Showing posts with label Rockcelona. Show all posts
Showing posts with label Rockcelona. Show all posts

Sunday, December 13, 2015

The Day After The Sabbath - Best of 2015

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password:  tdats

The Day After The Sabbath - Best of 2015 by Rich Aftersabbath on Mixcloud

The blog has now reached the ripe old age of six years! The past year of doing this has been a very enjoyable one - there's been two Dutch band profiles, Panda (119) and Blue Planet (127), a special and interview on the archival label World In Sound (114), a profile on krautrock producer Conny Planck (116), two heavy metal-inspired volumes; US (126) and NWOBHM (121), Scott Blackerby of The Acid Archives and Bad Cat Records (115) and a profile on The Gurvitz Brothers (125). Regional specials have honoured Spain again (123), Serbia (120), Portugal (113), Boston (117) and Iceland (124). Other themes have included Chicano rock (118) and a special on long prog tracks (122).

A year ago I promised I would be doing more interviews; I got an exclusive with the previously mysterious psych figure of Roy Rutanen and his band (link) and an exclusive with Jim Smith of Stonehouse (link). More exclusives came with Jaap van Eik of Panda (link) and Art Bausch of Blue Planet (link) and I spoke to four of the names appearing in Volume 126; Mike Gandia of Squadran, Danney Alkana of Alkana, Darren Welch of Axxe/Impeccable and Rob Griffin of Tyranny / Graven Image.

I hope that people still enjoy reading and listening to TDATS as much as I enjoy making it, here's to the on-coming year of many new ideas which are in the pipeline. As ever, please drop me a line via email or otherwise if you have any suggestions, and join up at the fb group where you can participate even more fully. My special thanks goes to the group admins that have increased greatly in number and efforts this year and been doing a great job there - you know who you are. Keep it PROTO guys :)

For what is now an annual round-up (last year's) of some of the best tracks appearing on the blog in the last year, here is a comp of fifteen tracks, one from each of the fifteen numbered volumes posted in 2015 so far. Enjoy!

01. Beatnicks - Back In Town (1972) - from v113
02. Gold - No Parking (1970) - from v114
       single and W.I.S. retrospective 'San Francisco Origins'
03. Fanny - Place in the Country (1971) - from v115
       from album 'Charity Ball'
04. Lokomotive Kreuzberg - Comeback (1975) - from v116
       from album 'Fette Jahre'
05. Brother Fox and the Tar Baby - Steel Dog Man (1969) - from v117
       from album 'Brother Fox and the Tar Baby'
06. Yaqui - I Need A Woman (1973) - from v118
       from album 'Yaqui'
07. Panda - Medicine Man (1971) - from v119
08. Pop Mašina - Vreme Za Nas (1975) - from v120
       from album 'Na Izvoru Svetlosti'
09. Fuzzy Duck - In Our Time (1971) - from v121
       from album ‘Fuzzy Duck’
10. Fusion Orchestra - Sonata In Z (1973) - from v122
       from album 'Skeleton In Armour'
11. Rockcelona - Queen, Friend And Dread (1979) - from v123
       from album 'La Bruja'
12. Svanfridur - My Dummy (1972) - from v124
       from album 'What's Hidden There?'
13. Gun - Runnin' Wild (1970) - from v125
14. Asia - Law Of The Land (1978) - from v126
       from album 'Asia'
15. Cinderella - The Love That We've Got (1971) - from v127

Starting the volume is one of its heaviest tracks, from Lisbon's Beatnicks. They made some of Portugal's best and heaviest rock in the '70s, with the "Cristine Goes to Town / Sing It Along / Little School Boy" and "Money / Back in Town" singles. They introduced progressive/electronic influences on later singles (youtube) which were good but very different, by the time of 1982's Aspectos Humanos album they had been through major line-up changes and seem to have become an inoffensive progressive pop band. Oh well, listen to "Back In Town" and it's clear they had the chops to become Portugal's top hard rock act, it's original and brilliant from start to end! Final members Ramiro Martins (bass, guitar), Antonio Emiliano (keyboards) and Tó Leal (vocals, percussion) all appear to have made more music later but nothing of interest here.

There is an interesting article here (portuguese, english), regarding the many changes the Beatnicks went through, including the brief membership of female singer Lena d'Água, and guitarist Manuel Cardoso, who was later in Tantra (coming later on here). Read Rock em Portugal's full Beatnicks bio here.


