Originally a trio comprising Jim Cregan (b. James Cregan, 9 March 1946, Yeovil, Somerset, England; guitar/vocals), Charlie McCracken (b. Richard McCracken; bass) and John Wilson (drums), Stud formed from the ashes of Taste, a band that included both McCracken and Wilson in its ranks. Wilson had also been a member of Them, while McCracken had previously played in Blossom Toes and Julian Covey And Machine. This central trio was quickly supplemented by the addition of former Family guitarist and vocalist John Weider (b. 21 April 1947, Shepherd’s Bush, London, England) after the release of their debut album, a self-titled effort released in 1971 on Deram Records. This set, which secured significant press acclaim, established jazz rock as the band’s métier. Although in retrospect the songwriting did not equal their obvious instrumental skill, it was enough to earn the band a strong following in Germany. Both their subsequent albums were released in that country alone as part of a contract with BASF Records, a situation owing in no small part to their manager Eddie Kennedy’s ructions with Deram. However, German sales alone were not enough to support the band, and soon after the release of 1973’s Goodbye Live At Command Cregan left to join Family, Weider moving on to Moonrider, and McCracken joining a re-formed version of the Spencer Davis Group. Wilson, the final remaining member, attempted to resurrect the band name by recruiting Andy Sneddon (bass, ex-East Of Eden) and Snowie White (guitar), but this line-up never recorded. Line-up / Musicians Jim Cregan/guitar,vocals John Weider/violin,piano,guitar,vocals John Wilson/drums Richard "Charlie" McCracken/bass Discography(Album) Stud 1971
1.Sail On 2.Turn Over the Pages 3.1112235 4.Harpo's Head 5.Horizon 6.Song
This band started life as a trio from Northern Ireland called Method, changing their name to Andwella's Dream after moving to London in 1968. After the first LP they were known simply as Andwella.Love And Poetry is a highly-rated psychedelic album, which featured guest artist Bob Downes playing sax, flute etc. All the songs were written by Dave Lewis. The highlights are the opening track, The Days Grew Longer For Love, which like most tracks is slow and melodic but with killer guitar leads; the heavier psychedelic number Sunday and Cocaine and Shades Of Grey, two tracks which veer towards progressive rock with plenty of organ and jazzy guitar. CBS released three singles from the album including two non-album sides: Missus Man and Mister Sunshine. Of these, Sunday is a superb slice of psychedelic rock with some Hendrix-influenced guitar work.In 1970 they switched to Reflection for whom they recorded two albums, neither of which matched their first effort and two 45s. The World's End album was also comprised entirely of Dave Lewis compositions, but most of the tracks were more mainstream with string orchestrations, brass arrangements and background vocals. The best tracks are the mid-tempo R&B influenced I Got A Woman with flute solo, jazzy piano and guitar; two tracks (Reason For Living and Shadow Of The Night), which sound similar to Traffic and the slow instrumental Michael Fitzhenry which featured some good guitar work and flute. On the down side Back On The Road was pale imitation of The Band's The Weight. The flip side of their first 45 was an instrumental credited to Andwella. A Mike Fitzhenry appears on the credits of the first album as one of the recording engineers. Line-up / Musicians David Lewis/vocals,guitar,keyboards Nigel Smith/bass,vocals Gordon Barton/drums Dave McDougall/keyboards Dave Struthers/bass,vocals Discography(Album) World's End 1970
1.Hold On To Your Mind 2.Lady Love 3.Michael Fitzhenry 4.I'm Just Happy to See You Get Her 5.Just How Long 6.World's End (Part One) 7.World's End (Part Two) 8.Back on the Road 9.I Got a Woman 10.Reason for Leaving 11.Shadow of the Night
