MEZQUITA

Many bands soon got in on the act including the lineup of José Rafael García (guitar), Randy López (bass), Rosca López (keyboards) and Rafael Zorrilla (drums) who had traversed the Franco years from 1971 to slightly beyond in 1978 as the band Expresión delivering a mix of psychedelic and hard bluesy rock but in 1978 the members suddenly shifted gears and changed their name to MEZQUITA (means "Mosque" in Spanish) and transmogrified itself into one of the most accomplished progressive acts of the entire Spanish prog scene that erupted in the latter half of the 1970s. While the band existed from 1978-83, MEZQUITA only released two albums, the first of which RECUERDOS DE MI TIERRA ("Memories Of My Homeland") is considered a Spanish prog classic.

The band emerged from the Andalucían city of Córdoba which historically was a crossroads of cultures as well as an Islamic stronghold after the Umayyads conquered it in 711 and would remain so until the Castillian-Leonese king in the year 1231 recaptured it and brought it back under the jurisdiction of the Spanish Empire. Despite all the battles and booty plundered throughout its history, the city and region has left an indelible mark on the Spanish culture existing in the region where Arabic, Moorish and Spanish influences forged a musical truce which would become the global musical phenomenon flamenco which in the 1970s was utilized to create a new style of progressive rock called Rock Andaluz of which bands like Triana, Veneno, Cai, Imán Califato Independiente and MEZQUITA would develop to put Spain on the map with its own unique style of progressive music.

The band's debut RECUERDOS DE MI TIERRA was released in the summer of 1979 and displayed the region's rich cultural heritage fortified with flamenco, Arabic and Moorish influences that had made Andalucía's traditional music so exhilarating. The band crafted an amazing display of adapting these sounds to the world of crazy complex prog rock and in the process unleashed one of the most defining and daring displays of virtuosity in all of the Spanish prog scene of the era. While a good five years late to the original prog party, MEZQUITA wasted no time and went for the prog jugular with RECUERDOS DE MI TIERRA with dazzling time signature rich guitar workouts, ELP inspired keyboard freneticism and crazy twisted compositional meandering all kept in check by the traditional melodic underpinnings that merged the present with the past.

The blistering title track immediately sets the stage with Arabic music scales luring the listener in like a desert mirage before jumping into a high tempo, time signature fueled frenzy with lightning fast precision and impeccable instrumental interplay and competent vocal deliveries in the Spanish language. The album while offering a few moments of placidity for the sake of catching one's breath hardly lets up in its 36 minutes playing with six tracks blurring the distinctions between flamenco rock, jazz and the most demanding strains of progressive rock in the vein of Gentle Giant, Yezda Urfa or the Mahavishnu Orchestra. With a galloping rhythm section stampeding full force like a herd of spooked cattle over the plains, the soloing delivers a lightning bolt approach whizzing around the rhythmic processions. The musical richness was fortified with guest musicians providing a string section along with several violins and a cello often sounding a big liker a spaghetti western.

The Spanish prog scene was utterly unique standing proud and distinct from its European counterparts and although thwarted by political totalitarianism was allowed to erupt into a frenzy of creative expression for the short time that prog was still in fashion however the best years had been missed and most of these bands including MEZQUITA only squeezed out a sole album or two as their creme de la creme before financial pressures forced them either to give it up completely or to adopt the model of dropping the complexities altogether and delivering a more mainstream mix of rock or new wave. Unfortunately MEZQUITA did exactly that and while not abandoning its signature sound altogether, watered it down enough to be of no interest as heard on the 1981 sophomore album "Califas Del Rock." While leaving only this sole example of Rock Anadaluz at its most proficient and wildly unhinged, RECUERDOS DE MI TIERRA has become a cornerstone of the entire Spanish 70s scene and a reminder that had this nation been allowed to participate in the golden years of prog that it would've more than produced some of the top acts of the entire prog 70s.

