The flamboyant production on these albums was by Pino Massara and Alfredo Tisocco, making the distinctive 'Bla Bla-sound' that also imprinted Capsicum Red and to a lesser degree Ossage Tribe. Battiato has made countless other albums, ranging from extreme experimentalism in the late seventies to plain pop-rock a few years later. Their album is supposed to be very good, although as I haven't heard it I cannot confirm this. Pierpaolo Bibbo - bass, guitars, vocals, synthesizer Adriano De Murtas - organ, synthesizer, piano, electric piano Franco Medas - drums, percussion with: Giacomo Medas - violin one track Antonello Severino - flute one track.
This guy made a little known but excellent symphonic rock album with strangely bubbling synths and unusual, high-pitched electric guitar lines. It sounds like the work of someone who really enjoys himself in a recording studio utilizing its assorted effects. The songwriting and arrangements are refreshingly inventive, poetic and easy on the ear.
In short, this is a recommended album. This group released their first album just after the Italian progressive rock scene had passed its creative zenith. It is a classic of fully matured progressive rock, reminiscent of late Summer just before the Autumn sets in. The group had a zealous affection for even the smallest musical detail, balancing their complex and dense sound between classically inspired and heavy forceful progressive rock, in powerful, slightly romantic songs with very dynamic arrangements.
The keyboards usually win the frequent musical battles with the guitar. In my opinion, Biglietto Per L'Infemo are sometimes a bit over the top, but this is just a very minor reservation. Their second album was never released and it is open to question whether the group ever completed it. Recently it has been released on CD and LP.
The technical quality is a bit sparse, but does not seriously undermine the musical content. Unfortunately it isn't quite up to the high standards of their first effort. Giuseppe Banfi's synthesizers were more prominent on this album. He later got seriously into electronic music, releasing solo albums comparable to Klaus Schulze, who produced and released two of them in Germany on his IC label.
Breaks / Funk / Grooves / Jazz / Disco - 12" / LP
Pesce - drums. Their eponymous album was released in on the small Brutkasten label in Nuremberg, Germany. According to the cover, the five tracks were recorded from to probably in Germany , but sound as if they were made in one go in the mid-seventies. No one can accuse Black Spirit of exaggerated sophistication, as their music was all plain hard rock in the Black Sabbath and Deep Purple vein, though recorded under much more primitive circumstances. Only really enjoyable for fans of intense guitar solos and well known blues riffs.
Aldo Angeletti - lead vocals, bass Filippo Lazzari - keyboards, harmonica, vocals Dino Finocchi - lead vocals, sax, flute Gigi Bianchi - guitars, vocals Michele Arena - drums, percussion, vocals. Their sole album is one of the really outstanding pearls of Italian rock. Being more introspective and relaxed in style than most, this very poetic and fragile album has sadly been overlooked by some collectors. The delightful melodies are performed by a very distinctive vocalist with a slightly nasal, high-pitched voice, comparable to Par Moran of the British group Spring or Colin Goldring of Gnidrolog.
In places, three-part vocal harmonies add hippie vibes resembling some of the US West Coast bands. The tracks form an interconnected 7-part suite with varied instrumental backing piano, organ, flute, mellotron, guitar, sax, moog in this order. By the way, 'Poa' is the greek word for the fertile element: earth.
Their album consisted of jazz-rock with sax and flute to the fore. It was vaguely comparable to Soft Machine. Their only album was posthumously released in , containing short songs in the vintage style of Flashmen, Raminghi and Mucchio, in the period between late sixties beat-psych and the earliest progressive rock.
Francesco Buccheri - piano, synthesizers, mellotron, electric, acoustic and 12 string guitars, vocals Roberto Mingozzi - keyboards Danilo Forni - violin, keyboards Marco Raimondi - drums. His album was a private release comprising instrumental tracks. It's quite an interesting and innovative com-bination of sequencer-driven electronic music influenced by the Berlin school Schulze, Tangerine Dream and others and symphonic space rock a la Eloy and Pink Floyd. This works best on the long "Journey" , structured as a suite of different musical themes. The shorter pieces on the other side aren't as effective, but nevertheless the album deserves some attention.
