Spain Portugal,Prog,Psych,Folk,Jazz,Hard Rock, Flamenco Rock,Andalusian Rock,Albums Covers & Photos,Vol I
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Flamenco rock or Andalusian rock is a rock music subgenre that emerged from (but is not limited to) the Spanish region of Andalusia throughout the late 1960s[1] and early 1970s. There were some precedents like a couple of albums (Rock encounter and The Soul of Flamenco and the Essence of Rock) by Sabicas, a handful of singles by Smash, Gong, Galaxia, Flamenco or even the American band Carmen. However, Triana was recognized as a pioneer of the genre since their music focuses on a homogeneous fusion of the progressive rock and flamenco. Many bands that mixed progressive and symphonic rock with flamenco followed them such as Imán Califato independiente, Cai, Guadalquivir, Alameda or Mezquita; that's why the term Andalusian rock may be understood simply as flamenco prog.
Medina Azahara turned from progressive to a hard rock outfit in the 1980s and they remain as one of the most popular flamenco rock bands in its home nation. Also other flamenco-influenced styles of rock emerged like the flamenco-folk band Veneno, flamenco-jazz-blues band Pata Negra among other bands that melted flamenco with African, reggae or Latin rhythms....~
A style of Progressive Rock that emerged from the mid 1970s in Spain which utilizes primarily Flamenco and often Symphonic Prog elements. Triana was a pioneer of the genre, although there were several precedents, some '60s songs as "Válgame la Macarena" by Los Cheyenes or "Flamenco" and "A mí con esas" by Los Brincos, but especially with Smash, the first band to incorporate a flamenco singer (Manuel Molina) to a rock band. However, the Andalusian rock focuses more on the fusion of genres, as the melody and instrumental section. Al-Andalus culture became also a big influence in their music, alongside lyrics, themes and artworks.....~
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Andalusian Rock History
Andalusian rock is a musical and cultural movement, which developed basicly, although not exclusively, in Andalusia between the last years of the 1960s and the first half of the 1980s, framed in a generalized movement of search for the roots, which gave rise to the concept of rock with roots. Although there were antecedents in compositions of Los Cheyenes or Los Brincos, it is considered that the pioneers of the style were Smash, Silvio and Triana the most identifying band of the style, which combines flamenco with contemporary trends of progressive rock. Other exponents of the genre were Veneno, Mezquita, Sabicas, Medina Azahara, Carmen, Cai, Granada, Imán, Guadalquivir, Alameda and Vega, among others.
Concept
Musically, it consists of the incorporation into the structures of rock and pop of concepts, rhythms and melodic and harmonic elements, from Andalusian folklore and flamenco. Indeed, as several authors have pointed out,
"More than basing himself on flamenco, he does it on flamenco: a certain air, some break... A soniquete. Good taste, but few deepenings Music, therefore, linked to the Andalusian feeling of the 70s.
Usually, flamenco bars of African rhythm were used, such as tangos, bulerías or rumba. The voices are markedly Andalusian, preserving the modulations of flamenco, and in a certain way also the long moans or the short laments, but on structure and phrasing whose origin is in rock. Instrumentally, traditional elements such as flamenco guitar, clapping, castanets, etc. are introduced in coexistence with electric guitars, different percussion instruments and basses, among others.
Andalusian rock has developed bordering other subgenres that started from similar concepts (fusion of flamenco and pop or rock), although they should not be confused with it. Among these, were the "Gipsy Rock", the so-called "Sonido cañorroto", the electric rumbas or "flamenco-pop", as well as the fusions of avant-garde flamenco (such as Enrique Morente, with Lagartija Nick)
History
To a large extent, the history of Andalusian rock is linked to Gonzalo García Pelayo, music producer and founder of the Gong label, integrated into the Movieplay label, whose leitmotiv was rock with roots.
"In Salamanca the idea of creating Andalusian rock was born. Julio (Matito) and I pondered him, but Gualberto added that he had nothing to think, but simply to feel, and that he had been feeling for a long time.