Mezquita was formed in Córdoba in 1978, in the wake of the death of Francisco Franco and Spain's transition to democracy. This quartet drew heavily upon local Andalusian history as a center of Islamic culture: "mezquita" is Spanish for mosque, the album cover features Arabic text, and the music is powered by Moorish influences alongside Spanish ones.

Recuerdos de mi tierra is a dizzying album. It's so packed to the gills with breakneck instrumentals it could plausibly appeal to fans of genres as disparate as math rock and thrash metal. It's mostly instrumental, frequently following the pattern of beginning with several minutes of virtuosic musicianship followed by a couple minutes of impassioned verses.

The title track sets the mood immediately. After opening with a languid, Arabic-sounding synth line, the band kicks into high gear. Synthesizer and guitar alternate taking the lead and harmonizing over a galloping rhythm section. Flamenco guitar emerges in a calmer moment, acting as a contrast to walls of electric instrumentation. When the vocals eventually do enter, it's over acoustic guitar and piano, highlighted with legato synth lines.

"El bizco de los patios" is one of the heavier moments on the album, replete with crunchy guitar chords and ELP-inspired keyboard leads. This piece leads into "Desde que somos dos", which opens with a flurry of drums, quickly joined by wild, jazzy bass, and Moorish guitar and keyboard lines. The song drifts into more traditional progressive rock waters at points, with huge walls of synth strings under a cosmic guitar solo, but it doesn't linger long. The song features the least rock-like moments on the album in its verses. If it weren't for the percussion, this section would be unadulterated flamenco music.

Side two begins with "Ara buza (dame un beso)" and its wobbly, lurching synth lines, punctuated by flamenco handclaps throughout. The verses once more see the band moving in a heavier direction, but that quickly dissolves into a mercurial, bubbling series of guitar and synthesizer solos. "Suicidio" is reminiscent of the title track as it opens with high-octane riffage. The alternating solos and verses shift to a slower tempo, powered by a droning synth juxtaposed against the lively rhythm section.

The closing "Obertura en si bemol" is the jazziest cut on the album. Energy builds with the band's trademark weirdness, but it's honestly a puzzling choice for an album closer. This song doesn't end with the sort of big punctuation this album calls for. Had this song and "Ara buza" been switched, that small change would have made this album even closer to perfect.

It's a pity Mezquita couldn't build a better career off such a strong debut. Their follow-up, 1981's Califas del rock, is a drab mess. Sure, the Andalusian sounds are there, but they're buried under feet of uninspired hard rock riffs and some of the worst synthesizer tones the 1980s had to offer. The band split up a few years thereafter, and though they re-formed in 2008, they haven't put out any new studio material. Perhaps that's for the best. We still have this one amazing album, and this band doesn't need any more lackluster new material to sully their legacy.

Review originally posted here: theeliteextremophile.com/2019/03/07/lesser-known-gem-mezquita-recuerdos-de-mi-tierra/

In the exciting second half of the Sixties young Andalusian musicians who grew up with the traditional flamenco started to blend their roots with modern music, from jazz, blues and psychedelia to pop and symphonic rock. This cultural movement was simply named Rock Andaluz, but it turned out to be the cradle for the most prolific and widespread blend of ethnic and progressive music in Europe. Known bands are Smash, Triana, Cai, Alameda, Iman, Quadalquivir and Medina Azahara. One of the most fascinating examples of Rock Andaluz is the album Recuerdos Di Mi Tierra (1979) from Mezquita. A short biography.

The embryonal Mezquita is founded in 1970, on the square in front of the mindblowing mosque Mezquita in the Andalusian city Cordoba, under the name Expresion. Due to a wide range of reasons (from militairy to family duties) the band does not succeed to release an album. But in 1978 Expression transform into a new formation called Mezquita, they release two albums: the highly acclaimed Recuerdos Di Mi Tierrra (1979), and Califas De Rock in 1981, then Mezquita disbands in 1986. But in 2008 the former Mezquita band members decide to reunite, like many other classic Rock Andaluz bands (from Cai to Quadalquivir), only without Rafael Zorrila 'Peluca' who died in 2002. This reunion line-up features José Rafa Ros (guitar and vocals), Randy López Rojas (bass and vocals), Paco López 'Roscka' (keyboards) and Eduardo Viñolo (drums). The band is eager to perform their beloved Rock Andaluz on stage, this culminates in a live CD entitled 30º Aniversario En Directo, recorded in Cadiz (2009) and in their hometown Cordoba (2010). This CD includes 5 tracks from the first album, five tracks from the second album, and two previously unreleased studio tracks.