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Their album is probably the best Italian posthumous release. Recorded in the Spring of , it contains simply superb progressive rock with three prolonged pieces elegantly balanced between classical, jazz, folk and heavy progressive. Highly recommended! Roberto Cacciapaglia was a keyboard player, who played with Franco Battiato prior to recording his own albums. Sonanze is well known by collectors of German "Kosmische Musik", as it was the only foreign release on the label bearing exactly that name although it was only released in Italy. The Milan recordings were treated to a quadrophonic mix in a well-known studio near Cologne.
Cacciapaglia's style was rather minimalistic and focused on atmospherics rather than melodies. Various keyboards and even a distant guitar are intermingled with timpani, mutilated strings, horns and even the human voice. The work is not separated into tracks, but floats along like quicksilver on the bottom of a dark sea.
His second album was less mystical and closer to contemporary classic music similar to Steve Reich and Phillip Glass but of less interest. First assembled as a beat group in the late sixties, I Califfi reformed in , when their music veered towards heavy progressive rock. The result was a fairly good album with relatively short minutes , melodious and traditionally constructed tunes. As such, the album differed somewhat from the more complex Italian progressive sound of many other bands.
The two instrumental tracks on the album recalled movie themes or a compact version of the more archetypical Italian progressive sound! Some would argue that there is too wide a gap between its soft-rock songs and some fiery heavy rock but didn't Led Zeppelin's style vary, although they are best remembered as a "heavy" group? The band might have benefited from a less restricted formula with more extended instrumental parts, as the keyboards show much promise.
As it stands, Fiore Di Metallo is a light-hearted, melodious and pleasant album, lacking a little in depth. Palolo Tofani, a previous member of I Califfi, re-recorded many of the tracks included in Fiore Di Metallo for his solo album credited to "Electric Frankenstein" , albeit now with English lyrics. It is unclear whether he had any involvement in the recording of "Fiore Di Metallo", but he isn't credited on the cover. The arrangements are really imaginative, with a lot of variation from track to track including acoustic guitar, electronics and cello.
Though not exactly "rock", this is still a worthwhile and artistic album.
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Felice Marcovecchio - drums, vocals. Their eponymous album contained well-arranged progressive rock with heavy electric guitars, contrasting with the more lyrical flute and organ. Other musical ingredients are provided by the french horn uncommon , classical acoustic guitar and massive percussion. Most parts are instrumental and clearly influenced by the composition techniques of 19th Century classical music.
The album is a united work in 7 parts featuring strong melodies, dynamic musical contrasts and an omnipresent romantic spirit. It's one of the very best Italian records from An obscure album of experimental rock similar to label mates Area or even French groups like Magma and Red Noise. Riccardo Bortolotti - vocals, flute, sax Antonio Favilla - organ, moog Maurizio Romani - bass Giovanni Galli - drums, vocals unknown - guitars. One of many groups that have remained largely unknown outside of Italy. Fronted by a powerful vocalist and flute player, their nearest British equivalent would be Jethro Tull, although Italian bands such as Jumbo and Museo Rosenbach would be better comparisons.
The music on Frutti Per Kagua is complex and restless progressive rock, with an outstanding minute title track. This is a good example of how classical compostion techniques can be used in rock. Here is a rough analysis that illustrates this: "Frutti Per Kagua" has a quite clear three-part structure: Part I - a powerful rock song Part II - mid-section with musical developments Part III - end concluding finale Part I contains three sung verses, alternating with enthusiastic electric guitar and flute riffs.
Between the 2nd and 3rd verses there is a short flute solo and a transitional vocal passage before the final verse. From to minutes into the cut there is a guitar and sax dialogue, which also included solo interludes from both instruments. Part II takes the form of a two-part crescendo, each time starting from silence with one instrument added to the others at a time. After minutes, the first crescendo starts with acoustic guitar introducing a new musical theme but no relation to Part I , gradually joined by bass, wordless chanting, drums, flute and electric guitar of increasing intensity.