In 1970, near Zurich, 20 teenagers founded the chorus les Amis. The chorus sung gospels and quickly became quite successful, garnering a following via its many live performances throughout Switzerland. Some of the members of les Amis grew tired of the chorus and began working on a project of their own: a progressive rock band, Alpha to Omega. Alpha to Omega recorded and performed over the next five years, with a chorus that grew at times to include over 100 members. Work on the band's debut album, the concept rock opera A Life, gradually appropriated much of its time and performances became rare, causing one after another of Alpha to Omega's members to exit the band. When recording was finally complete, the band had been whittled down to only one member: Fredy Baumann. He decided to spend all his money on a pressing of 600 records, one of which found its way to the only Swiss radio station in existence at the time, Radio Beromunster. As it so happened, at the very same time, the Swiss government had sponsored and released a rock opera of its own, and A Life was not simply favorably compared to that project, but was instead declared far better by the station. Within days, Radio Beromunster received bags full of fan letters concerning Alpha to Omega, and the small pressing of records sold out in mere days. More records were not pressed due to an odd occurrence. An agent of Cat Stevens had heard the airplay being given to A Life. Impressed and intrigued by the story and music, he attempted to buy the entire rights to the story from the band. The band was unwilling to sell, so the words and music were slightly changed, and, six months later, the "Alpha to Omega" project was released in England "by" Cat Stevens, with additional help and appearances from Elton John and other notable recording artists. A similar "Alpha to Omega" project was released in Australia. Black Rills Records officially reissued A Life in 1997. Many of the former members of Alpha to Omega re-formed in 1997 and began playing as Mu, recording new songs in a style similar to their former outfit. Line-up / Musicians Fredy Baumann/Vocals Fritz Beerstecher/Vocals Priska Weidmann/Vocals Erica Laederach/Vocals Pierre Laederach/Piano J.C. Laederach/Flute,Vocals Peter Ohno/Guitar,Vocals Werner Homberger/Guitar Jurg Gallo/Bass Renaud Suter/Drums Rene Liniger/Drums Discography(Album) A Life 1977
1.Alpha 2.Easygoing Childhood 3.The Grey City 4.The First Day At School 5.The Tiny Difference 6.King Michael 7. One Thousand Arms 8.The Woman 9.I'm In Love With Life 10.Happy Time 11. The Breakdown 12.And He Doesn't Know What The Preacher Says 13.Awakening 14.The Rich Man, Yet So Poor 15.Temptation 16.Guilt 17.My Friend Death 18.Omega
The story of this German group from Zweibruecken begins in 1966, when it was formed by four amateur musicians, Otto Nunold on organ/vocals, Peter Schneider on guitar, Hartmut Nagel on drums and Gerhard Braun on bass.Developing their equipment and sound, they soon became quite known around the area, playing in festivals and bars.In 1968 Braun was replaced by The Revengers' Harald Schindler and the following year Charly Fottner replaced Schneider.Despite their good live activity Action fell apart for the first time in 1971.A year later Nunold revived the group along with Fottner, Schindler, new drummer Ernest Cadet and singer Wolfgang Benki.They came to the closest ever to record an album, as two tracks were recorded at the studios of the Kerston label, but again Action disbanded in 1973, when Fottner left.In 1997 Ernest Cadet sent the tapes from the old Action recordings to Thomas Eicken and eventually what was supposed to be Action's sole release saw the light on Very Good Records in vinyl format.The two-part ''Miscarriage of human thinking'' takes up the whole opening side, showing the group performing an organ-driven Heavy/Psychedelic Rock with lots of bluesy colors, heavily influenced by the music of DEEP PURPLE, with Benki almost plagiarazing Ian Gillan's vocals to the point it becomes annoying.Musically though the band was quite solid with psychedelic grooves smashed by guitar-oriented moves, while all 17 minutes are delivered with passion and energy.''Hell Track'' clocks at 12 minutes, the music remains fairly