Why is it worth holding on to Spanish rock in its early days?

His intention was: uncover hidden gems source top secret spanish, they have also validated the extraordinary works of other commercially successful artists beyond the public domain, and what they ultimately – almost inadvertently – do is the glorious history of our popular music in the 60s and 70s. It’s one of those books that better and instructively explains this transition, where the rock got a Spanish-origin name. An exciting story to read from the first to the last of the recovered discs. In exactly the order they appear.

journalists Juan Puchades (Valencia, 1965) and Cesar Campoy (Valencia, 1973) began to write his book’Top 100 Spanish rock albums of the 60s and 70s (Efe Eme) without waiting for the first edition to be sold out in a few weeks (even from afar). The second is already in progress. In a country where Movida and even “indie” still hold so much weight and everything before Radio Futura, Alaska, Nacha Pop, Los Planetas and Vetusta Morla, it’s still quite a feat. does not deserve the attention of the readership.

Cover of Juan Puchades and César Campoy’s ‘100 best Spanish rock albums of the 60s and 70s’. Archive


Information against stereotypes

We can also say that they had a good time writing. Its pages convey this enthusiasm. “We wanted to prioritize quality and originality, because we have to take into account that most of the bands of the early ’60s made versions of foreign bands that didn’t contribute much, but some took the trouble to adapt the song into Spanish and even added some songs. component closer to our culture: rock is still music that originated in the USA and spread all over the planet“, explains Juan Puchades, during the decade that stood out – how could it be otherwise – albums the brave, jumps anyone Lone Starbut also Cheyennes, Wilds, Hurricanes, Wilds anyone Lightening. The book also does justice to later soloists. Juan Pardo anyone mickeyIt has provided protein careers that go far beyond punctual success. Eliminate prejudices. liquid topical

César Campoy delves into the same idea and proposes an endless array of names: “We wanted to go beyond the established and reward risk takers: Stepshave an excellent discography with very little claims, or Z-66 Lorenzo Santamaria or pepesHave a great album of original songs that were not very well known at the time and needed to be salvaged with material that appeared in a warehouse, or sonors A pool of musicians that gave rise to some of Los Bravos from the start, or HeadlightsIt has a curious history because Zafiro/Novola record label set out with them to emulate the Los Brincos model that revolutionized the music industry in this country.

A fusion from far back

hue personality, originality, and assertiveness The fact that many of these musicians are made up of popular music and the “people” of their own regions is particularly relevant at this time when we are experiencing an “explosion” of offerings (Rosalía, Bronquio, Baiuca, Rodrigo Cuevas, Califato ¾, Sandra Monfort) to ‘r’n’b the ‘folk’ of our latitudes. ‘, they blend with the most fashionable foreign movements such as electronica, reggaeton or hip hop. It’s especially appreciated in the 70s: “We’re talking about Rosalía today, but on her scale and in terms of communication, she’s on another planet because there was no internet and someone had to edit your album in the US to be successful there, barabbas By Fernando Arbex in the early 70’s they had an external projection with a clear Latin sound”, argues Puchades.

Barabbas’ Spanish band. ceded


Progressive and psychedelia would come soon, rock of Andalusia to shatter anyone trianarock of the mediterranean Pep LaguardaBustamante And rummy palmero from Valencia or patented formulas Ia & Batiste, Sisa, Iceberg, Los Chorbos, La Grecas, Triana or Itoiz, the third way (between pop and rock, looking at the North American ‘people’) among many other things Canovas, Rodrigo, Adolfo and Guzman anyone Christmas Soto. Many cared for the local tradition, but a certain fusion had already spread before: “Pop lyrics dynamic duo it has a lot to do with the baton, as it is serrate as for the songwriter, because they come from that tradition: ‘Balada gitana’ is from 1962. Los Brincos also introduces elements of flamenco. Or Cheyennes. Los Relámpagos now enters directly into folklore, like Los Pekenikes. Solera they introduce baroque elements in some arrangements. There are vocal shots from Valencia’s ‘les albaes’ on Remigi Palmero’s debut album,” says Juan Puchades. “In Catalonia, the Balearic Islands, Euskadi, or Galicia, they sang in their own language and they were allowed, which is interesting, perhaps because the censors considered it something folkloric and mixed it with another language and looked beautiful. foreign rhythms”, adds César Campoy, remembering that the popular ‘Los cuatro muleros’ was adapted by Los Pekenikes, or that Los Relámpagos came “to make thematic records about the history of Spain.”

important names

It sounds like a joke, but it isn’t: What were a Swiss and an Italian doing by seeking musicians in Franco’s Spain to help them succeed in the rest of the world? Juan Puchades “What were you thinking?” he asks. Two important producers of that period, Alain Milhaud and Rafael TrabuccelliTheir names recur throughout the book. “They had tremendous success with Los Bravos’ ‘Black Is Black’ or Los’s ‘Mamy Blue’. Pop Tops or with the ‘Hymn of Joy’ Miguel RiosThere was definitely an anti-Vietnam song sung that neither Trabuccelli nor the arranger understood. Waldo de los Rios Miguel Ríos himself did not even think, ”she recalls. And this “There was a Spanish industry willing to export, as did Hispavox’s Torrelaguna sound: the major labels were placing all their bands in Latin America.“, he finishes. César Campoy adds: “A German sang at Los Bravos and produced the Franco-Swiss Milhaud”.

Spanish band Los Pepes. ceded


I ask them who among the musicians who have never been on the charts or in the media are the most righteous. Puchades replied to me that it was worth saving”new horizons And Jose ManuelThose buried in Ia and Batiste brakamanwith coto-en-pelTo the very modern debut album of Salvador Domínguez – then just savior – when I haven’t done ‘heavy’ or canaries yet Bison BurpEven on ‘Los 40’, no one paid any attention to them, even though they were one of the seeds of the coming ‘new wave’ that had minimal repercussions with a little – not much – single. the 80s”.

So I ask them what that will be. The best band or musician of the sixties and seventies. At least the most representative. César Campoy’s choicer Los Brincos in the 60s and Cánovas, Rodrigo, Adolfo and Guzmán in the 70s. “The importance of Los Brincos is also explained by everything Juan Pardo and Fernando Arbex did as producers and talent scouts in the late ’70s,” he explains. Juan Puchades also retains both names and states: “Los Brincos were our Beatles, but they are not as important as they used to be because they have been forgotten over time, and the Cánovas, Adolfo, Rodrigo and Guzmán are a cult group that has not been forgotten. Like Los Jumps, but only to a certain audience. and is known to critics: both opened many doors,” he concludes.

Source: Informacion

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