After minutes, the second crescendo starts with another musical theme more celestial in character introduced by organ and then joined by percussion, flute, bass, drums, sax and a second organ. Part III mainly consists of a vocal rendition with lyrics in verses of the musical theme from the first crescendo.
At last there is a coda which is a harmonic variation instrumental on the theme from the rock song in Part I. In this way the work reaches its satisfying conclusion! I used this example because the structure is easy to identify and serves as an example of how incredibly formally countless Italian groups constructed their "rock music" at the time. This outfit's two albums contain some interesting moments of song-oriented progressive rock, although they lacked the imagination to create works of lasting appeal. Generally rather dull. Not recommended.
One of the lesser-known Italian bands that combined progressive rock with classical music, inspired by the adaptations of bands like The Nice. Capsicum Red's minute reading of Beethoven's piano sonata "Pathetique" is indeed the best track on the album. It's a better example of a more serious adaptation of classical music than, say, the Dutch band Ekseption ever produced. Unfortunately, Alfredo Tisocco and Pino Massara's experimental production including some strangely displaced phasing effects disturbes the classical and 'clean' character of the music. The album is short in length and Bruno Canzian's compositions lack significance.
When the mythical group Il Sistema split up, some of the ex-members founded two excellent groups: Museo Rosenbach and Celeste. Although a lot of material was composed and recorded during and , their first album wasn't released until , appearing on Vittorio De Scalzi's Grog label. Nevertheless, it was brilliant - containing pastoral nocturnes for the generation that had grown up with King Crimson's first album. Still Celeste's music had its own personality - delightful semi-acoustic pieces fronted by acoustic guitar, flute and lots of mellotron.
Bass and drums are reduced to a minimum, resembling the romantic spirit of the first Pierrot Lunaire-album. Celeste split in and left a half-finished second album behind. This was closer to the Canterbury jazz-rock sound in direction - with proper drums and bass and a strong emphasis on Lagorio's saxophone. Only two of the four long tracks had a tolerable sound quality possibly studio rehearsal tapes , the remainder were from home recordings.
In , Ciro Perrino also allowed some soundtrack recordings from February - before their first album to be released on CD. The 12 tracks were recorded in a low budget studio and include some tracks that appeared in re-arranged versions on Principe Di Un Giorno. Both these posthumous releases are for completists only virtually hundreds of other Italian albums are more interesting than these. Fabio Celi - organ, piano, moog, vocals Ciro Ciscognetti - organ, moog, piano, synthesizer Luigi Coppa - guitar, harmonica Rino Fiorentino - bass Roberto Ciscognetti - drums, effects.
If this album hadn't been banned due to its provocative lyrics it could have been one of the first progressive rock albums to be released in Italy. The material was recorded in , but not issued until and even then was not sold in record shops or broadcasted on the radio. The album is an effective combination of twin keyboards and fuzz guitar. It's quite aggressive music with some psychedelic tendencies, possibly comparable to Van Der Graaf Generator's early albums with a little touch of The Nice. A rather short-lived group from Naples connected with the better known Osanna, which eventually Cervello's leader Corrado Rustici would join in Melos was a concept album based on ancient Greek mythology with some references to the old folk music of that country.
The music on the album is technically well executed, but maybe a bit too conventional. This mysterious session group was in fact the nucleus of Goblin in disguise, collaborating with the duo Tartani and Bordini. The album was, according to the cover, recorded from April to June , chronologically placing it in between the first two Goblin albums. This is contrary to the reports that this was a pre-Goblin group.
The original LP is extremely rare! The album is in fact excellent, with equal shares of guitar-ridden heavy progressive and keyboard-based classical rock. No track is shorter than 7 minutes! Some of the vocal arrangements occasionally multi-voiced are in fact close to contemporary Yes listen to "The Picture Of Dorian Gray".