rooted in a DEEP PURPLE-like organ-based Heavy/Psych style with parts of it sounding a lot like ''Child in time'', although a personal identity eventually appears here.The stretched guitar jams and the symphonic-oriented Hammond organ by the middle are welcome introductions for a band still searching for its own style.The closing track ''You are the lady'' comes from a 1972 live performance of the group and, while the sound is pretty mediocre and the style unoriginal, you can only admire the pure power of this live performance.Psych/Blues Rock with dominant electric guitars, nice vocal lines and deep organ washes all over the place for another piece closer to the styles of British Rock.In 2008 a short reunion of Action took place in their hometown for a couple of live performances, featuring four original members and young singer Dirk Bill.They performed all three tracks of their vinyl issue and these live pieces are enclosed in the CD package of Garden of Delights, issued the following year. Line-up / Musicians Wolfgang Benki/vocals Otto Nunold/organ Harald Schindler/bass Ernest Cadet/drums Charly Fottner/guitar Discography(Album) Action 1972
1.Miscarriage of Human Thinking (Part I) 2.Miscarriage of Human Thinking (Part II) 3.Hell Track 4.You Are the Lady
Acapulco Gold’s album Zeitlos contains the top song of Acapulco Gold "Sodom and Gomorrah". This is one of the cautious political songs of the band. Five years before Chernobyl, it focuses on environmental disasters, bring the man to the end of its possibilities. Line-up / Musicians Marcus Neu/vocals,guitar Kai Waindinger/guitar,vocals Erwin Tomada/guitar Hagü Schmitz/bass Michael Weber/drums Thomas Minnik/percussion Guests: Helmut Herlett/keyboards Benno Benninghaus/keyboards Harry Alfter/guitar Ralph Mager/guitar Richard Schneider/Sax Thomas Minnik/percussion Discography(Album)
Zeitlos 1981
1.Sodom und Gomorrha 2.Wackelkontakt 3.Manchmal 4.Ballade von Manfred 5.Otto der Floh 6.Wo geht's lang 7.Treibjagd 8.Schon sieben 9.Mahlzeit
The band formed in 1971 made their breakthrough at the Germersheim rock festival, where ABACUS drew not less applause from the 300,000 visitors than PINK FLOYD, SANTANA or ELP which appeared on stage as well. Jürgen Wimpelberg takes on himself to play keyboards, guitars, drum programming as well as vocals. Abacus' 1971 debut is arguably the best thing they ever did; while later albums have since been met with the progressive community's dismissal or ambivalence, the self-titled debut has found itself a comfortable niche in the prog rock canon. Like Van der Graaf Generator, Emerson Lake & Palmer and their lesser-known contemporaries in Aardvark, Abacus sought to bring keyboards to the front of an otherwise guitar-dominated style of music. To current ears Abacus at their best sound like they're fusing symphonic prog and Krautrock, and that's all the more of a reason to feel disappointed that this self-titled debut fails to live up to its potential. While the first pair of tracks are very solid, cloying songwriting ultimately prevails, leaving the album feeling much less effective than it should have been.It's a fairly common point of weakness for debuts, but Abacus end up feeling like they mean to cover as much ground as possible, rather than focusing in on their strongest suits. No doubt the band wanted to get all of their best ideas pressed to record so as to make the best first impression with listeners, but it's resulted in an album that suffers the lack of consistency and coherence. "Pipedream Revisited" is a strong mini-epic that highlights a pastoral atmosphere in their sound, and the excellent organ-based instrumental piece "Cappucino" follows it up nicely. If a brash take on symphonic prog pulls them one way, it's the pop stylings of the past decade that pull them back the other. "Don't Beat So On The Horses" fares decently with the melodic, hook-oriented approach, but everything from the Sitar-infused raga track "Song for Brunhilde" onwards feels half-baked in comparison. It's not the idea of fusing the two styles together that makes the album so uneven, it's the varying extents of success they've had with the different approaches that does it. Line-up / Musicians Felix Hans/drums,percussion Charlie Schade/guitar Chris Barutzky/keyboards Chris Williams/vocals Konstantin Bommarius/drums,percussion Discography(Album)
