TRIANA (EL PATIO)

Much like their Basque counterparts ITOIZ, TRIANA's classic output only exploded onto the Spanish rock scene after the death of Franco. Also like Itoiz, Triana attained their commercial summit some time later, but, as with itoiz, it's their early work that is most esteemed in the prog community. That's all I will say about Itoiz here because the two acts are otherwise dramatically different in a way that could only have materialized in Spain.

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.