All songs are sung in English, making this a great album choice for those who enjoy English symphonic rock or even the rediscovered American groups Yezda Urfa, Mirthrandir or Pentwater. Their album contained typical Italian complex progressive rock with very long tracks, fronted by various keyboards including mellotron.
The music of Circus 's first album is refreshingly simple compared to most other early 70's Italian groups. Their speciality was to write short songs with very appealing dreamy psych-folk melodies and haunting female vocals in English. Silvana Aliotta's delightful voice sounds similar to Cathy Pruden of the latter "group". The guitar parts are also "psychedelic" in feel with plenty of fuzz and wah-wah guitar. Few Italian groups if any surpassed Circus 's mastery of the small format composition. Their quasi-occult, naive lyrics only add further to their irresistible charm.
The only problem is a total playing time of only 27 minutes. Some may find this record a bit banal, but I love it for the period charm that many seriously intellectual albums lack. An Escape From A Box was more progressive, with half as many tracks five in all as on the first album. Some extended instrumental passages were added to their songs, but this didn't change their approach noticeably.
Most people consider their second album their best, although I prefer the first! Franco Lo Previte later played jazz-rock with the group Duello Madre. Silvana Aliotta, after releasing a solo pop-music single, later guested on Procession's second album. Lino Vairetti - vocals, guitar, mellotron Gianni Guarracino - guitars, moog Enzo Avitabile - flute, sax, vocals Paolo Raffone - piano, electric piano, cembalo, organ, mellotron, glockenspiel Rino Zurzolo - bass Massimo Guarino - drums, percussion.
Their album El Tor was pleasant enough, although not very 'progressive' in style. Instead, Citta' Frontale merged jazz, folk and soul even funk to a soft melodic rock, highlighting flute, sax, acoustic guitar and hand percussion. The vocals were good and easy on the ear. Electric guitar and keyboards are also used occasionally. Not really among the highlights of Italian rock. Osanna's reformation eventually put an end to Citta' Frontale. His album was comparable to early PFM and Banco with an emphasis on synthesizers and other keyboards. It also had an impressive triple fold-out die-cut cover.
This interesting group failed to secure a recording contract at the right time in , although demo tapes from this early period have recently been issued on CD. Their leader was the keyboard-player Alessio Feltri, who composed all five tracks on Dimensione Onirica , released on Vittorio De Scalzi's Grog-label. Vaguely modelled on Banco's symphonic rock, Corte Dei Miracoli also had a twin keyboard line-up synthesizers, electric piano and organ being used in that priority , but with the vocalist being far easier on the ear than Banco's operatic Francesco Di Giacomo. Graziano Zippo can be compared to a softer Peter Hammill.
Their complex, jazzy, punctuated rhythms featured a lot of hand-beaten percussion instruments. Along with Celeste and Locanda Delle Fate, this is one of the best albums to be released in Italy after A short-lived super group who formed in to play powerful hard-rock.
With Paolo Tofani Area and Electric Frankenstein producing and composing all tracks, their album was supposed to be released on the Cramps label in Somehow this never happened, which might have been the result of their slightly anonymous sound. The power riffs and high-pitched vocals in English were mostly picked up from Led Zeppelin's hard-rock style, evident on some tracks from their fourth and fifth album.
Some of Tofani's compostions are quite catchy though, the best of them reappearing in new versions on his Electric Frankenstein-album. Alex Chiesa - flute, vocals 1 Temistocle Reduzzi - keyboards, vocals 1 Aronne Cereda - guitar, vocals Rino Limonta - bass, vocals Tati Locatelli - drums, vocals Giancarlo Brambilla - keyboards 2. This group has been known to collectors for many years, due to the interest in their very rare first album. Although issued in , it sounds more like due to the technical quality not bad but more rudimentary than most releases. The album title is a combination of the two best tracks, showcasing powerful early progressive rock with plenty of flute and guitar riffing comparable to Jethro Tull and the first Gravy Train album and some psychedelic sound effects.