Abacus 1971
1.Pipedream Revisited Part I & II 2.Cappucino 3.Don't Beat So On The Horses 4.Song For Brunhilde 5.Song For John And Yoko 6.Radbod Blues 7.Chestholder
Modulos was an extraordinaire band formed in 1969, unfortunately too late for the classic rock of the 60's and when the Spanish labels were not decided for supporting the winds of change coming from the outside. Modulos created an own and distinctive sound without loosing the commercial punch (mainly thanks to the talent of the "magician" Rafael Trabuccelli). In their sound they mixed the inherence of 60s' spanish pop español with the intensity of Vanilla Fudge, the Cantatas of J. S. Bach or the delicious touch of Le Orme. That exceptional band was formed up by Pepe Robles, singer of a very large register, composer and remarkable guitarist. The rhythm section was for other two talented players: Emilio Bueno on bass and G. Reyzabal on drums and also on violin. Finally the chief on Hammond was Tomas Bohorque, howling like never heard before. In addition he played accordion and triangle, providing a characteristic "clinc". Innovative and avant-garde, they take care of their sound to the maximum. They were very professional (the first having an office in Madrid). Their first presentation was prepared until the smallest details. But that was never recognized. Too hard for their time, with too weak words compared to those of bands coming later. Their influences could be found in bands like Vanilla Fudge, Cream, Young Rascals, Italian progressives and lately Yes, but their hippism led them also to the west coast bands. They were pioneers and really good. Not an usual band. Their first three singles become hits but it was their first LP their actual "hit". For the first time in Spain a band gave more importance to the Long Play than to the singles. No one can miss hearing it. One year later (1971) "Variaciones" was released. More optimistic than the former, more "hippy", those nine songs kept a high level.vuelven a mantener un nivel tremendo. In 1973, after another nice single, they made "Plenitud", thir best album for many people. Anyway, some changes were present. Pepe was not at his best in vocals (he was on guitar) and it seemed that the keyboards tried to sound like Yes without achieving their goal. It seemed that they were trying to experiment into progressive rock. 1974: what a pity!. "Modulos 4" points to the other side. Even Reyzabal seems tired when playing drums. It has its moments, but clearly their label (Hispavox) wants another thing. It's decadence. Just when Yes, Genesis, Deep Purple or Pink Floyd were at their best. After a number of line-up changes (Chupi on drums, Sherpa on bass) and singles they released a last LP through Olympo. Line-up / Musicians Tomas Bohorquez/Hammond organ,mellotron,accordion,moog Pepe Robles/vocals,guitar,flute,oboe,bongos Emilio Bueno/bass Juan Antonio Garcia Reyzabal/drums,violin Discography(Album) Variaciones 1971
1.Un nuevo dia 2.Adios al ayer 3.Solo tu 4.El bandolero 5.Quiero olvidar 6.El sonido del silencio 7.En mis suenos 8.Juan 9.Quisiera conseguir
Spanish singer and songwriter Miguel Ríos was born in June 1944. As a student, Ríos grew closer to his passion by singing with his school's chorus and listening to the radio every time twist songs were on the air. By working at a music store, Ríos had the opportunity to meet people related to the local music scene who gave him a chance to start singing in front of an audience, starting as a backup singer. After recording a demo, he decided to send it to a major label in Madrid, choosing Philips. The waiting ended in 1961 when the artist was contacted by the label. That same year, Ríos moved from Granada to the Spanish capital city, recording an EP called El Twist in 1962 as Mike Rios. Two