"A CD / LP combination. The CD contains 2 parts S.F. underground history with the first Gold line-up feat. lead singer Richard Coco. Their 45 record “NO PARKING” was already reissued on LP by Rockadelic and issued on the CD compilation “Nuggets from the Golden State”.

Part 1 (only on CD) are the Studio Sessions of Leo Kulka´s Golden State Recorders, 9 heavy guitar cuts (same as Rockadelic LP) with great congas and bizarre Rock´n Roll vocals and the previously unreissued 45-rpm flipside a 4:45 minute sensitive but totally unexpected version of Gershwin's "Summertime" produced by Country Joe McDonald (Country Joe and the Fish)."

"Part 2 of the CD is the vinyl release, a live set at the Fillmore-West Audition, a qualification gig for Bill Grahams club circuit, which was successfully passed - gigs at Winterland, Fillmore-West followed. These 42 minutes reach the highest level of power and a unique kind of heavy acid rock sound (especially the 6 min. killer version of “NO PARKING”) - Ed Scott´s hypnotic rhythm guitar, a mind blowing bass and drums create an outstanding and surrounding flow, Joe Bajza´s soaring solo guitar played in a kind of aggressive Cipollina / Jeff Beck style is brilliantly intense and brings true Sixties S.F. Hell´s Angels party feeling to your home. Detailed 12 page color booklet - 78 minutes of hot music reflect the “golden sprit” of the late60's early 70's in San Francisco....15 years later bands like Metallica, Slayer, Exodus…..continued these powerful Bay Area guitar excesses…"


Scott's RYM review here.  "Penned by Barclay, 'Place In the Country' was one of the album's best rockers. Nice showcase for the group's harmony vocals.   rating: **** stars"

"1971's "Charity Ball" found Fanny continuing their partnership with producer Richard Perry. Featuring largely original material (the one exception being a dynamite cover of the Buffalo Springfield's 'Special Care;), this time around the band seemed interested in showcasing their more commercial edge. Material like the title track, 'What's Wrong with Me?' and 'You're the One' seemed to have been crafted with an ear to top-40 airplay.

That wasn't to imply the band couldn't rock as hard as their male competitors. Nickey Barclay's 'Cat Fever', 'Special Care' (which I'd argue crushed The Buffalo Springfield original), and 'Soul Child' were all rockers that were worth hearing. Add to that, Jean Millington had a powerful, soul-infused voice, while June Millington was an overlooked lead guitarist with a penchant for fuzz leads. Interestingly, listening to the album for the first time in years, I guess the biggest surprise came in terms of band contributions. Jean and June Millington were clearly the band's focal points, but  being responsible for over half of the material, keyboardist Nicole Barclay was clearly the band's creative mainstay."

Lokomotive Kreuzberg

Lokomotive Kreuzberg Fette Jahre (1972)
Lokomotive Kreuzberg
Fette Jahre (1972)
Track 4 brings something a little different to the party. Lokomotive Kreuzberg was a Berlin polit-rock band that started in 1972. Not speaking German, it's impossible for me to comment on the lyrics, but the music on their 1975 album "Fette Jahre", engineered by Conny, is captivating. They mix many styles, from symphonic prog, to folk, to funk, to hard rock. At all times it is played with extreme talent, these guys sure had the chops to compare with the best. I have chosen the hardest rocking track on the album, which was recorded at Conny's studio, but you can take your pick from it. Others, such as the title track "Fette Jahre" (youtube), are equally good.

I've not had a chance to check out all of their four albums. I certainly will but they may not be the easiest band to get into for non-German speakers, especially as they use a lot of spoken-word skits to get certain points across on their agenda.

Brother Fox and the Tar Baby

Brother Fox & The Tar Baby
Track 5, "Steel Dog Man", starts as it means to go on with a stomping hard rock riff and tight playing, punctuated by glorious psych breaks, backed-up by earthy vocals that cut straight to the bone. Brother Fox and the Tar Baby featured the talents of former Profits guitarist Richie Bartlett, bassist Tom Belliveau, guitarist Dave Christiansen, drummer Bill Garr, singer Steve High and keyboardist Joe Santangelo. Dave Christiansen, Joseph Santangelo, Tom Belliveau and Richard Bartlett were previously in Front Page Review, also appearing in this volume. Belliveau  was also in Pugsley Munion (see vol59), and Bartlett was later in '80s new-wavers The Fools. They were signed by the small Oracle label, which released 1969's Bruce Patch-produced self-titled album. Christiansen was credited as writing all eleven tracks.