Gonzalo Garciapelayo
The name of the label is a tribute to the group Gong, one of the seminal groups of the genre, and used as a promotional slogan the phrase: Good or regular, it is our music and we do not want it to have anything to do with theirs. Almost all the bands of the genre, in the 70s, released with this label. The recordings were made in Madrid or Barcelona, given the precariousness of the regional industry and, contrary to what it may seem, had very little support from the media, which generated dispersion and discouragement among the musicians:
"Triana's first album came out on April 14, 1975 and was not a success until a year and a half later... And that's without the radio putting it on. It was the typical pub hit, word of mouth [...] No one had helped get the train going, it had been more of a popular phenomenon."
Gonzalo Garciapelayo
Later, the phenomenon spreads, becomes popular and begins to be collected in the media, joining the genre non-Andalusian bands.
The origins
The first approaches to rock in Spain in the late fifties were closely linked to flamenco. Although soon rock in Spain followed the Anglo-Saxon patterns with few or anecdotal ties with this Spanish folk music.
The first attempts to regularize and settle flamenco pulsations to rock come from the Sevillian progressive rock bands, in the second half of the sixties: Gong, which included Silvio Fernández and Luis Cobo "El Manglis"; Nuevos Tiempos, with Jesús de la Rosa and Rafael Marinelli; and, above all, Smash, the band of Gualberto García and Julio Matito. However, there are previous examples that already incorporated in a purely anecdotal way flamenco winks to pop-rock songs, such as the song Flamenco by Los Brincos, recorded in 1964. There are also examples of an approach to Andalusian music in Anglo-Saxon rock, such as in the songs Spanish Caravan (The Doors, 1968) and A Spanish Piece (Pink Floyd, 1969).
Before, in 1966 and in the United States, the Spanish guitarist Sabicas had already recorded an album with the American guitarist Joe Beck, published under the name of Rock Encounter in 1970, in which an unusual mixture of flamenco and rock is produced and where the conscious search for something new is already observed. The following year he released another similar album called The Soul of Flamenco and the Essence of Rock. It was that first album, according to Ricardo Pachón himself, the one that encouraged him to incorporate Manuel Molina to the group Smash and record five fusion songs, among which were El garrotín, Tangos de Ketama and Blues de la Alameda (1970), which are unanimously considered the beginning of the genre. In total, Smash would record two albums, Glorieta de los lotos (Polygram ibérica, 1970) and We come to smash this time (Polygram ibérica, 1971), full of brave entries into the still unexplored terrains of the fusion of rock and flamenco, leaving the land fertilized. Smash set the mark with a strange-case-of-song (sic): "El garrotín" certified the death of the group and the birth of a style. Take off for tangos and wah-wah opening flamenco-rock and daring to compete for the song of the summer of 1971.
Apart from the basic groups mentioned, at the turn of the decade some albums were produced that are part of the Andalusian proto-rock: Opus Pi (1969), an LP of a demominated group Taranto's, composed of members of Los Pekenikes and Los Pasos; Tarantos (1971), by a band from Madrid called All & Nothing; Manuel Molina's first solo single, La Mora/La primavera (EMI, 1971); etc.
1972-1975
With the disappearance of the seminal bands of Andalusian rock the panorama is momentarily depopulated. The musicians of these formations are recomposed and groups appear that hardly have continuity: Julio Matito and La Cooperativa; Fly; Total (with Silvio and Antoñito "Smash"); Chicle, Caramelos y Pipas (in which Manuel Rodríguez and Marcos Mantero were), etc. None of them, however, clearly follows the open line of Andalusian Rock, except Tartessos, a band from Huelva led by guitarist and singer Pepe Roca, who released several singles between 1973 and 1975, the year in which Phillips published his only LP, "Tiempo muerto", already with Manuel Marinelli on keyboards.
In 1972, the group Flamenco appears, led by the Garrido Granados brothers, who follow the tradition of Gong and Smash, putting rock backgrounds to flamenco singing, although they add influences of Santana and glam rock. His first single, "Anda jaleo!/Cork con corcho, caña con caña" (Ariola, 1972) is cañero and Lorca. The second, of the same year, is signed by Paco de Lucía. In 1973 they published their first and only album, Flamenco, also in Ariola, which brings together the four singles already released and three new songs. They disappeared in 1976 after releasing two other singles, of much worse invoice. From an initially more pop perspective, the Almeria group Los Puntos edited, in 1972, their famous "Llorando por Granada", which is an advanced prelude to their last LP, "Oriental" (Polydor, 1977), symphonic and "moruno".