years and six EPs, Ríos was starring in his first movie, called Dos Chicas Locas, Locas. In 1965, the singer left Philips, and after working temporarily with Sonoplay, Ríos signed up to Hispavox, releasing the smash hit single "Rio," and later his first full-length, Mira Hacia Ti. In May 1970, a second album came out which included "Himno a la Alegria," based on Beethoven's ninth symphony; it became Ríos' first song to reach the Billboard charts. After leaving Hispavox during the mid 70's, Miguel Ríos released a string of albums that fall into the progressive-symphonic category. What he did before and after this trilogy does not, as far as those brave enough to have heard Ríos' discography claim.The first part of the trilogy was the Memorias De Un Ser Humano album. Among with the remaining two, it saw the light of day on CD not before 2005, sandwiched in a double compilation called "Miguel Vol. 3 - Historia De Una Búsqueda (1974-1977)" ("Miguel Vol. 3 - Story Of A Search (1974-1977)"). It also included an unreleased track, "The Boy That Didn't Get Born" (real title). Line-up / Musicians Miguel Rios/vocals Antonio Perez/Guitars Johnny Galvao/Guitars Mariano Diaz/Keyboards Teddy Bautista/Keyboards Tito Duarte/Percussion,drums David Waterstone/Harmonica Discography(Album) Memorias De Un Ser Humano 1974
1.Viviras tanto (como tengas ganas de vivir) 2.El juglar 3.La mina 4.Buenos dias 5.Por si necesitas 6.Sweet California 7.Desde mi ventana 8.Memorias de un ser humano
Basque Psych/Folk-Rock group, active between mid- to late-70's.Members were Alfonso Guillok on bass/vocals, Gabi Agirregomezkorta and Txerra Gurrutxaga on electric guitars/vocals, Luis Diego on acoustic guitar and Endika Iriondo on drums. Their eponymous debut was released in 1976 on the Basque label IZ.Without speaking the Basque dialect of course, but looking at the front cover, this Psychedelic Rock album had to contain strong political lyrics, as the letters of the band's name build the form of the Basque flag.The style on the opening tracks is Heavy Psychedelic Rock with fuzz guitars and interplays with the acoustic ones, while the vocal arrangements are simply excellent.Later on the Folk elements become more prominent with more space for acoustic passages and light use of percussions and flutes every now and then, but the electric guitars still deliver some decent solos and lead the way.Not much of a great music quality, but everything in ''Koska'' is played with heart, while the vocals seems to be the stronger point of the band. Line-up / Musicians Alfonso Guillok/bass,vocals Gabi Agirregomezkorta/guitars,vocals Txerra Gurrutxaga/guitars,vocals Luis Diego/guitar Endika Iriondo/drums Discography(Album) Koska 1976
Formed in Cambridge, Massachusetts, Bead Game’s original line up consisted of rhythm guitarist K. Westland Haag, singer/drummer Jim Hodder, keyboardist R. Gass, bassist Lassie Sachsand, and lead guitarist Jim Sheldon. Even though they apparently weren’t big on rehearsals, the group managed to attract a local following on the Boston club circuit, eventually cutting a series of demos for a planned album that was promptly shelved until 1996. Luckily, the group somehow captured the attention of AVCO Embassy Records, which promptly signed them to a recording contract. 1970′a “Welcome” was produced by Gary Kannon and recorded at New York’s Record Plant. Featuring all original material, tracks such as ‘Punchin Judy’ and the fuzz guitar propelled ‘Wax Circus’ showcase an engaging mix of hard rock with occasional jazz touches. Line-up / Musicians K. Westland Haag/guitars,vocals Jim Hodder/vocals,drums Robert Gass/keyboards Lassie Sachs/bass John Sheldon/guitars Discography(Album) Welcome 1970
1.Punchin Judy 2.Lady 3.Wax Circus 4.Mora 5.Natural Song 6.Country Girls 7.Amos n' Andy 8.Slipping
