EL INCA

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.

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