TARZEN, hailing from Argentina, Spain, and England, gifted us with two outstanding albums. Their debut, “Taboo” (originally self-titled), was released in 1984, followed by “Madrid” in 1989—a record that was uniquely recorded across three different continents. A departure from the hard rock intensity of its predecessor, “Madrid” leaned more towards AOR and melodic rock, showcasing the band’s evolution and bold artistic direction.
Let’s pick up the story from where we left off in the “Taboo” review…
By 1989, TARZEN had already made a name for themselves as a hard-hitting rock band, touring the US with acts like TWISTED SISTER and DOKKEN. Their rise to fame caught the attention of José Luis Martin, CEO of Popular Uno, one of Spain’s most influential music magazines. He traveled to the U.S. at the start of their tour to cover TARZEN—the first Spanish rock band to embark on a stadium tour in the United States.
However, just as things seemed to be heading in a positive direction, the tour started unraveling. Issues arose first with the record label, then management, and eventually within the band itself. Before anyone could intervene, tensions escalated, leading to the departure of founding member Salvador Dominguez. With Salvador gone, TARZEN found themselves in need of a new guitarist.
Bassist Ralph Hood suggested bringing in English guitarist Laurence Archer (STAMPEDE, GRAND SLAM, THIN LIZZY, UFO). With Archer, the band made a TV appearance and headlined a massive show at Madrid’s Rayo Vallecano Football Club stadium in front of 60,000 fans.
After the show, the band took a break, during which Ralph and Laurence returned to England. Meanwhile, brothers Michel and Danny Peyronel reached out to Salvador in hopes of reuniting. Eventually, TARZEN recruited bassist Gary Liedeman (THIN LIZZY, ASIA) before returning to Rayo Vallecano for another stadium performance. However, Gary’s time in the band was brief, as TARZEN soon brought in Argentinian bassist and Michel’s former RIFF bandmate, Victor “Vitiko” Bereciartua (LOS CRISS CROSS, VITIKEN, VITICUS).
With this new lineup, TARZEN’s sound shifted toward a more melodic direction, incorporating a stronger emphasis on keyboards and smoother vocals while still retaining their signature blistering guitar work and catchy riffs. This refined approach led to the creation of “Madrid”, an album packed with infectious, radio-friendly anthems.
This was no ordinary recording process—“Madrid” was crafted across three continents, a testament to TARZEN’s international ambitions.
The first recording sessions took place at Bray Studios in England, with Stuart Epps once again at the controls, where they laid down “Mother Night”, “Let’s Do It”, and “Black and Blue”. These tracks were later mixed at Pasha Studios in Los Angeles by Spencer Proffer, the producer behind QUIET RIOT’s hit albums. The band then recorded “Immediate Obedience”, “Victim of Pleasure”, “Glad All Over”, “Walls and Rivers”, “Madrid”, “Always a Faster Gun”, and “Go Through the Flames” in Buenos Aires, Argentina. Additionally, Spanish versions of three songs—“Romance En La Línea”, “Es Una Selva Ahí Fuera”, and “Frente Al Muro, Frente Al Río”—were recorded in Buenos Aires.
Finally released in 1989, “Madrid” had pressings in both Spain and Argentina, with a US release planned through Pasha Records. Unfortunately, label complications caused the album’s momentum to stall.
To enhance their live performances, TARZEN recruited keyboardist Pablo Duchovny and guitarist Gady Pampillón for backing vocals and additional musicianship. With this expanded lineup, the band opened for BON JOVI at Vélez Sarsfield Stadium in Buenos Aires, playing to a sold-out crowd of 50,000. Unbeknownst to fans—and even the band themselves—this would be TARZEN’s final show.
Personally, I hold “Madrid” in the same high regard as “Taboo” – or maybe even higher. The album masterfully fuses melody with power, delivering arena-ready anthems like the electrifying opener “Mother Night” and the dynamic “Victim of Pleasure”. Tracks like “Madrid” stand out for their cinematic storytelling, while others bring a heartfelt emotional depth to the record.
TARZEN’s fire still burned brightly in rebellious, fist-pumping tracks like “Always a Faster Gun” and the adrenaline-charged “Immediate Obedience”. Meanwhile, “Black and Blue” carried the swagger of synth-infused rock, and “Let’s Do It” added a radio-friendly polish, hinting at the band’s growing musical maturity.
Though “Madrid” never reached the heights it deserved, it remains a remarkable testament to TARZEN’s talent and ambition. With its blend of powerful melodies, searing guitar work, and undeniable rock ‘n’ roll attitude, the album stands as a lost classic—waiting to be rediscovered by fans of ’80s hard rock. TARZEN may not have achieved lasting global stardom, but “Madrid” proves they were more than just another band of the era. With the right breaks, they could have been legendary.
“Madrid” was re-released by Metallic Blue on March 21st on CD, remastered and featuring three bonus tracks.
Check the discussion about the album in our forum pages.
You can order the CD here.