This, the only album from seventies Canadian band Mantis, only has three truly prog songs, but somehow remains quirky and likeable throughout. Like many bands of their time, Mantis shows quite a bit of humor in their songs, which sound to me to be mostly inspired by the west coast rock (The Jefferson Airplane, The Mamas & The Papas, The Doors...) of that era. The three songs that spark my interest are What Does It Take, a piece that starts out somewhat nondescript, but turns into a sound like what Pink Floyd was working on in those days. Fred another shifting styles song, begins as a country blues jam, but after a nice guitar solo, the keyboards turn it into something similar to Keith Emerson & The Nice. Eyes Of Fire, the proggiest piece on the album, is a Santana-like jam, with some fusion and symphonic breaks. Line-up / Musicians Philip Aker/bass Mark Bajona/guitar Rick Elger/vocals,harmonica Daniel Hutchison/drums Martin Swehdlow/keyboards Christine Williams/vocals Discography(Album) Mantis 1973
1.I Don't Ever Want to Get Married 2.Communique 3.Walking Away 4.What Does It Take 5.Fred 6.Hollywood Eyes 7.National Blues 8.Take Me Back 9.Eyes of Fire
A prog act without a guitar player. That's exactly what this early 70's British foursome is. Originally, they became known mainly because Paul Kossof and Simon Kirke played in the band before leaving to form legendary band FREE. From then on, AARDVARK were mostly a studio act and by the time they recorded their only album, the line-up consisted of Stan Aldous (bass), Frank Clark (drums), Steve Milliner (keyboards, recorder, vibraphone) and Dave Skillin (vocals). Comparisons are not easy but one could probably say their music has the power of EMERSON, LAKE & POWELL mixed in with a little R&B à la PROCOL HARUM and early MOODY BLUES. Shades of GRYPHON, GREENSLADE and PINK FLOYD are also present. As is to be expected, AARDVARK's material is highly keyboard oriented, the brunt of the music being carried by the fuzzed-up Hammond organ which more or less simulates the job of a distorted guitar. The soaring vocals by Skillin are pleasant and the music, although not highly original and somewhat lacking in variety, is quite melodic - nice 60's sounding melodies. The album contains some ear-friendly piano/keyboard interplay as well as some good R&B guitar riffs and harmonic choruses. The low points: following the fashion of the early 70's, many tracks drag on far too long. Also, possibly because the dominant Hammond did not stand the test of time, the album unfortunately sounds quite outdated. Finally, the cuts that work best tend to be the less progressive ones. Overall, AARDVARK is an honest musical effort for the times, an interesting early art rock experiment with a slight progressive edge. Line-up / Musicians Stan Aldous/bass Frank Clark/drums Steve Milliner/keyboards,vibraphone Dave Skillin/vocals Discography Aardvark 1970
1.Copper Sunset 2.Very Nice Of You To Call 3.Many Things To Do 4.Greencap 5.I Can't Stop 6.Outing 7.Once Upon A Hill 8.Put That In Your Pipe
One of the finest from the Spanish progressive scene in the seventies, N.H.U. contains everything that made the Spanish scene so special. Strong compositions marked by many changes. Fat keyboards, loud acid guitar and a complex, exciting rhythm section make up the centerpiece of the group. An excellent vocalist and a strong fusion edge ala Mahavishu Orchestra rounds out one of the true bona fide classics of the Spanish scene. An absolute must hear. Line-up / Musicians Tino Grandío/bass Roberto Abal/guitar Xurxo Pérez/Hammond,keyboards Xosé Garea/drums,vocals Julio Garea/percussion Antonio Fernández/guitar Emilio Cao/violin
Discography N.H.U. 1978
1.Na Terra do Verde Chan 2.A Titiritada 3.Friky & Alexo 4.Doente 5.Hay un tren 6.A trancas e barrancas
