BLOQUE

Bloque's line-up was somewhat problematic regarding the position behind the drum-kit, as a result Francisco Banos was replaced by Carlos Teran for an upcoming second album.This time the band produced the whole work itself and in 1979 ''Hombre, tierra y alma'' (''Man, Earth and soul'') sees the light, again on Chapa Discos.

The album marks a number of positive upgrades in the sound of Bloque.Firstly, the Allman Brothers vibes are extremely reduced, if not absent, with the band heading for a more personal style.Second, the music sounds more compact, the songwriting more efficient and the instrumentation more balanced, even if the guitars remain the leading instruments.Third, while Bloque retain much of their Classic Rock variety, ''Hombre, tierra y alma'' sounds much more progressive and definitely more inspired than their debut.So, all these factors helped the Spanish combo come up with a fully convincing style, somewhere in the middle of Hard and Progressive Rock, where Juan Carlos Guitierrez'es flexible keyboard themes start to play a basic role in the music and the raw sound of Bloque is now often covered by a dash of symphonic grandieur.Additionally there are some great, lyrical moments in here and the dual guitar leads belong among the highlights of the album.Certain melodies here and there are absolutely great and memorable, the music contains lots of impressive twists and turns and the performances are pretty solid.The flipside of the original vinyl apparently contains the brightest material of the album, full of MEZQUITA-like intense synthesizers, dramatic instrumental guitar runs and some excellent electric solos, while there are even some dark-sounding choirs and ROBERT FRIPP-like guitar manifest, cleverly adapted in the hard sound of the band.

The potential became deep inspiration.Bloque's second effort is a great monument of Spanish Hard Prog and Classic Rock with 100% enjoyable material, led by some great guitar parts and the upgraded keyboard lines.Strongly recommended...3.5 stars.

A fairly insubstantial helping of Iberian progressive rock, the second album from Spain's Bloque finds this intriguing group building on the primitive sounds on their debut without ever really crafting a style of their own. Ranked alongside other Spanish greats such as Triana and Crack, Bloque's sound features a carefully-woven brew of strange atmospheric soundscapes, bouncy organs, emotive vocals and hard-edged guitars, ultimately coming across like a kind of hybrid bastard child of PFM and ELP. Unlike many of their fellow countrymen, the group's sound doesn't take it's influences from flamenco and jazz, instead concocting a symphonic sound that borrows heavily from both the British and Italian scenes of the early-seventies. Fans of European prog may well find much here to their liking, especially on such tracks as the synthesizer-led 'Medley 2' and closing piece 'Por Fin He Vuelto A Ti', which features some nicely-played double-tracked fuzz guitars, yet the overall effect is pretty uninspiring. Listenable stuff then, but there is plenty better European prog out there.

STEFAN TURNER, STOKE NEWINGTON, 2012

2.5 stars actually...

Despite being around since 1973 and having a good live activity,BLOQUE didn't release anything until 1978.The band got together in Santander under the forces of bassist Luis Pastor, guitarist/vocalist Juan Jose Respuela, drummer Francisco Baños and guitarist/vocalist Sixto Ruiz, but it was the arrival of keyboardist Juan Carlos Gutierrez, which gave the band a richer and more elaborate sound.BLOQUE played in various important festivals,among them a couple of great gigs in Leon and Burgos and finally released their self- titled debut in 1978 on Chapa Records and produced by radio/press pioneer Vicente Romero.

Loving both the sound of ALLMAN BROTHERS and progressive rock, BLOQUE presented a semi-prog disc with varied influences, styles, tempos and atmospheres,but built on the guitars of Respuela and Ruiz...and with two guitarist on the line-up it is reasonable that the musicianship is guitar-driven.The Respuela/Ruiz duo delivers some good solos, powerful grooves, a few fusion touches of the Spanish Prog school, while a couple of sweet ballads with acoustic guitars on the front add a more relaxed feeling, sometimes recalling TRIANA, if you add the atmospheric keyboards.Speaking of keyboards, Gutierrez, while he is a great keyboardist and uses a variety of keys including synths,mellotron and organ, actually remains under the shades of Respuela and Ruiz,though in a couple of moments he offers some nice and flashy synths.

The sound and influence of ALLMAN BROTHERS is what really dominates the album,which is a good rock album with some progressive leanings,but it can get a little bit boring for those who expect somekind of complex or more adventuruous listenings.Fortunately the band would soon switch into more progressive fields.Heading almost exclusively to fans of Spanish rock and guitar-based prog rock.

"El Hijo del Alba" was after "Hombre, Tierra y Alma" their second conceptual work but unfortunately I've to say that this one was not as cohesive and excellent as its predecessor. Especially its first half works rather as a nice collection of songs without offering any excitement to the listener.

The all instrumental 'Poemas de soledad' opens the album in a spacey Floydian atmosphere with synths followed by dreamy acoustic guitar. 'Alquimista soy', first track with vocals basically continues this rather mellow vein but adds up some rhythmic electric guitar. 'La danza del agua', another instrumental track exhibits really great symphonic rock with impressive playing on keyboards and electric guitar. The title track is in fact a quite nice ballade but anything spectacular neither. 'Quimérica laxitud' in contrast is a very energetic hard rocking one with good dual guitar playing. Second half of the disc consists of the multi-parted epic 'El silencio de las esferas' which is in fact the better half and presents more than 16 minutes of melodic and energetic symphonic rock with many rhythm changes and great playing on guitars, bass, keyboards and drums.

As a summary I'd like to say that this album is certainly a quite good example of Spanish symphonic rock but I'd hesitate to call it an essential one in general. I'd add another half star to my rating though if possible.

Due to the political situation in the 70's the best Spanish progressive rock albums haven't been released before second half of the decade when the heyday of Prog was already long gone in other countries. Unlike other great Spanish bands like CRACK or TRIANA being mainly influenced by jazz or flamenco Bloque was using rather an approach closer to Italian symphonic rock bands from that period. Their second release "Hombre, Tierra y Alma" was certainly their most coherent and best work being absolutely on par with albums by better known bands in that genre.

"Humanidad indefensa" opens the album in a quite apocalyptic atmosphere with the sound of splintering glass followed by some children's crying and bombastic keyboards. The song continues in the best tradition of 70's Italian symphonic rock with staggering vocals accompanied by psychedelic electric guitar and tasteful keyboards. "Ya no hay nada en la calle" is kept in a more gentle and ballad-esque vein with acoustic guitar and mellow keys. "El llanto del poeta" has nicely sounding poetic lyrics sung by a children's choir combined with a great electric guitar solo. Next three short tracks represent in fact a mini-suite which starts rocking off in a quite heavy vein especially in its last part "El infierno esta aqui?" before Mellotron-choirs are segueing subtly into "Meditacion parte I" consisting of solemn and mystic synths sounds. This one actually forms together with "Descubrir el sentido terrible de la vidale" and "Meditacion parte II" another mini-suite. The same goes for the last three tracks presenting excellent dual guitar and keyboards combined with some partly spoken poetic and haunting lyrics.

As a conclusion I just can recommend this concept album highly to any lover of Italian symphonic Prog. If you want to check out this band go for this one first!

Spanish band Bloque's first album was quite a solid record in terms of guitar-dominated melodic rock but not to be compared with their second one for example exhibiting much more resemblance with 70's Italian progressive rock acts like PFM. First track "Undecimo poder " could be described more or less as plain energetic guitar-dominated hard rock though having as well some nice Hammond organ sound. "Albelardo y Eloisa" is mostly kept in a mellow and romantic vein with atmospheric keys and a blues-tinged guitar before it starts rocking off towards its end. One could think of some earlier, more blues-inspired Floyd work as a reference point. "Salvacion por la musica" is a rather short instrumental piece mainly dominated by keyboard playing reminiscent of some of Emerson's solo works. "Joven levantate" is actually the first really interesting track in terms of Prog on here and a really well-done pleasant song with excellent interplay of guitar, bass, keys and drums. Vocals which are obviously presented by several singers and in Spanish language throughout the album are by the way very much appealing. "Consultando el tarot", the longest track and an all instrumental is after the previous one another highlight of this overall rather weak album. It's offering great keyboards with lots of rhythm changes and nice sound effects. After three very short rather unspectacular tracks, two of them being instrumental we get to hear "La noche del alquimista" offering some excellent electric guitar and bass play slightly reminiscent of country fellow band TRIANA. Last one "Conociendo a Abraxas" is the most chaotic and weird sounding one with some strange synth effects,mouth organ, awesome guitar/bass play and some furious vocals. This one is certainly another highlight and saving this album from being considered as one "for completionists" only.

Overall this debut is for sure not an essential addition for any Prog collection but still a fairly good one and might be interesting for those fellows oweing already their later releases.

I purchased this album in the early Nineties when I reacted on an add in the former Spanish progrock magazine "Sirius". Spanish proghead Angel Romero (now living in the USA) offered his entire LP collection because of his 'dust-allergy'. How sad for him, how lucky for me! This album is a good example of the unique and delicate Spanish progrock.

The first two tracks "Pesadilla de vivir" and "El poder de la libertad" are tasteful mid-tempo rock songs with strong vocals and nice work on guitar. The third "Anoranza" is very compellingl featuring a kind of bluesy symphonic rock with warm Spanish vocals and wonderful choir-Mellotron waves. The final song on side 1 entitled "Camino del universo" sounds pleasant and catchy delivering delicate and varied work on keyboards and fine rhythm guitar.

Side two starts with the catchy track "Tau ceti" featuring a tight and propulsive rhythm-section, lots of powerful and fiery electric guitar runs and some beautiful choir-Mellotron, what a captivating combination! Then "Detinido de la materia", an alternating piece with strong electric guitar work along powerful Spanish vocals, fiery saxophone and wonderful keyboard sounds. "Solo sentimiento" is a dreamy song delivering impressive choir-Mellotron, mellow organ waves, warm vocals and sensitive electric guitar play, very beautiful. The final track "Magico y salvaje" has a slow rhythm with a cathcy beat and fiery and heavy electric guitar runs, another original musical idea from this unique Spanish progrock band.

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