A year later, in 1973, Fandangos in the space, by the Carmen group, was published in London, a project promoted by a Mexican-Californian, David Clark Allen, in which John Glascock, future bassist of Jethro Tull, also participated. An energetic Now! opens a dizzying album where progressive virtuosity and Andalusian classics such as "Anda jaleo!" merge that deserve their place in the pre-history of Andalusian Rock (prior to "El Patio").
Near the middle of the decade, the Andalusian Rock scene begins to animate. The group Estoques, a studio group, published in 1974 an interesting instrumental single, "Mezquita de Mohamed/Regreso a la ciudad", which opens the way for jazz rock for the genre and that, in some way, supposes the direct antecedent of bands like Guadalquivir or Vega. But, above all, the first single of Triana is published ("Recuerdos de una noche/Luminosa mañana"), the paradigmatic group of the genre, which opens the line of "symphonic Andalusian rock". Garciapelayo, said in an interview in Musical Express, that Triana did what King Crimson would do if they were from Seville.
In 1975, Triana's first LP appeared, El patio and, with it, the definitive culmination of the genre. His first cut literally opens the door to something new, to a new form of music in which Anglo-Saxon musical currents naturally merge with the essences of Andalusian music. Other bands that appear or reappear that same year 1975 contribute to promote it: Gualberto with his album "A la vida - al dolor", which begins with a song with sitar and Enrique Morente; Goma, the band of guitarist Manuel Rodríguez, saxophonist Pepe Sánchez (ex-Gong) and Antoñito "Smash", who invoice a progressive album, "14 de abril", this one really influenced by King Crimson; or Granada, the group of the Madrid flutist Carlos Cárcamo, with his LP "Hablo de una tierra", in which Manolo Sanlúcar collaborated (although in his following albums he abandoned all reference to Andalusian rock).
1976-1979
The following years are the most fruitful for Andalusian rock, "with few devotees in the critics and many followers, both in the peripheral neighborhoods of the cities, and in the Andalusian villages", in the words of the critic Luis Clemente. It is in these years, in addition, when Andalusian Rock is dressed in the iconography that will be its image mark: Arabic accents, references to al-Andalus, mystical texts ... The band that most soon collects all these elements is Imán, created in 1976 by Manuel Rodríguez and keyboardist Marcos Mantero, and which initially also included Luis Delgado. Their first LP, "Califato Independiente", is released by CBS in 1978 and shows a strong load of symphonic rock. Along the same lines, Azahar opted, whose first album, "Elixir", is from 1977 (they would release a second album in 1979), and Mezquita, whose self-titled debut album, edited by Zafiro, is for some authors the best of Andalusian symphonic rock. Also in that same year, the Cadiz group born in Puerto Real: Mantra, driven by drummer Tato Macias (along with bassist José Antonio Ramírez Arana, guitarists Juan Ahumada Capputto and Tito Alcedo and, on keyboards, José Manuel Portela), would make their only recording, which remained unpublished and became an object of worship. In 2012 Tato himself and the production company Arabiand Rock released this recording. Within the same symphonic line other groups of some regional renown did not register their music, as is the case of the Granada La Banda de los Hermanos Cruz, or the Jaennenses Trauma. The also Grenadians Dofus ("Suite Azul de Rock", Musimar, 1979), led by the Gualda brothers, came to edit an album.
In 1977, the only album of the band Veneno was also released, a group that brought together Kiko Veneno and the brothers Rafael and Raimundo Amador, which was called Veneno (CBS, 1977). The group would not last long, it dissolved a year later, but it did open the way for the vein of the most gypsy Andalusian rock. In this line Diego de Morón would also publish his self-titled album (Moviplay, Gong series, 1977) and produced by Garciapelayo, flamenco album where the cut Despertar was included, which shows a tremendous fusion with progressive rock.
Another of the emblematic groups of the genre, the Cadiz Cai, led by the keyboardist Chano Domínguez, began their discography ("Más allá de nuestros mentes diminutas", Trova, 1978) as an Andalusian symphonic rock band, although already in that album there were songs that drifted towards jazz-rock, such as "Alegrías de Cai". Heavily influenced by Emerson, Lake & Palmer and the "Canterbury Sound", the group was increasingly developing its jazz aspects in their subsequent albums.