Brother Fox & The Tar Baby LP
This has a commercial edge and is a polished product, but it's done right and there's more than enough heaviness here too, over half the album is hard cuts with quite a unique take on combining late-'60s heavy psych with the chunky riffs and hammond organ of the freshly-emerging hard rock sounds of the times. This is what the first Boomerang album should have been like! (see Vol9)

The countrified feel, and high production quality with orchestration, shows that this was a serious stab at a successful album. The mellow tracks and ballads are all good, so make for a nicely diverse listen. The song-writing is consistently good, and the excellent vocals deserve a mention, sounding somewhat like Robert Plant in the heavier tracks. Highly recommended!

Panda - Stranger Medicine Man

Decca 6100013
Stranger begins deceptively, with a heavy Sabbathian tri-tone metal riff, but quickly morphs into a Slade-elic glam stomper with a sing-along chorus and more flashes of flute, great fun.  B-side Medicine Man is built around a similarly heavy, lumpen riff to "Swingin' About", this time with no flute and forays into blues, it's another of their best heavy tracks.

Pop Mašina

I consider there to be a 'big three' of heavy Serbain bands from the former half of the '70s, YU Grupa and Smak have already appeared so now it's time for the last of that trio, Pop Mašina (Pop Machine). They were formed in Belgrade in 1972 by Robert Nemeček (bass, vocals - formerly of Dogovor Iz 1804 and Džentlmeni. The other formative members on their two studio albums were Mihajlo Popović (drums) and Zoran Božinović (guitar - formerly in Džentlmeni).

Na Izvoru Svetlosti LP 1975
Their 1973 debut LP "Kiselina" (Acid), had contributions from members of S Vremena Na Vreme, Grupa SOS and acoustic band Dag. Although excelling in their heavy rock tracks like "Svemirska Prièa," the band played an equal amount of acoustic pop and folk-infused songs in a similar approach to Led Zep's album 'III'. The second and final studio album "Na Izvoru Svetlosti" (At the Spring of Light) followed suit, having a little more emphasis on the hard rock, with a great opener which is the track I have used in this comp, "Vreme za Nas". Track 2 gives you a good idea of their stage show with a live-recorded blues workout. Over-all this album is more consistent and you can hear the improved arrangements and more confident playing.

Fuzzy Duck

Fuzzy Duck s/t 1971
Fuzzy Duck s/t 1971
A belated appearance from a record that that I surely should have used by now, as it's really good. This is the eponymous Fuzzy Duck LP, one of the older entries here, recorded in 1971. They play jazzy prog rock, with excellent musicianship, driving hammond organ and plenty of rocking riffs. Bassist Mick Hawksworth had previously been in Andromeda (Vol51) with John Du Cann, another similarly cool band. He was also in other TDATS bands, Killing Floor (see Vol7) and Toe Fat (Vol2). Drummer Paul Francis had been in The End, and briefly in this volume's opening band, Tucky Buzzard. The Duck enjoyed some radio play, including "A Big Word From D" and "Double Fine Woman", which were both favoured by BBC stations.

Fuzzy Duck in the studio
Fuzzy Duck in the studio
In the Esoteric Recordings CD re-issue Paul Francis stated that one of the major things that broke the band up was internal friction with guitarist and founder Graham White, which he regrets in retrospect. They managed to turf him out and replace him with Garth Watt-Roy (Steamhammer, The Greatest Show On Earth) who was a great guitarist, but it didn't go down well with the record company. After the Duck had quacked it, Graham White joined Capability Brown (Vol54), Paul teamed up with Chris Speading and Steve Harley, playing on a couple of Cockney Rebel LPs and Mick Hawksworth worked with Alvin Lee among others.

Fusion Orchestra

Fusion Orchestra - Skeleton In Armour line-up, clockwise from left, Dave Bell, Stan Land, Dave Cowell, Colin Dawson and Jill Saward
Fusion Orchestra - Skeleton In Armour
line-up. Clockwise from left, Dave Bell,
Stan Land, Dave Cowell, Colin Dawson
and Jill Saward
Fusion Orchestra might be of interest to Babe Ruth fans, or those of Room. Frequently-heavy prog with a great front woman in Jill Saward, who also played flute, keyboard and more. The sole album 'Skeleton In Armour' is good progressive rock, drawing in many influences from Canterbury scene to hard rock, thankfully the band has a great attack and this LP keeps up momentum throughout, as you can hear in tracks like the one appearing here, and "Have I Left The Gas On?".

On the album, she is joined by the three founding members Dave Bell (drums), Stan Land (2nd guitar) and Colin Dawson (lead guitar). Dave Cowell played bass. Later in the bands' life Colin Dawson quit, so Alan Murphy took over, he later played in English pop bands Level 42 and coincidentally, Go West, who cropped up in the last volume via Hustler drummer Tony Beard. Although the band had a good live reputation, with fans frequently enjoying Jill Saward's titillating stage antics at the Marquee in London, they did not achieve commercial success on EMI and didn't get the green light for a second album. Jill had the most successful career afterwards, in the pop group Shakatak, and surprisingly none of the other players were in notable bands later. Colin Dawson started Fusion Orchestra 2 in 2008, in which he is the only original FO member.


Continuing into heavier territory, "Queen, Friend And Dread" from Barcelona's Rockcelona hits you hard.The LP it's taken from is like this all the way through, it never lets up. This unique and timeless collision between punk, heavy metal and garage rock recorded in 1979 is a real gem for anyone out there who looks for the ultimate in unrelenting fuzz. The group was founded in 1977 by Alfredo Valcárcel, and recorded only one album called "La Bruja" (The Witch).


Courtesy of Shadoks music (link) :- The Icelandic prog-rock band Svanfrídur released only one album, recorded six months after they played their first gig. This short-lived band rapidly rose to fame, receiving rave reviews for live performances, but in fact their music was way ahead of its time. They were unable to seal a recording contract so they formed their own label - Swan Records. When the album 'What’s Hidden There?' was released in autumn 1972 it got mixed reviews and sold only a few hundred copies, leaving the band with a great album but sadly not the income they had been hoping for. Recorded at London’s Majestic Studios the album was cut and pressed in England. Perhaps one of the best heavy prog / underground albums from Scandinavia with amazing guitar and all-English vocals. Would have been a famous and successful album on Decca UK.


Asia 1978
Not to be confused with the British "Asia", South Dakota's Asia made two LPs of heavy progressive rock and hard rock. They have an epic, regal quality to many of the songs, somewhat reminiscent of the kind of atmosphere conjured up by Led Zep's No Quarter or Kashmir for instance. They evolved from White Wing with members Michael English on vocals and multi-instrumentalist Mike Coates. Asia achieved some success playing the club circuit in the more urban areas of the upper Midwest. Their self-titled debut was recorded in two sessions at ASI studios in Minneapolis in 1978 and was privately released the same year.


Following is a snippet of the interiews I conducted with Art Bausch of Blue Planet and Betty Raadgever of Cinderella.

Cinderella in 1971
Me: Have you heard of the band Cinderella, that made a single in 1971?

Art: Yes, I did studio work with them on their first single, together with Aad and Peter. That was while Blue Planet was still going. I’ve been seen it on Youtube.

Me: Did you guys write the single or were you just brought it to the session?

Art: The main girl, Betty Raadgever wrote it. Their producer, Gerrit Jan Leenders, I did other work for him too. That’s how that started. My memory is good, especially of that period. Everything was so intense and every day was a party.

We take a brief diversion here to read some responses that Cinderella's Betty Raadgever kindly gave for this article.

Betty Raadgever
Me: Hi Betty, did Cinderella make any more music other than the single?

Betty: Cinderella did make more songs, but they are not recorded on a album, unfortunately. And of course I wrote a lot of songs after Cinderella for my other bands: Eyeliner and The Betty Ray Experience.

Me: I spoke to Art Bausch. I asked him about your Cinderella single and he confirmed that he, Peter and Aad Kreeft played on it. Did Blue Planet play on both sides?

Betty: Blue Planet played on both sides of the single, but I wrote the lyrics and music. Aad was a good friend of mine and we knew the other guys from Leiden/Oegstgeest, where we all came from. A very good band, Blue Planet!

Me: Did the other guys in Cinderella play or sing on it too (Renee, Bernardien, Nico)?

Betty; The singers on the record are Betty, Bernardien and Renee in the chorus. I am singing the lead, and the b-side, "The Love That We've Go", Bernardien sings. The guys from BP played all the music.

Me: Did Cinderella break up for any reason or did it change into a different band?

Betty: After four years I choose to switch bands and became lead singer of a hard rock band called "For Shame". Cinderella was over... After the hard rock period I had four other female groups: Trevira 2000EyelinerNasty Girls and The Betty Ray Experience. The other Cinderella members stopped playing in bands.

Me: Thanks Betty!

Monday, September 28, 2015

The Day After The Sabbath 123: Llega La Destrucción [Spain 2]

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Unzip password:  tdats

TDTAS 123: Llega La Destrucción [Spain 2] by Rich Aftersabbath on Mixcloud

TDATS introduces sixteen new names for Volume 123, the second collection of Spanish bands, after 39: Bandera Inmortal. Most of the usual suspects were covered in that episode, and like The Netherlands for example, searching for further heaviness means looking through all the bands that only made singles, EPs and unreleased material. As such, only five of the 16 tracks here are from albums originally released at the time of the bands. Singles, EPs and archival recordings make up the rest. The searches never end though, and even as I write this I am finding new Spanish discoveries, including LPs, so lets hope there'll be more to come later, as what's here is really good!

Eva Rock at
Eva Rock at
"The Invasion of Filth"
During making this I found out about the "15 horas de Música Pop de Burgos" festival, in Burgos in 1975. It appears to have been Spain's first important rock fest with music ranging from pop to hard rock and prog. Bands that have appeared in TDATS before played it, like Triana, Storm and Eduardo Bort. A new band appearing in this volume called Burning also played it. The fest has since passed into legend, now known infamously as "La invasión de la cochambre" (The invasion of filth) after the hoards of back-packing hippies and free lovers that homed in on it. You can read more here and here.

Mix master Mara B. Stones (mixcloud) has done a great job of embellishing this volume and rounding it off with cool quotes from acid psych compilations and some old movies. Enjoy!


01. Albert Band - Ella Tiene El Cabello Rubio [1970]
02. Los Buenos - Oh, Pretty Woman (Albert King cover) [1969]
03. Los Sirex - Yo Grito [1966]
       from four-track EP 'Los Sirex'
04. Furia - Solamente Tú [1973]
05. Colores - Rompecabezas [1975]
       from ep 'Es Mejor Olvidarn'
06. Clock - Hang On (Confía) [1971]
07. Armada - Cry [1972]
08. Darwin Teoría - De la Ceca a la Meca [1970]
09. Shock! - I Am Blind [1970]
       from album 'Shock!'
10. Smash - Fail Safe [1971]
       from album 'We Come To Smash This Time'
11. Franklin - What Is Wrong? [1973]
       from album 'Franklin I 1971 - 1973'
12. Rockcelona - Queen, Friend And Dread [1979]
       from album 'La Bruja'
13. Burning - I'm Burning (Estoy Ardiendo) [1975]
       from album 'Live at the European Pop Jury'
14. Moon - ¿Por Qué os Portáis Así? [1978]
15. Crack - Descenso en el Mahellstrong [1979]
       from album 'Si Todo Hiciera Crack'
16. Zarpa - Llega La Destrucción [1978]
       from album 'Los 4 Jinetes Del Apocalypsis'

Albert Band
Albert Band
Catalonia's Albert Band made decent pop singles around 1968-1970, and for one they made a real belter called 'Ella Tiene El Cabello Rubio' (She has blonde hair). Amusingly this particular single was released on a label actually called "Belter"! In fact, Finders Keepers Records has made a comp of Belter singles called "Absolute Belter" (link). It would appear the band's name comes from singer, Albert Garriga. Albert Band appeared at the third "Festival internacional de la canción de Màlaga" in 1970, where you can see them in the program (link).

Los Buenos
Los Buenos
On to similar pop band heaviness territory for the next track from Madrid's Los Buenos. Julián Granados (link) is the front man here, he was also in Los Angeles and The Brisks, as well as being a solo artist. Some other interesting links from this band: guitarist Johnny Galvao was in Aguaviva who appear in Vol49, bassist Ignacio Egaña made a solo LP in 1974 called "Karma", and keyboardist Rod Mayall was the half-brother of John Mayall. He moved to Spain after leaving Ivan's Meads. After Los Buenos he joined The Pipe from South America who played latin-flavoured rock. Read more about that here (link).

