Imán Califato Independiente -

Imán Califato Independiente was a Spanish symphonic-rock band that made a 1978 self-titled album on CBS, followed by the 1980 release Camino del Águila.

Members: Manuel Rodríguez (guitar), Kiko Guerrero (drums, percussion), Iñaki Egaña (bass, 1976-79), Marcos Mantero (keyboards, 1977-86), Urbano Moraes (bass, 1979-86)

Background

Imán Califato Independiente formed in Southern Spain, where four Andalusian music veterans shared a house in El Puerto de Santa María.

Guitarist Manuel Rodríguez Gómez (b. 1954, Seville) cut one prior album with Goma, a jazz-rock band with ex-Smash drummer Antonio S. Rodríguez. He first interacted with keyboardist Marcos Mantero de Caspe (b. 1951, Seville) in Chicle, Caramelo y Pipa, an unrecorded outfit with Goma keyboardist Alberto Toribio. Mantero played on 1976 albums by Gualberto (Vericuetos) and Lole y Manuel (Pasaje del Agua).

Bassist Iñaki Egaña (b. 1947, Portugalete) originated in Alacran, a post-psych trio behind a classic 1971 album. He then joined Latin funk-rockers Barrabas for their 1972 self-titled album. In 1974, he backed the Colombian expat duo Elkin & Nelson and cut a solo album, Karma, on RCA Victor. His backing players included drummer Francisco “Kiko” Guerrero, a Jerez native from beatsters Los Solos.

Imán came together during a 1976 convention by the meditation guru Maja-raj-ji. Their name translates literally as “Iman Independent Caliphate,” a phrase with Andalusian–Arabic resonance: “Califato” evokes the historic Caliphate of Córdoba, while “Independiente” suggests autonomy, and “Imán” implies a symbolic “magnet” (attraction/force).

Imán Califato Independiente

Imán Califato Independiente released their self-titled debut album in May 1978 on CBS.

The album contains four pieces, including “Tarantos del Califato Independiente,” a side-long suite in five parts. Guitarist-singer Manuel Rodríguez leads the front line while Marcos Mantero lays the sonic groundwork with Mellotron, Farfisa organ, piano, and assorted synthesizers (ARP 2600, Farfisa Synthorchestra, Mini Moog, Elka Rhapsody). Bassist Iñaki Egaña and drummer Kiko Guerrero underpin each track, augmented by conguero Javier Fernández Blanco and marimba player Juan Iborra.

“Tarantos del Califato Independiente” starts near-silent, then swells from distant voices into a slow-build two-chord base where guitar and synth trade extended leads; a sharp break near the midpoint resets the pulse into a clipped, staccato figure shared by bass and drums, then the harmony picks up Moorish-inflected turns before a brief horn-synth lead pushes the line toward a Spanish-jazz color, followed by a short drift into eerie textures and a late return to slow, atmospheric rock cadence under sustained guitar.

“Darshan” opens on a broad, two-chord keyboard wash that leaves wide space for guitar, then flips around the halfway mark into a faster, blues-rooted run where guitar drops to rhythm and the synth takes the front; the closing minutes fall back into half-time with the earlier chord-bed restored for a final guitar pass. “Cerro Alegre” moves through several scene-changes: acoustic guitar and piano set a delicate entry, the ensemble locks into a more defined motif with harpsichord tucked underneath, electric guitar cuts in for a hotter lead, then the track downshifts into a tense, soundtrack-like passage led by electric piano before the guitar returns over a thin, slow, synth-hazed backing and the piece pivots again toward Spanish themes and fresh tempo turns. “Canción de la Oruga” keeps the softest contour: airy synth lines hover over gently picked acoustics, vocals enter in a reserved register, the harmony leans toward a Renaissance-folk cast, and the band briefly thickens the percussion and keyboard weight before it settles back into a calm close.

A. “Tarantos del Califato Independiente” [Tarantos of the Independent Caliphate] (20:46)
— a. “Canto al Califa” [Song to the Caliph]
— b. “Tarantos” [Tarantos]
— c. “Estate quieto, Boabdil” [Stay Still, Boabdil]
— d. “Paseo por la plaza” [Walk Through the Plaza]
— e. “Cuarto menguante” [Waning Quarter]

B1. “Darshan” (8:37) – Rodríguez
B2. “Cerro alegre” [Happy Hill] (7:33) – Mantero
B3. “Canción de la oruga” [Song of the Caterpillar] (5:32) – Rodríguez

Sessions took place in February 1978 at Estudios Kirios, where Imán co-produced the album with Teddy Bautista and Ricardo Pachón. The album carries a dedication “to our guru, Maharaj Ji.”

Between albums, Iñaki Egaña cleared for bassist Urbano Moraes, an Uruguayan transplant who played in ’60s Montevideo beatsters El Kinto and backed folk singer Diane Denoir on her 1973 debut album.

Camino del Águila

Imán Califato Independiente released their second album, Camino del Águila, in June 1980 on CBS.

Camino contains four tracks, including two extended opuses performed by the same front-line: guitarist Manuel Rodríguez and keyboardist Marcos Mantero, who layers synthesizer, Mellotron, Farfisa organ, and piano. Drummer Kiko Guerrero paces each piece in lockstep with new bassist Urbano Moraes.

“La marcha de los enanitos” opens at a mid-tempo pace on a firm rhythmic chassis, with guitar and synthesizer trading short lead phrases over propulsive percussion; the arrangement then widens into a longer build where the synth tone turns thicker and the guitar line heats up into faster runs before the track folds back toward its opening motif. “Maluquinha” stays in a more swinging pocket, with percussion and bass keeping the motion taut while the guitar takes a clean, fluent lead and the synthesizer answers in compact solo statements.

The titular “Camino del águila” works as the main set-piece: the rhythm section drives frequent shifts in pace and emphasis, guitar and synthesizer trade extended lead roles, and the composition pivots through Moorish-leaning phrases, brisk ensemble figures, and a brief solo-guitar interlude before the close relaxes into spacious, floating keyboard wash. “Niños” ends the album in a restrained, reflective mode, built from spacey keys and Spanish acoustic guitar under warm, subdued vocals, with slow synth flights and a gentle return to the opening calm.

A1. “La marcha de los Enanitos” [The March of the Dwarfs] (10:30) – Rodríguez
A2. “Maluquinha” [Little Crazy Girl] (6:29) – Mantero; features percussionist Ruben Dantas

B1. “Camino del águila” [Path of the Eagle] (14:00) – Rodríguez, Mantero
B2. “Niños” [Children] (3:03) – Rodríguez; features backing vocals by Deirdre Fallon.

Sessions ran January–February 1980 at Eurosonic Studios, where Imán co-produced and co-engineered Camino with Pepe Loeches, a soundman on 1979/80 albums by Asfalto and Guadalquivir.

Postlude

Manuel Rodríguez and Marcos Mantero backed Kiko Veneno on his 1982 debut solo album Seré Mecánico Por Ti. Rodríguez followed with credits behind Enric Barbat, Remedios Amaya, and Joaquín Sabina y Viceversa. Mantero backed Eduardo Bort on his long-awaited second album, Silvia, and joined Alaska y Dinarama for their 1983/84 albums Canciones Profanas and Deseo Carnal.

Urbano Moraes returned to Uruguay and played on 1981/82 albums by Jayme Marques and Mario “Chichito” Cabral, followed by a running gig with Ruben Rada.

Kiko Guerrero joined the post-album lineup of Cai.

Discography: