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|Members||Jesús de la Rosa Luque
Eduardo Rodríguez Rodway
Juan José Palacios "Tele"
Triana was a Spanish progressive rock band from the 1970s and early 1980s, heavily influenced by flamenco, hailing from Andalusia. It was composed of Jesús de la Rosa Luque (Seville) (voice and keyboards), Eduardo Rodríguez Rodway (Seville) (voice and guitar) and Juan José Palacios "Tele" (Puerto de Santa María, Cádiz) (drums and percussion). Regarded as one of the best Spanish rock bands ever, it was also one of the most influential bands of the Andalusian rock.
The main goal of the band was to merge flamenco music with psychedelic rock and progressive rock. The band was influenced by other progressive rock-bands, like Vanilla Fudge and the early King Crimson. The band developed a hard progressive and experimental sound during its three first albums. Later, the sound turned into more fresh pop.
El Patio, Triana's debut, was released in 1975, and it had a strong influence on the post-Franco young people, despite poor marketing and promotion. Two songs stood out in this album, and became standards of the group: "Abre la puerta" and "En el lago". The latter is a surrealistic evocation of an LSD trip. El Patio is considered the founder of a rock-style developed in Andalusia called Andalusian rock.
The second Triana's album, Hijos del Agobio, was released in 1977. The band maintained its pure progressive rock style. However, in this album Triana developed politically inspired lyrics.
Their first three albums clearly reflect these trends. El Patio, their debut, has a great success among the most troubled youth, despite a practically zero promotion. It contains two songs that became classics of the group within the school and create rock andaluz: "Abre la Puerta" ("Open the Door") and "En el Lago" ("In the Lake"), dreamy evocation of a lysergic trip.
Hijos del agobio ("Children of the strain") in 1977, released in a very significant moment in the history of Spain, addresses political issues: the exaltation of the freedom ( "The guitar in the morning you spoke / freedom", they sing in Rumor) and while the lack of organized political ( "all seek to know and say what you think you / with elegant gestures and harsh words at a time. / We want to choose, and without saying more than anyone / the path that leads to the edge of the freedom "in the subject You are right!).
Finally, Sombra y luz ("Shadow and Light", 1979) revives their more progressive elements, the music is darker and more experimental than on previous albums, with elements of jazz (Sombra y luz, Shadow and light) and presence of the electric guitar (Una historia, A story). Only one of the songs (Quiero contarte, I want to tell you, a sort of rewriting of their previous song, Abre la puerta, Open the door) maintains some up-beat pop.
Triana later moved towards a more pop-rock sound. However, it still has considerable strengths as Tu frialdad (1980), their only number one hit, or Llegó el día (1983), the longest track ever recorded by the group which gave name to their final album.
Jesus de la Rosa died in a car accident on October 14, 1983, putting an end to the creative life of the group.
Eduardo Rodríguez Rodway launched a brief solo career, while Juan José Palacios "Tele" returned to the stage with the group name, drawing on a 1995 compilation History Triana, next to a video documentary.
It did not end there because Juan José Palacios "Tele", supported by ex-components of former groups and other musicians, created a new group and made the controversial decision to call the new lineup Triana. They released two albums, Un Jardín Eléctrico ("An Electric Garden") (1997) and En Libertad ("On Liberty") (1999). In the early hours of July 8, 2002 Tele entered the Ramon y Cajal hospital in Madrid to undergo surgery for a ruptured aortic artery, which could not save his life.
But most outrageous for their followers was the decision taken by the remaining components of this new formation, after the death of "Tele", to come back again in 2007 taking the name Triana and recording an album that has upset some followers of the Sevillan trio. It even provoked a harsh statement from Eduardo Rodríguez Rodway, the only surviving member, in which he accused them, among other things, of wanting to profit at the expense of the name Triana.
- El Patio (1975)
- Hijos del Agobio (1977)
- Sombra y luz (1979)
- Un encuentro (1980)
- Un mal sueño (1981)
- Llegó el día (1983)
- "#21 Triana". rollingstone.es (in Spanish). Retrieved 4 October 2014.
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