But in this line related to jazz-rock, the Andalusian rock group par excellence is Guadalquivir, a band founded in 1977 by the Sevillian guitarists Luis Cobo "El Manglis" and Andrés Olaegui, who were already together in a previous group called Manantial. His influence extended to various Andalusian groups, which did not make recordings, such as the Sevillian Aljarafe or the Granada La Banda del Tio Paco (in which the Cadiz guitarist Nono García was). Also to the group of the Extremaduran guitarist Tomás Vega, called after him Vega, especially in his second LP, "Jara", published in 1979.
Artists who had developed their career outside of Andalusian rock, approached the genre at this time: Pedro Ruy-Blas in "Luna Llena" (Polydor, 1975); Miguel Ríos with "Al-Ándalus" (Polydor, 1977); Iceberg in "Sentiments" (CFE, 1977); Toti Soler on his LP "Lonely Fire" (RCA, 1979), with Pata Negra Rafael and Raimundo Amador (one of the icons of Andalusian blues); etc.
1979-1985
At the end of the 70s, Andalusian rock is fully established and some of its groups have a clear projection, even in sales. However, the two best-selling groups, along with Triana, released their debut albums in 1979: Alameda, a band led by the Marinelli brothers (keyboards), Pepe Roca (guitar and vocals), and Manolo Rosa (bass), with their self-titled LP, which would be followed by "Misterioso manantial" (1980) and "Aire cálida de abril" (1981). Andalusian symphonic rock, very close to Triana's approaches, and with great sales. The second of these groups would be Medina Azahara, from Córdoba, which brings a heavy air to the Andalusian symphony with few previous references (Storm is usually cited, among them). His self-titled debut album, also from 1979, managed to double in sales to Alameda's, which until then held the record within the genre. His next albums, "La esquina del viento" (1980) and "Andalucía" (1982), were also important successes.
The same year 1979 sees the appearance of the possibly best known album of Andalusian rock, "La leyenda del tiempo" (Phillips), of an electrified Camarón de la Isla with the backing of the groups Veneno, Alameda and Dolores, as well as Gualberto and Tomatito. His influence did not go hand in hand with his sales because when Camarón died barely 6,000 copies had been sold, which does not prevent it from appearing in all the relationships of the most influential Spanish albums.
In this period, new groups appear that do not get so much projection, such as the Malaga Tabletom whose first album, "Mezclalina" (RCA, 1980) provides a modernized vision of the genre. Jarapa, also from Malaga, released a single in 1983. For his part, Fragua released an album in Hispavox in the wake of Triana, at the end of 1979, and Formas, another called "Largos sueños", in 1981. In 1980 the only album of a band called Cal was released, led by keyboardist Alberto Toribio (ex-Goma), very much in the line of Alameda. That same year, Cuarto Menguante, a band promoted by singer Paco Urizal and guitarist Valentín Ponce, debuted with "Rompehielos", an LP with Andalusian rock airs, which they lost in their following albums. Finally, Barbacoa, an octet from Huelva with metals in the line of Blood, Sweat & Tears, brought a different approach to Andalusian rock in their album "El caballo del viento" (Pasarela, 1984).
Decadence
From 1985, Andalusian rock begins to decline notoriously. Some of the most outstanding bands still release albums, although in an increasingly marginal way. The works of the groups of Chano Domínguez (Hixcadix, 1987), and the guitarist Tito Alcedo (1989) stand out, both already very fond of jazz; but above all the album of the new band of "El Manglis" and Raimundo Amador, "Arrajatabla", published in 1992, stood out. Among the later outbreaks, is the Cordovan band Montoro, which released in 1991 an album of evident Andalusian rock entitled "Esencia" (Divucsa). Later, sporadic samples, such as the album of the Granada heavy group Totem, with the same title, edited by the Big Bang label in 1993, which included songs of the genre such as Flamencosa.
Of the classic groups, Medina Azahara is the one that has best managed to maintain its presence in the market until today, with 17 albums published, and also Tabletom has continued to edit already in the XXI century (5 albums in total), although they are the only survivors. Except for the case of Zaguán, a band led by keyboardist and singer Miguel Ángel Gómez, who published their self-titled debut album in 2002, in a line very close to Triana, there are no new bands that claim the genre. Zaguán published a second album, "Testigo del tiempo" (2005), on the multinational Universal, which is today the latest example of the genre.
