco but also connected it to the larger music scene that was well established in the lands of their neighbors. A much darker and varied album this second one is and what it lacks in instant gratification, it more than makes up for in mysterious charm.

In the second half of the Seventies I became a proghead, visiting concerts from Yes, Pink Floyd, Camel, Rush and BJH. But in those years I also turned into an 'aficionado', a huge fan of flamenco music, visiting concerts from Paco De Lucia, Paco Pena and the annual Fiesta Gitana in my hometown The Hague, in The Netherlands. So imagine how exited I got when I stumbled upon Triana, the most legendary Rock Andaluz formation, just releasing their third effort entitled Sombra Y Luz, in 1979. I was blown away and very soon after bought their first LP El Patio (1975) and their second one Hijos Del Agobio (1977). Then I disovered (thanks to Spanish proghead Angel Romero) other great Rock Andaluz bands, from Cai, Guadalquivir, Alameda and Medina Azahara to Mezquita, Iman, Azahar and Vega.

The great and unique element in Rock Andaluz is the blend of the instruments of the world of progressive rock and the world of the flamenco, for me no other prog category delivers such a captivating, exciting and emotional blend of skills and passion! I have travelled through Andalusia (Cordoba, Granada and Sevilla) and done interviews with Rock Andaluz bands and Spanish prog bands with Rock Andaluz elements: the keyword was always Rock Andaluz, the musicians are speaking this word with passion and pride, because it is in their heart, it is part of their culture, everybody knows what it is about when you say Rock Andaluz!

After all those years Triana their first album El Patio is still my favourite one, for me the most exciting and compelling encounter between prog and flamenco. Just listen to the first composition Abre La Puerta.

It begins with glorious Mellotron choirs, piano and flamenco guitar. Then the very distinctive 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 Mellotron choirs to propulsive, with powerful drums and howling electric guitar, very moving, and to me every time evoking goose bumps!

The other six compositions deliver more thrilling 'flamenco meets prog'.

Like the beautiful shifting climates with typical flamenco elements: palmas (handclapping), rasgueado (quick downward strokes across all strings) and picados (quick runs on the guitar), along with tasteful keyboards (organ, synthesizers, Mellotron and piano) and fine electric guitar play.

Or awesome interplay between the flamenco - and electric guitar and a bombastic finale with rasgueado, organ and electric guitar.

Or powerful drums and a howling and biting electric guitar.

Welcome to the unique and exciting world of Rock Andaluz!

If you want to discover more Rock Andaluz, see my social comment.

One of the first bands to ride the wave of this new reality was the Seville based TRIANA who were a little bit ahead of the curve. The band was formed in 1974 by vocalist / organist Jes's de la Rosa Luque, flamenco guitarist Eduardo Rodr'guez Rodway (formerly of Los Playos) and Juan Jos' Palacios aka Tele (formerly of Tabaca). Given that Spain is a Mediterranean country and Spanish a Latinate language with much in common with Italian, the band was responsible for launching the progressive rock movement in Spain with their own take on Italian symphonic prog only instead of the overtly classical leanings, TRIANA opted instead for the homegrown Andalusian sounds of flamenco. While the term Andalusian rock had been around for decades with bands Sabicas, TRIANA was the band responsible for taking the genre into the more progressive arenas.

The band's debut had originally emerged as a self-titled release but has been renamed EL PATIO ever since a 1984 reissue was released. Taking the symphonic prog of the Italian greats like PFM, Banco and Le Orme as the template upon which to build around, TIRANA adapted the sensual guitar style of flamenco to an overtly ambitious and energetic form of symphonic prog that implemented the classical compositional flare and passionate, romantic vocal style of the Italians alongside lushly laid out synth and Mellotron usage. The symphonic prog elements seamlessly trade off with beautiful guitar passages and the lyrics while all in the Spanish language describe the political realities of a nation in flux. Another interesting fact is that the album was released with the same seven tracks but in completely different order. My copy has an alternate CD reissue track order but personally i'm not sure it's important to the flow of the album since all the tracks are of equal quality.

While the symphonic and flamenco aspects are the dominant forces on EL PATIO, the less frequent heavier aspects clearly reflect a nod towards 60s bands like Vanilla Fudge and the more rocking aspects of early King Crimson. TRIANA would produce four excellent albums in the progressive rock style, each with different virtues before jumping on the 80s bandwagon and going the pure pop route and it's not too hard to hear how that could have been possible after hearing the sensual melodic developments on this debut. While Italian prog bands tended to have an angular edge to their musical approach, TRIANA is much more overtly melodic with easy to digest ear hooks that some may find a little too saccharine for their tastes but if one is not adverse to such easy to digest melodies dressed up with proggier clothing then this is surely one you will want to devour in delight.

While the band was technically a trio this album is fortified with sounds from the extra help of electric guitarist Antonio Perez and bassist Manolo Rosa. Basically this is symphonic flamenco music with rock extras. At moments EL PATIO displays unadulterated flamenco nuevo and at other times the flamenco is merely the backdrop and often not part of the equation at all. During the transition years when this was released it sold poorly but starting with the band's second album 'Hijos de Agobio,' TRIANA started to break big and has in the ensuing decades become one of Spain's most famous representatives of the 70s Andalusian progressive rock scene and perhaps one of the most known progressive rock bands period from the country. If you were to compare this to the Rock Progressivo Italiano scene, TRIANA was more akin to Metamorfosi than say Museo Rosenbach. This is easily accessible music even on the first listen and although it does come off a little sugary sweet, it's the good stuff embellished liberally with all kinds of yummy ingredients.