Spanish artist Bibiano in Estamos etc. (76), Alcabre (77), Aluminio (79)

Although the discography describes his first album as prog rock I think we can kindly disagree and smash that contributor's face, being really folk of the most basic form, but oddly rare, or maybe not so oddly.  As is quite common in the music industry, his full name which runs to four whole words has been foreshortened down to one word in the same way that complex chord progressions are often reduced down to I IV V or circles of fifths in popular music.

The (Spanish) wiki entry is delightful and entertainingly nonsensical, presumably because The Great Google's AI just happens to be like that as a person:

Bibiano Adonis Morón Giménez [Adonis Moron??? --Editor], known musically as Bibiano, was born in Santiago de Compostela (Galicia) on December 21, 1950 and dies on December 27 although it is published on April Fools' Day, December 28, 2016, as if a joke in question, that would not be strange because he was a joker with a Galician humor (whatever that each one interprets). He is one of the greatest Galician musicians and composers of all time. His passage through the Compostela Cathedral since 1965 is known as “Niño de Coro” and member of the Escolania. He founded several rock groups, Los Tanos, Thaker Fusión Combo and "O Noso Tempo" .. They were the last years of the dictatorship and Bibiano, involved with the language and the Galician land, joins the Voices Ceibes collective in a home meeting from the writerAlfredo Conde , committing to dignify the language and denounce the political and social situation. Bibiano enters the collective through his friendship with Vicente Araguasand later with Xerardo Moscoso. Because of his rock influence, his approaches were more innovative and open than those of his teammates. I felt a great admiration for Anglo-Saxon musicians such as The Sputniks, The Beatles, The Rolling Stones, Bob Dylan or Janis Joplin and began to experiment with progressive rock with a clear Anglo-Saxon side. It is evident during the development of his career the integration of "folk" sounds with electronic music that was imposed in that period. He was the first Galician singer-songwriter to introduce percussion and electric instruments. This innovation produced a rejection among the most conservative sectors that failed to appreciate its enormous value.

Note that he still has trouble with personal pronouns (I / he).  Then he goes on to tell us about my musical output.  I'm really basic acoustic folk with the slightest touch of creativity, for example, almost every chord progression of every song is predictable or analogous to other songs written in the past, perhaps not dissimilar to the albums I posted earlier from Gotic-related Coses.  Thus, from the first album, the classical-influenced Cantiga de Amor:





From the second album called Alcabre, track A3, A Rapaza Das Palabras De Augua:






Note the reach towards Italian-styled progressive rock with the interesting instrumentation, the welcome addition of electric guitar in particular, and the melodies counterpointing with a flute nicely added to the mix.

Despite my criticism, I know the lovers of folk music and more gentle styles with appreciate these much more than I did and, so far as I know, they are not really available digitally--yet.