Argentinian band CANTURBE was formed towards the end of the 1970's, with Jorge Garacotche (guitars, vocals) as the main and founding member. The first stable line-up of the band saw him joined by Luis Blanco (bass), Alejandro Fiori (guitars) and Gabriel Pelizzari (drums), and the foursoume issued their debut album El Vuelo de los Olvidados towards the end of 1980. For the next few years the band would build themselves a steady following in their home town of Bueons Aires, both due to extensive live activity but also due to their lyrics, most of which were centered around persons and events placed in that city. A second album, Bonpland, followed in 1983, while Clandestine was released in 1986. Fernando Bellini replaced Blanco on 1989's Del Magico Munde, while Litto Nebbia and Maria Jose Cantilo joined their ranks for the following years En Venta.Canturbe broke up in 1992, but just over a decade after the band had called it quits they reformed again. This has so far resulted in an additional chapter in their discography, issued in 2008 as Sociedad Secreta de Melancólicos. Line-up / Musicians Jorge Garacotche/vocals,guitars,percussion,harmonica Alejandro Fiori/guitars Gerardo Antonel/drums Luis Blanco/bass Discography(Album) El Vuelo de los Olvidados 1980
1.Leccion de Sangre 2.Amurado en tu Puerta 3.Suenos de Ayer 4.En Virtuo del Obsecado 5.De Toros los Inventos 6.Medidas de Sol 7.Los Perros de Villa Gesell 8.Linyera de Alcoba 9.El Vuelo de los Olvidados
Spanish outfit ASFALTO were born in 1972, when rock band Tickets decided that a change of moniker was needed. In the first few years the band experienced a series of line-up changes, but by 1975 a stable version of the band had settled in the shape of José Luis Jiménez (vocals, bass), Julio Castejón (guitar, vocals), Enrique Cajide (drums) and Lele Laína (guitar, vocals).In 1977 they were signed by newly formed Chapa Discos, a sub-label of Spanish label Zafiro, and in 1978 the band made their debut with Asfalto, an effort containing several tracks considered classics by their fans. The band itself weren't all together happy with the end result though, and Jimenez and Laina decided to leave the band shortly after the album release.Castejon and Cajide decided to continue on as Asfalto, and brought in Jorge Walter García Banegas (keyboards) and José Ramón Pérez (bass) as new members. This revamped line-up released Al Otro Lado towards the end of 1978. !!Ahora!! followed in 1979, and the double album Dejalo Asi in 1981. Label problems saw Asfalto leave Chapas Discos in 1981, and they decided that it would be better to set up a label of their own, Snif.Mas Que Una Intencion was to be the first production released on their newly formed label, and this album also sported a new member in their line-up, in the shape of Miguel Oñate (vocals). In 1984 Cronophobia is released. This would be the last album Onate participates on, as he decides to leave the following year. Ricardo Benítez (vocals) is recruited as his replacement, and he makes his band debut on the 1986 effort Corredor de Fondo. His tenure proves to be brief though, and at the end of 1986 he decides to opt out of Asfalto, citing personal reasons for the decision. Cajide, Perez and Bangeas left the band the following year, and a period of inactivity followed.Asfalto returned in 1990 with the album Sólo por Dinero. Band leader Castejon is accompanied by returning old members Jimenez and Leina on this production, with new man Terry Barrios (drums, vocals) as the final member of the revitalized band. Barrios sadly pass away in 1992, after which Cajide decides to return as their drummer. This version of the band would release one studio production, El Planeta de Los Locos in 1994, but by the end of 1995 Asfalto decided to call it quits.Band leader and sole remaining forming member Castejon decided to reform Asfalto in 2008. With an all new line-up consisting of himself, Carlos Parra (keyboards, vocals, viola), Raúl Santana (vocals, guitar), Viti Ilarraza (drums, vocals) and Juanvi García (bass), the CD Utopia is recorded and released the same year. Garcia leaves the band shortly after, and is replaced by Alejandro Ollero (bass). This slightly revamped line-up has released one effort so far: The live production Al Fin Vivos from 2009, issued on CD and DVD. Line-up / Musicians José Luis Jiménez/vocals,bass Julio Castejón/guitar,vocals Enrique Cajide/drums Lele Laina/guitar,vocals Discography(Album) Asfalto 1978
1.Ya está bien 2.Capitán trueno 3.Ser urbano 4.Días de escuela 5.Todos los días 6.Quiero irme: la huida 7.Rocinante 8.La isla del amor 9.El emigrante