After a first listening session I am delighted about the inspired and powerful live performance by Mezquita. Especially the passionate vocals of bass player Randy Lopex (with that distinctive wailing undertone of the flamenco) and the sultry sounding (Morish atmosphere) fat Minimoog synthesizer flights are exciting features of the Mezquita sound. But I also conclude that the tracks from the highly acclaimed first album are more captivating, more in the vein of Morish influenced bands like Iman and Azahar. While the tracks from the second album sound more like Medina Azahara, solid and tasteful melodic rock, no more or less. My highlights.

Ara Buza : sultry synthesizer sound, powerful rock guitar, excellent vocals and the Morish sounding Ara Buza vocals, this adds a very special flavour.

Desde Que Somos Dos : awesome interplay, 'jazzrock meets flamenco' climate, and again passionate vocals.

El Bizco De Los Patios : a sultry synthesizer sound, powerful guitar and vocals, tight drums, excellent interplay guitar and synthesizer, topped with vocal harmonies, what an exciting sound!

The epic composition El Suicidio is my absolute highlight. First a powerful sound featuring a swirling organ solo with rock guitar riffs, wow! Then again that sultry synthesizer sound, in a mid-tempo, embellished with a fiery guitar solo. Halfway short Deep Purple-like (Child In Time) Heavy Prog eruptions, followed by a mindblowing vocal variation on Pink Floyd's Great Gig In The Sky, in the flamenco tradition, goose bumps! In the second part a spacey Minimoog synthesizer solo with a strong Arabian undertone and sensational use of pitchbend button, the melancholical climate matches with the dark subject. Finally a moving guitar solo, blended with those Deep Purple-like Heavy Prog eruptions, this is top notch Rock Andaluz!

Another very strong track is the titletrack Recuerdos De Mi Tierra. It starts with the sound of a Minimoog and church bells, then a mid-tempo with powerful guitar. Next lots of short shifting moods, embellished with awesome interplay, a fiery guitar solo, a slow and fat synthesizer sound, and topped with passionate vocals.

The final two songs are previously unreleased. Noche De Luna contains a bombastic sound with fiery guitar work, strong interplay, rock guitar, and an Arabian vocal sound. And Eso Es Vivir features a catchy beat, strong (duo) vocals, a moving guitar solo, a propulsive and dynamic rhythm-section, and an exciting break with percussion. This is great Rock Andaluz music and could have been a track on the praised first album!

Highly recommend for those who are into Rock Andaluz or want to discover this amazing musical genre.

P.s.: Recently I stumbled upon the Andalusian website 5Lunas, their slogan is 'Rock Andaluz: puro sentimento-rock con raices-hechas en Andalucia', this is the Holy Grail for me, wow! They support not only new Rock Andaluz bands (like Randy Lopez solo, Qamar, Sherish, Taifa, Arabigas, Anairt, Mendigo, Periplo, Grande Cruz and Vandalus), but 5Lunas also releases albums and unreleased recordings from Seventies and Eighties Rock Andaluz bands (from Cai, Mezquita, Iman and Guadalquivir to Mantra and Montoro), and early Spanish progressive rock formations (Storm, Khorus, Expresion), how interesting. Within a month I ordered two times, from the bunch of Rock Andaluz and Spanish prog I purchased unfortunately only Mantra and Mezquita are on Prog Archives.

Mezquita's debut album finds them drinking deeply of their new freedoms. The band had chugged along under the Franco years as the psych-influenced unit Expresi'n, but the renaming here fits their new sound - for Mezquita is Spanish for "Mosque", and the album celebrates the rich heritage of cultural mingling between different religious faiths which was a strong feature of much Spanish history (and an aspect that the hardline Catholic Franco regime was disinclined to honour).