Regretably, some other tracks were mediocre, like the ballad "Cara Emily". An interesting album. If one masterpiece should be singled out as the jewel of Italian rock, my vote would go to De De Lind's one-and-only album, which also wins the competition for the longest title. What is so special about it? I will try to explain this by the way of a short analysis: The music of De De Lind has an otherworldly combination of poetic beauty, dynamic range, a considerable philosophical depth and, most of all, strong passion. The whole album forms a united work whose name translated to English is 'I don't know where I'm coming from and I don't know where I will go to.
Man is the name I was given. This gives no indication of which way the album will develop, but already reveals a vocalist with extraordinary intensity and commitment. This rather powerful introduction suddenly calms down followed by an unsuspected modulation of key one semitone up after minutes, lifting the music to a higher dimension of pure beauty with flute and acoustic guitar playing meditative and dreamy tones.
However, after minutes the flute melody fails to reach its harmonic conclusion. Instead the mood becomes more dramatic with vocalist Vito Paradiso anxiously singing a section with increasing volume! Then the flute makes another attempt with the same melody, succeeding in reaching a harmonic conclusion this time. The reward is a quick crescendo into a full rock band sound, in which the majestic main melodic theme of the album carried by the electric guitars is revealed.
It's regal and powerful with strong psychedelic overtones. This theme is repeated with some variations, including additional vocals. The third section of the album "Paura Del Niente" starts with melodic material contrasting the main theme. The sung melody is soft and mellow in nature.
This provokes after a moment of complete silence a sharp instrumental reaction with furious flute playing and angry guitars. For the rest of the section there are various instrumental developments. Section four "Smarrimento" starts with an angry solo flute melody in the best Ian Anderson 'locomotive breath' style. Some inspired flute variations gradually invite the whole band to play the powerful reaction from "Paura Del Niente". A heavenly section of acoustic guitar and vocals follows.
Then there are further dynamic variations, including a reprise of previously played melodies. Section five "Cimitero Di Guerra" ends with the full band treatment of the first flute melody from "Smarrimento". Section six "Voglia Di Rivivere" starts in a very thoughtful and dreamy mood with many melodic references to the main theme of the album.
This returns at last in its full glory in a marvellous full blooded onslaught. Unexpectedly, this satisfactory conclusion is not completed and the last section follows. Section seven "E Poi" is a kind of epilogue, obscuring the previous feeling of fulfilment. The lyrics in this section are the long title of the album.
In this way, the album ends by referring to the meaning of its title. Luckily, the group made no further albums - they would only have been painful anticlimaxes to what they had already done. Fiorenzo Bonansone - electric cello, electric piano, synthesizer Marco Di Castri - guitar, sax, percussion Furio Di Castri - bass, percussion Enrico Grosso - drums, percussion. This group from Torino was rooted in the European jazz-rock tradition, often sounding similar to early seventies jazz-rock from France and early ECM recordings.
The first Dedalus album was entirely instrumental with solo parts equally shared between electric cello, sax, electric piano and guitar, usually with lots of notes played per second! Some parts were experimental in nature and their second album veered even more towards avant-garde and electronic music. Obviously they were highly accomplished musicians and should appeal to experienced jazz-rock listeners.
Ivano Fosatti - vocals, flute, guitar 1 Ettore Vigo - piano, organ, electric piano, celeste, vibraphone, cembalo, harmonium Mimmo Di Martino - acoustic guitar, vocals Marcello Reale - bass, vocals Peppino Di Santo - drums, percussion Martin Grice - saxes, flutes, vocals They were among the relatively successful Italian groups, achieving enthusiastic recognition from an audience of 4, at the Palermo Pop Festival in Unlike most others, they also had domestic hit singles with "Canto Di Osanna" and "Jesahel" a chart topper in More than 25 years later, it seems as if the majority of successful bands were musically inferior to many of the unknown ones.