However, the influence of Andalusian rock has gone beyond the genre itself, and groups such as El Último de la Fila, Elbicho or Mártires del Compás have been clearly influenced by it, and artists like El Barrio, claim their roots in Andalusian rock, which is notorious in the musical arrangements, especially in their live shows. The New Flemish has also collected part of its heritage.
Current situation
From the middle of the first decade of the XXI century, some of the historical bands of the genre meet again, to perform various performances. The first exhibition was in 2006, in Montilla (Córdoba), where there was a Festival dedicated to these groups with the participation of Guadalquivir, Smash or Manuel Imán, among others. That same year in Jerez de la Frontera (Cádiz), he performed "Imán Califato Independiente" with the original formation plus the participation of other musicians such as Urbano Moraes, Luis Delgado, Javier Ruibal or Chano Domínguez, in the gardens of the Alcázar and before more than 3000 people.
Several important concerts have been happening subsequently, such as a special night dedicated to Andalusian Rock at the Seville Flamenco Biennial in 2008 at the Rocío Jurado Auditorium, before more than 5000 people, as well as another session at the José María Pemán Theater in Cádiz, or the historic Festival del Lago in Bornos, before more than 3000 people. [citation needed] Both Alameda, Imán and Cai, have released new works although already from an independent side and away from the market of the big record labels of the late seventies. The latest to join this resurgence have been Mosque and the legendary Storm.
In 2012, Caeman emerged, a symphonic rock and jazz rock group, originally from Cádiz, formed by founding musicians of other bands such as Imán, Cai and Barrabás.
A group of followers, blogs and websites have not only maintained the value and recognition of these great bands. The attention taken by the specialized media, mainly from Holland, Japan or Mexico, is a curious fact that supports the musical importance that the movement still maintains after so long. [citation needed]
Some groups of last batch in what has been called "mestizaje", show important influences of Andalusian rock, such as Hora Zulu, O'funk'illo, Los Delinqüentes, Derby Motoreta's Burrito Kachimba, Fausto Taranto or Juan Delola......~
Albums Covers
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| Carmen "Dancing On A Cold Wind" 1975 UK / US / Spain Prog Flamenco Folk Rock (Captain Beyond,Head Machine, Octopus,The Favourite Sons,The Gods ,The Hi Numbers,The Juniors ,The Motels,Toe Fat,Chicken Shack, Jethro Tull, Christie, T. Rex - members) |
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| Canet Rock Festival 1975 Spain, feat groups by Orquesta Mirasol, Compañía Eléctrica Dharma y Comediantes, Pau Riba, Jordi Sabatés, Molina (Lole y Manuel), Maria del Mar Bonet, Fusioon, Ia & Batiste, Barcelona Traction, Gualberto, Iceberg y Orquesta Plateria & Sisa |
Spain Portugal links
La Fonoteca
Rock Progressivo Español
La Enciclopedia del Rock Sinfónico y Progresivo Español
Prog Rock Andaluz
Artists Photos
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Itoiz Basque Prog Folk |
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| Itoiz Basque Prog Folk |
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| Itoiz Basque Prog Folk |
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| Itoiz Basque Prog Folk |
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| Itoiz Basque Prog Folk |
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| Lisker Spain Psych Prog Folk |
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| Arte & Oficio Portugal Prog Rock. |
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| Barrabas Spanish Prog Rock. |
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| Barrabas Spanish Prog Rock. |
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| Bloque Spain Progressive Symphonic Rock |
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| Bloque Spain Progressive Symphonic Rock |
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| Bloque Spain Progressive Symphonic Rock |
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| Carmen 1975 UK US Spain Prog Flamengo Folk Rock with John Glascock bass player of Jethro Tull |
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| Cerebrum Spain Prog Rock |
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| Cerebrum Spain Prog Rock |
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| Cuharada Spain Prog Rock |
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| Bloque Spain Progressive Symphonic Rock |
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| Gualberto García Pérez |
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| Gualberto with Julio Rabadan by Smash |
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| Gualberto García Pérez |
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| Itoiz Basque Prog Folk |
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| La Mosca Spanish Psych Rock |
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| Los Canarios Spain Prog Symphonic |
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| Los Murcielagos with Gualberto 1966 |
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| Maquina! Spanish Underground Rock |
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| Maquina! Spanish Underground Rock |
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| N.H.U. 1978 Spain Prog Rock |