As you might expect, then, there's a certain note of Arabic music influencing proceedings here, particularly that of North Africa, as well as a blend of progressive rock (I smell hints of Relayer-era Yes, especially in the keyboard work), flamenco, and jazz fusion. (The blending of traditional Spanish music and jazz-rock puts me in mind at points of early Return to Forever.) It's a real melting pot of musical influences to reflect the melting pot of Spanish history, which is presumably precisely the band's intention, and the end result is an excellent blend.

The embryonal part of four piece formation Mezquita its history starts in 1970, in Cordoba. On the square of the breathtaking Mezquita young people have vivid and endless conversations about music. Two groups take themselves deadly serious, fuelled by their artistic instincts and huge admiration for Jimi Hendrix, the icon in those years, their names are Return and Expression. Both bands suffer from long militairy duties and an humiliating attitude towards Andalusia from the Franco dictatorship (until his fall in 1977). But almost 10 years later, in 1979, these two ambitious but immature bands have transformed in nationally praised Rock Andaluz bands, after releasing artistic and commercial successful debut albums: one band is the legendary Medina Azahara with Paseando Por La Mezquita, and the other is Mezquita with Recuerdos Di Mi Tierrra, nowadays considered as an essential Rock Andaluz album.

Listening to this album is making an unique musical journey in the land of the realm of the Rock Andaluz. The six varied and dynamic compositions contain elements from a wide range of bands, from Cream, Deep Purple, Mahavishna Orchestra, Pink Floyd and Iron Butterfly to Triana and Cai. But this music is hard to pigeonhole, no jazzrock, symphonic rock or avant-garde, this can only be categorized as Rock Andaluz. Just listen to the omnipresent sultry sounding Minimoog synthesizer with strong Morish overtones, the interludes with flamenco guitar and the powerful Spanish vocals, loaded with emotion and expression (including the rolling 'r'), unique prog, unsurpassed!

And Mezquita has made a real gem with Recuerdos De Mi Tierra, every composition contains strong musical ideas, surprising breaks and outstanding soli on guitar and synthesizer. This is topped with a powerful and dynamic rhythm-section and distinctive vocals that match perfectly with the Morish atmospheres in the compositions.

Lots of shifting moods, great interplay between the fiery electric guitar and sultry Minimoog synthesizer, a break with flamenco guitar runs and Farfisa organ waves and in the end swinging piano, passionate vocals, flamenco rhythm guitar and lush synthesizer flights in the long and alternating titletrack.

Raw, fiery and propulsive electric guitar work, a dreamy part with warm vocals and soaring strings, and lots of great moments between the electric guitar and synthesizer, it's all very dynamic in El Bizco De Los Patios.

From swinging with a powerful bass to flamenco guitar runs with delicate violin strings, again topped with passionate vocals in Desde Que Somos Dos.

From palmas (handclapping) in a swinging rhythm with strong interplay between the electric guitar and synthesizer to a break with powerful electric guitar and soaring Farfisa organ and unique vocal harmonies (singing Ara Buza, Ara Buza) in Ara buza (Dame un beso).

In the track Suicidijo we can enjoy the Morish answer to Great Gig In The Sky from PinkFloyd, very expressive and compelling vocals! The harder-edged guitar and organ evoke early Seventies Deep Purple. And lots of musical ideas, from an exciting flamenco guitar solo to a Minimoog solo with sensational use of the pitchbend button.

The final instrumental track Obertura En Si Bemol is swinging jazzrock with again dynamic interplay between the electric guitar and synthesizer, fuelled by a powerful rhythm-section. In the end a short but subtle presence of the Mellotron, with the choir section. Another example of the variety and outstanding compositional skills of Mezquita on this album.

To me this album sounds as one of the highlights of the Rock Andaluz movement, emphasizing how unique and distinctive this kind of music is. Unfortunately their second effort was inferior, and bass player Randy Lopez joined Medina Azahara, the other famous Rock Andaluz band from Cordoba.