Time for some 1966 fuzz from Barcelona's Los Sirex. At the end of 1960 the band consisted of Antoni Miquel Cerveró ("Leslie" or "L'Anxoveta") as lead vocalist, Lluís Gomis (Lluís Gomis de Prunera, 1944-2012, RIP) on drums, Josep Fontseré Portolés on the rhythm guitar, Guillermo Rodríguez Holgado on bass and Manolo Madruga on lead guitar. They named the band after a component of eyeglasses manufacture: Guillermo worked at his father's glasses factory. The first performance of Los Sirex was at a Barça football fan club (Penya barcelonista), followed by concerts at The Tropical in Castelldefels. Reportedly their daring lyrics caused them trouble with Spanish censorship. The band has occasionally reformed and played as recently as 2012.

Another Barcelona group comes in at track four, Furia. They formed in 1970 from ex-members of a band called Los Gatos Negros, who themselves came from 'Catch As Catch Can' of the late '50s. Like Albert Band, Furia had some singles on Belter records. Furia were not a particularly heavy band but like many at that time you can find the goods on some of their B-sides, like "Solamente Tú" (Only you) included here. It has a chunky riff and a great freakout guitar solo.

Next up is an extremely rare EP from a band called Colores. According to RYM (link) they were from Madrid, and included José Luis Ortega (keyboards), Manuel de Dios (guitar, vocals), Rafa Insúa (bass) and Rafa Ramos (drums). They made a four track EP around 1975 which is some good heavy prog / psych with hammond organ. It sounds a few years behind the times for 1975 but none the less it's solid and worth a listen, although it's rarity might make that hard as it goes for around €100. I used the track "Rompecabezas" in this comp, and here's another track from the EP, "Es Mejor Olvidar" (youtube).

Clock had some singles out on the Barcelona label, Dimensión (link). This small label was responsible for a couple of other bands that have been used here in TDATS, Evolution and Cerebrum. Clock themselves were more of a pop band than heavy, but they made good music and B-side "Hang On" is a very groovy, brassy little number with some good heft, one for the dance floors indeed.

There's almost no useful online information about Armada. They seem to have only made one single on the German Ariola label, but it's a good one, both sides. The heaviest cut is B-side "Cry" but the A-side "People (Summer Song)" (youtube) is fun too. The only snippet I have come across so far is that the band was started by one-time guitarist of Barcelona's Lone Star, Alex Sánchez. If you'd like to read some more in Spanish, there's a discussion board thread that mentions Alex and Armada here: Spanish / English autotranslation. It states that other than Lone Star, Alex was in groups Los Íberos, The Pipe, Los Zooms and The Food. I wonder if that is the same The Pipe mentioned above re: Los Buenos.

Darwin Teoría (Darwin Theory) are up next, they had some singles on the Poplandia label (link), which distributed in Spain some European bands that have appeared here before, like Geordie and Shocking Blue. B-side "Hello Memories" (youtube) is a great piece of Mungo Jerry-like heavy pop and I have included here the A-Side "De la Ceca a la Meca" (From Pillar to Post) which has some awesome growling fuzz and wah guitar, the way we like it.

Here is what the Spanish re-issue label Guerssen says about Shock!: "We are very excited to present what is for us a major discovery in the Spanish Psych-Prog collector scene: a previously unreleased album from 1970 by this obscure Spanish garage-psych band. Until now, Shock were a total mystery. They only released one 45 back at the time (the killer acid- fuzz punker "No se puede ser Superman")  (youtube) and nothing was known about the band...until we tracked them down.

We discovered that prior to their 45 release, they recorded a whole album which was never released. Shock's music is underground garage- psychedelia with crude acid- fuzz guitar, effects, English vocals...think of Agua de Regaliz, early Pan & Regaliz, Cerebrum or even obscure Brazilian bands such as Tobruk but with a more primitive sound. The album features ten songs including the original versions of the two tracks later re- recorded for their only 45: "No se puede ser Superman" (titled here "I'm being mad", it's a different and superior English sung version) and "I want to laugh" (a longer version than the one included on the 45). Remastered from the original 2- track tape"

Smash were a quality band from Seville who played a few different styles over two albums and could wig out with the best of them when they wanted, as "Fail Safe" shows. This is ten minutes of grungy punks letting loose and enjoying themselves, hypnotising the listener with with a relentless barrage of staccato riffing and stoned jamming. It's a real blast this one.

