EL INCA

WARA was one of the first Progressive Rock bands that I've ever heard and for many years I didn't understand why it wasn't registered in ProgArchives; two months ago I made the recommendation and finally WARA was added and now I feel that it is my responsibility to write the first review of "El Inca (música progresiva boliviana)". There is not a big music scene in Bolivia; when we talk about Latin-American rock the major countries are always Mexico, Argentina, and Chile, then maybe Peru, Colombia, and even Venezuela but not Bolivia (that is not exclusively to Progressive Rock but to all kinds of Rock), well, take a look of this.

Before changing their style to a very folky Andean one, WARA recorded "El Inca (música progresiva boliviana)" which had more elements of Progressive and Hard Rock with bluesy riffs and nice bass and drums lines than their following albums. The lyrics of the album are in Spanish, so to me, it was easy to learn them since it is my mother tongue and as I said before: I've been listening to this album for a very long time.

The line-up of the band was a basic rock quintet: bass, guitar, keyboards, drums, and vocals (all of them making great performances on the album) but the collaboration with musicians who played more orchestral instruments such as violins, cellos, oboes, bassoons, and flutes gave the album a very homogeneous sound; the album reminds me a lot to DEEP PURPLE's first albums (the ones before GILLAN and GLOVER). My favorite track of the album is definitely "Canción para una niña triste" ("Song for a sad girl") because I find really relaxing to listen to such a soft delicate song right in between the other four more rocky ones.

As I said before: in the following albums of WARA their music turned to a much more folky and Andean kind of music but that doesn't suggest this album doesn't have folk elements, maybe they are very subtle, but there are; however, the hard bluesy symphonic rock is the main plate on this table. I would highly recommend this album to fans of Latin-American Prog Rock bands such as LOS JAIVAS, MAGMA (Argentina), CHAC MOOL, OS MUTANTES or ARCO IRIS, but also to fans of Hard Rock (Progressive or not) rock bands such as DEEP PURPLE, ATOMIC ROOSTER, URIAH HEEP or WISHBONE ASH.

This is an album that everyone could enjoy.

Wara Pioneers Of Andean / Prog

In 1973, Wara, a Bolivian band whose name means 'star' in Aymara, released their debut album El Inca. This record was a game-changer for the South American music scene, blending Andean rhythms with progressive rock. It wasn't just music'it was a bold statement during a time of dictatorship in Bolivia, mixing traditional sounds with modern rock to create something truly revolutionary.

The album only lasts 33 minutes, but its impact is huge. Wara managed to combine local folk sounds with the heavy rock influences of bands like Deep Purple and Uriah Heep. It's a key moment in the history of Bolivian progressive rock.

The five tracks on the album are split between two sides. The first side was mostly written by Nataniel Gonzalez and Pedro Sanjin's, while Omar Leon and former vocalist Dante Uzquiano contributed to the second side.

The album starts with the title track, 'El Inca (El Se'or de la Tierra),' which immediately grabs you with its intense, fast-moving melodies. Gonzalez's vocals, clearly inspired by Ian Gillan, guide the listener through a dreamlike story of the Inca's return. A mix of voices and flute adds to the atmosphere, along with a beautiful violin section that ties the song together emotionally.

The second track, 'Realidad,' is the shortest at five minutes, but it continues the mix of Andean and progressive rock elements, including a traditional Aymara rhythm. The lyrics reference Bolivian writer Alcides Arguedas and carry a strong message of pride in one's race. The guitar and organ solos are a highlight, giving the song a classic prog feel.

The first side ends with 'Canci'n Para una Ni'a Triste,' a slower, bluesy track with a melancholic vibe. It feels more reflective, perhaps expressing a sense of lost identity.

On the second side, 'Wara (Estrella)' stands out as the longest track at eight minutes. The song keeps up the Andean-rock fusion but leans more into the rock side, with electric guitar and keyboards trading the spotlight. Gonzalez even includes a spoken-word section, adding a bit of drama, while Carlos Daza's guitar work really shines here.

The album closes with 'Kenko (Tierra de Piedra),' which wraps up the story by connecting the indigenous connection to the land with the pull of the city. The organ and cello create a solemn mood, and the final guitar solo leaves a lasting impression.

Beyond its music, El Inca carried a lot of social commentary. It was a way for Wara to reclaim their indigenous identity at a time when that wasn't easy under the Bolivian dictatorship. The government didn't promote the album, and only 500 copies were printed. Despite this, the album's message and sound have lived on, influencing new generations. After this release, Wara went on hiatus but returned two years later with a more folk-oriented album called Maya.

El Inca may not be a perfect record, but it remains a groundbreaking one in Latin American music history. Wara's fusion of rock and tradition is something special, a musical expression that still speaks to the body, mind, and soul.