This is certainly the case with Delirium, who played a melodic jazz-rock based on short compositions and not elaborate longer works. The liner notes of Dolce Acqua compare them to Blood, Sweat and Tears, Chicago and Colosseum, but Delirium replaced any slight trace of the blues as in Colosseum's music with the pleasant warmth of Mediterranean and South-American folk music. Ivano Fossati's vocals were up front and accompanied by an instrumental formula of sax, flute, acoustic guitar and mellotron mainly using its string loops.
An instrumental track on the album was closer to the archetypical jazz-rock of the time. As a result of the album's success, Ivano Fossati decided to go it alone. He developed his lyrical song style further on three solo albums. The lack of a good vocalist is evident on most vocal tracks, but their instrumental muscle remained intact with "Sogno" and "Villaggio". Arguably, the musical content became too dispersed with the jazz-rock material not fitting too well along side with the more easy-going, jazzy pop material such as the included single "Jesahel".
This dualism had been discernable even on the first album. The public apparently felt the same way, as Delirium lost most of their pop audience and simultaneously failed to retain interest of the "more serious" listeners. Their most ambitious effort, it featured siring arrangements and some notable excursions into King Crimson instrumental territory "Fuga N. Although better than the previous effort, the album was marred by some rather ordinary pop songs. All Delirium albums are pleasant enough but sound too common and pedestrian to be really interesting. This was a well-known Italian pop group with a career lasting more than 15 years.
Most of their records were purely mainstream, but in , inspired by the wave of Italian progressive rock, they made a good progressive album, consisting of a kind of thematically linked song cycle. Their sound was lush and soft, dominated by different keyboards. A little known group, who released an album of soft jazzy progressive music vaguely similar to Citta' Frontale. Their album was released on the same label as the equally obscure Railroad. After Zoccheddu's and Callero's excellent complex heavy progressive rock of their previous group Osage Tribe, they settled for a more jazzy direction reminiscent of the Canterbury-sound with Callero and Trentin mirroring the roles of Hugh Hopper and Elton Dean.
Lo Previte previously of Circus had by now developed a dense and busy percussion style similar to Francesco Froggio Francica of Raccomandata R. Despite composing most of the material, Zoccheddu kept a surprisingly low musical profile on many tracks. The highlights on the album are the two long tracks on side two - "Madre" and "Duello" - which sometimes almost fused John McLaughlin with Soft Machine.
Quite a good album, this is recommended if you like the artists mentioned. Callero later played in two less interesting groups - Il Volo and Nova. Unknown line-up This mystical group made one really interesting album with all the usual Italian ingredients: vocals with a lot of passion, massive keyboards borrowing from Bach's organ music and Keith Emerson's overall instrumental grandeur and some tasteful guitars in sudden cameo roles. Poe made stand-alone songs, rather than minute long opuses.
Some tracks are very beautiful - "La Ballata Del Cane Infelice" almost reached the De De Lind level of highly aesthetic, suggestive and almost meditative melody lines. However, on the whole, "Generazioni" lacks a little of the enduring musical validity that only the really best albums have. The guitar player of Area used some of his spare time to record some completely different music in In fact, much of the material was composed several years earlier and some of it was recorded in Italian by I Califfi, a group of which Tofani had been a member prior to their album sessions.
Other tracks were recorded by The Crystals, who he produced some sessions for in but Cramps, the record label, didn't release the album! Later Tofani reworked the material completely on his own, resulting in this tongue-in-cheek, berserk fuzz guitar album! All the lyrics were sung in English and it was recorded in London.
Some influences might have been drawn from Jimmy Page's strongly folk- and blues-flavoured Led Zeppelin tracks, but this detracts little from the musical value. This album is really fun with electric and acoustic guitars, vocals, tablas and tambourine. Their album was supposed to be released on the Trident label obviously filling the vacant place of TRI at the end of , but for whatever reason this never happened.