"Recuerdos de Mi Tierra" Following a thudding bass and synthesizer introduction, quick, jarring, guitar-led progressive rock breaks forth. Sticking out like they don't belong are the Spanish-flavored acoustic guitar interruptions. After the lengthy instrumental beginning, a verse section begins abruptly, featuring decent but not great vocals over a busy patchwork of musical phrases.

"El Bizco de los Patios" This second song rocks harder than its predecessor, but still has that strident lack of flow. The worst aspect of this, however, is that the lead guitar sounds out of tune. Also, it doesn't help that the piece ends so abruptly, as though the band just said, "Okay, that's enough of that one. Moving on!"

"Desde que Somos Dos" After a terse solo, the drummer is quickly joined by bass and then the ensemble playing a series of glitzy runs. Interjecting again, there are several acoustic guitar cadenzas in call and response fashion introducing the singer (much like the first track).

"Ara Buza" Quirky and unsettled riffs ride a wave of handclaps as a hauntingly sweet electric guitar or thudding bass solo breaks up. The vocal section is structured more like a hard rock song with progressive leanings- a line sung followed by a heavy, complex riff. The second half bears no relation to what came before- it just happens, using fast percussion, a loose group of singers belting out the title, and active guitar soloing.

"Suicidio" The band engages in further frenzied music. The vocals and guitar soloing are highlights of the piece, and there's a rare moment of peacefulness, which makes excellent use of the bass and passionate vocalizations.

"Obertura en Si Bemol" The final tune is a peppy one, with happy organ, synthesizer, and guitar- essentially one solo after another. However, it is ultimately more of the same tricks with nothing fresh in store- great soloing, a fantastic rhythm section, yes, but nothing new. As with the other tracks on this album, the music is difficult to follow.

The first thing that strikes you about Mezquita's debut album Recuerdos De Mi Tierra is the wonderful cover art which features a minaret emerging from a barren landscape; there are also some Arabic symbols and a crescent moon in the background. Morocco is home to Andalusian classical music which evolved under the Moors of Cordoba. Mezquita were clearly influenced by this tradition as their their album features a guest string section; strings were widely used in Andalusian classical music. North African modes and rhythms are also in evidence on the album, and the keyboards frequently mimic clarinets and oboes thus adding to the Arabic atmosphere.

The music consists of six complex compositions featuring exotic timbres and intricate rhythms. Tempos are generally fast and at times are breakneck speed. Three track on the album are worthy of note: The title track features superb duetting Flamenco and electric guitars along with the sound effect of crickets... close your eyes and you are in the gardens of The Alhambra; Desde Que Somos Dos contains more Flamenco guitar and syncopated drumming along with exhuberant vocals; Suicidijo starts at the usual fast speed but then slows to become the most reflective piece on the album, with wailing vocals, bells, fantastic Moog and more lovely Flamenco guitar.

Recuerdos De Mi Tierra contains top-notch musicianship and is a highly original recording due to the prominent Arabic influence. Fans of bands such as Guadalquivir, Vega and Azahar should enjoy this album. My one criticism is that the album lacks somewhat in variety, as the energetic tempos are quite relentless. However for anyone looking to add to their Spanish prog collection, this recording is definitely recommended. It contains three excellent and three average tracks, so overall rating is between good and excellent.

Here and there some fine guitar break, but this is really not enough when compared to their "Recuerdos De Mi Tierra" which remains their absolute reference (and for sure one of the Spanish prog in general).

Theatrical vocals, heavy beats and average melody is on the menu as well ("La Última Juerga") and such a song is quite a deception. But the whole of this (very short) work is. Gone is the inspiration, deep feel, personality. We are just in front of a decent Spanish rock album from the eighties. Big deal!

To pint out a highlight is not an easy job. Just a collection of average songs, I'm afraid. The only number which is on par with their debut is the brilliant closing "La Montaña, La diudad": an explosion of synth, great rhythms and fantasy. It is by far the best of what's available. It is only a pity that no more of these are present on this work. As such I rate this album with two stars.