Prog archives (link): "Spanish prog rock with flamenco sitar. Formed by the sitar / guitar player Gualberto in 1967. The band Smash recorded at the beginning of the seventies two classic rarities of psych / prog rock for Philips label ("Glorieta de los Lotos" in 1970 and "We Come To Smash This Time" in 1971) . The early death of the vocalist Julio Matito marked the end of the band's adventure. In itself, Smash's music has similarities with the Moody Blues and Vanilla Fudge's psychedelic mood. The flamenco touch is evident, applying on traditional "palos" (tarantos.) thanks to Manuel Molina's guitar style. In parallel the leader Gualberto has recorded a few progressive albums with Ricardo Mino, mixing Hindu music to conventional Spanish flamenco guitar works."

Franklin were a late entry here after I saw a post in the TDATS fb group while I was finishing this. I'm glad it was posted as this is a killer track that mixes hard rock riffs and heavy psych to perfection. The El Cocodrilo label (link) released a double LP of all their recordings in 2007, the track I have used here is taken from the first-half LP of that, which is a collection of all their unreleased tracks pre-1973. The second LP is a complete unreleased 1974 album called Life Circle, that was recorded by an altered line-up and is more towards prog rock: "Franklin was one of the first underground groups in Spain, formed in the late '60s by several of the best musicians living in Madrid at the time.

Founded in 1971 by Pablo Weeber and Antonio García de Diego (with Mariano Díaz on keyboards, M. A., Rojas on bass & Juan Cánovas on drums), backed by producers Maryní Callejo and Teddy Bautista. They released a single which included a brutal version of the Stones' Satisfaction that appeared in the Andergraun Vibrations 2 (link).

In 1974, the group recorded a whole album which was unpublished until now; 'Life circle' is a concept album, much more prog-rock than their previous recordings. Conceptually, it has similarities with the Ciclos de Canarios (a group that had connections with them). Nine tracks full of guitar, minimoog, mellotron, keys and some experimental space and near the symphonic passages, all sung in English. They split-up in 1976."

Continuing into heavier territory, "Queen, Friend And Dread" from Barcelona's Rockcelona hits you hard.The LP it's taken from is like this all the way through, it never lets up. This unique and timeless collision between punk, heavy metal and garage rock recorded in 1979 is a real gem for anyone out there who looks for the ultimate in unrelenting fuzz. The group was founded in 1977 by Alfredo Valcárcel, and recorded only one album called "La Bruja" (The Witch).

The heavy metal continues with Madrid's Burning and another of the heaviest tracks here. This one really opens up like some prime NWOBHM which is surprising to say the least for a Spanish band in 1975. Burning was started in 1974 by José Casas ("Pepe Risi", guitar), Antonio Martin ("Toño Martin", vocals), Johnny Cifuentes (keyboards) Enrique Perez (bass) and Ernesto Estepa ("Tito" drums). In this grouping they recorded some singles including the song used here, and then started making albums in 1978, continuing to the present day. Although Burning began singing in English, they are regarded as one of the first Spanish hard rock bands to popularise singing in Spanish, which they did toward the late '70s.

Moon was formed in Madrid in 1974 with Alberto Martin (guitar, vocals), Carlos Navascuas (bass) and Peter Martin (drums). Later Manolo Hernandez joined the band on vocals. Moon were in a movement of Spanish rock that became known as "Viva el Rollo !!" and they were included on a compilation record with that name (link). This important record helped spawn the likes of  famous bands like Leno, Asfalto, Bloque, Topo and Ñu toward the late '70s. The Moon track I have used here is a heavy single from 1978 with more NWOBHM -ish metal going on!

A reprieve from the heaviness and into some prog. Crack came from Gijon, the northern part of the Iberian Peninsula. The members were Alex Cakrul (bass), Alberto Fontaneda (guitar, flute and vocals), Mento Heria (keybaords and vocals), Manda Jimenez (drums) and Rafael Rodriguez (guitar). Their only album "Si Todo Hiciera Crack" (1979) is one of the classics of Spanish progressive Rock. It contains seven tracks, all with a great harmony between keyboards, guitar and flute. There are hints of early Genesis and Jethro Tull.

And to finish with some more heavy metal, we have Zarpa, from Valencia. Front man Vicente Feijóo is the only original member and they are still playing to this day. Their first LP "Los 4 Jinetes Del Apocalypsis", which was originally released on tape only, is one of the best of Spain's early heavy metal albums. It was finally remastered in 2006, before which few people had heard it due to it's rarity. Their most recent LP was "Bestias del Poder", only last year.

Buenas Noches!

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