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| Smash 1967 Spanish Heavy Psych |
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| Smash 1967 Spanish Heavy Psych |
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| Tapiman Spain Heavy Prog |
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| Tarantula Spanish Prog |
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| Tarantula Spanish Prog |
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| Triana Spanish Flamengo Prog |
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| Aguaviva Spain Prog Folk Rock,Acoustic Folk,Experimental,Political Folk,Psych Folk Rock. |
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| Aguaviva Spain Prog Folk Rock,Acoustic Folk,Experimental,Political Folk,Psych Folk Rock. |
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| Aguaviva Spain Prog Folk Rock,Acoustic Folk,Experimental,Political Folk,Psych Folk Rock. |
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| Aguaviva Spain Prog Folk Rock,Acoustic Folk,Experimental,Political Folk,Psych Folk Rock. |
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| Alameda 1979 Spain Symphonic Prog,Andalusian Rock, Flamenco Rock |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain Pau Riba |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Canet Rock Festival 1975 Spain |
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| Carmen UK-US-Spain Prog Flamenco Folk Rock |
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| Evolution 1970 Spain- Germany Psych Rock |
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| Expresion {pre Mezquita} Spanish Hard Psych |
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| Gotic Barcelona Prog Symphonic Jazz Rock Fusion,Catalan Rock |
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| Gotic Barcelona Prog Symphonic Jazz Rock Fusion,Catalan Rock |
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| Gotic Barcelona Prog Symphonic Jazz Rock Fusion,Catalan Rock |
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| Gotic 1978 Left to rigth, front row Agustí Brugada, Jordi Vilaprinyó. Back Jordi Martí, Eugeni Gil, Rafael Escoté: Barcelona Prog Symphonic Jazz Rock Fusion,Catalan Rock |
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| Granada Spanish Prog Jazz Rock Fusion. |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Guadalquivir Spain Andalusian Prog Flamenco Jazz Rock Fusion |
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| Gualberto García Pérez |
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| Gualberto with Albert Batista Sisa Pau Riba |
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| Haizea Spain Prog Folk,Basque Folk |
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| Los Brincos 1970 Spain Prog Pop,Psych Pop Rock |
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| Los Canarios Spain Prog Symphonic |
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| Los Modulos Spain Psych Rock,Symphonic Pop Rock |
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| Mi Generacion Spain Prog Pop Rock,Soft Rock,Folk Rock |
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| Mi Generacion Spain Prog Pop Rock,Soft Rock,Folk Rock |
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| Mi Generacion Spain Prog Pop Rock,Soft Rock,Folk Rock |
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| Mi Generacion Spain Prog Pop Rock,Soft Rock,Folk Rock |
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| Mi Generacion Spain Prog Pop Rock,Soft Rock,Folk Rock |
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| Mi Generacion Spain Prog Pop Rock,Soft Rock,Folk Rock |
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| Mi Generacion Spain Prog Pop Rock,Soft Rock,Folk Rock |
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| Mi Generacion Spain Prog Pop Rock,Soft Rock,Folk Rock |
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| Mi Generacion Spain Prog Pop Rock,Soft Rock,Folk Rock |
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| Pau Riba Spain Prog,Psych,Acid Folk |
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| Pau Riba Spain Prog,Psych,Acid Folk |
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| Pau Riba Spain Prog,Psych,Acid Folk |
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| Pau Riba Spain Prog,Psych,Acid Folk |
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| Pau Riba Spain Prog,Psych,Acid Folk |
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| Pau Riba Spain Prog,Psych,Acid Folk |
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| Secta Sònica Spain Catalan Prog Jazz Rock |
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| Secta Sònica Spain Catalan Prog Jazz Rock |
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| Secta Sònica Spain Catalan Prog Jazz Rock |
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| Secta Sònica Spain Catalan Prog Jazz Rock |
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| Spanish psych band Formula V around 1967 |
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| Tabletom Spain Prog Jazz Rock,Andalusian Rock |
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Tabletom Spain Prog Jazz Rock,Andalusian Rock
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Tabletom Spain Prog Jazz Rock,Andalusian Rock
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| Mezquita 1979 |
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