The two most likely reasons are: 1 the group split up before the album could be launched, or 2 their musical style was decided by the company as being too close to Van Der Graaf Generator circa Should this album have been released at the time? Hard to say - it is quite good but the song structures aren't very memorable. The instrumental passages are quite interesting, with notable use of cello and flute on some tracks. Guitars and keyboards are the dominating instruments, though. Thanks to its subsequent issue we can all hear it now. Joe Vescovi of The Trip was involved in this Palermo group for a short time.
The album contained material recorded prior to , including some singles from Rather lightweight material mid-way between pop music and folky progressive. It's only of minor interest, really. One of the mid-seventies minor league bands that failed to attract any attention in their time. Errata Corrige played romantic soft-progressive music, sometimes recalling the British bands Renaissance and Genesis, with lush atmospheres created by string synthesizer, flute, acoustic guitar, piano and high-pitched male vocals.
The "Siegfried" album was released in an edition of copies. A little known group who rarely played live in their short lifetime. Their album is extremely obscure and almost never offered on the collector's market. It's really just a curiosity for the completists, as the musical content is quite ordinary. The other side contains six short pop songs with a slight psychedelic soul edge and strong sixties vibes, quite similar to I Flashmen, early New Trolls, etc.
Experimental music with keyboards, sax, flute, tablas, Moog synthesizer, trumpets and a great number of studio effects. An obscure group who made a very rare album in with a Canterbury-influenced style comparable to early Soft Machine, Xhol and Ellufant. Another obscure group from Rome who made an album which translates into 'Diary Of The Movable Feast's Journey' that deserves more attention.
It contains melodic, lyrical and jazzy symphonic rock dominated by a fast piano style with important contributions by electric guitar, electric piano and synthesizers.
Accordingly, the keyboards dominate the instrumental side, alternating with a typical high-pitched Italian voice singing romantic melody lines on the aptly entitled "Canto". At times this sounds similar to Samadhi and the second Procession album. The guitar player has a style reminiscent of Steve Hackett listen to "Ljalja".
Although the five tracks are quite long, the album has a rather short running time overall. The Boccuzzi brothers and Napoletano later formed the group Il Bariscentro, cultivating the jazz-rock tendency already apparent in Festa Mobile.
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A studio group who made a mediocre album of soft progressive rock which is of limited interest. I Flashmen were one of those groups veering on the edge of progressive rock, who never quite plunged into it! Their music comprised melodic rock with some classical and psychedelic influences.
I Flashmen's first album was recorded in and actually released twice - firstly entitled Cercando La Vita and secondly as Hydra, which now included two extra tracks. Their music still had some 60's vibes and a vague psychedelic influence. Some pop ballads were dispensable, although their heavier material probably inspired by Cream, Iron Butterfly and the likes was very good, particularly the 9-minute "Cercando La Vita" with its nice guitar and organ jamming. Pensando, their second effort, is actually quite a good album with a dense production, loud guitars and organ, haunting melodies and emotional vocals.
After this album, I Flashmen decided to follow a more commercial direction and released at least two more albums, which are not of relevance to this book. Antonio Marangolo - vocals, flute, harmonica, keyboards Carlo Pennisi - guitar, mandolin, vocals Elio Volpini - bass, sax, guitar, vocals Agostino Marangolo - drums, vibraphone. These four musicians recorded three very different records together under three different group names. All lyrics to the 10 tracks were sung in English and the group members even adapted English names on the sleeve!
The material was very variable, indicative of a group that hadn't yet properly decided its musical direction. Most of it is strongly influenced by late sixties British rock highlighting guitar and organ Spooky Tooth, Traffic, Raw Material, Deep Purple and many, many more and it ranges from progressive gospel rock "Mother Mary" and folk-rock "Louise" to forceful guitar-based heavy-rock "Moon Park Woman" and blues-rock "Face To The Sun".
It's quite a good album, although not indispensable. Changing their name to Flea, a more powerful direction was developed for Topi O Uomini , a classic album for guitar lovers, which showcased some really excellent musicianship. The pinnacle of this was the minute title track that went through several different phases, starting with jazzy percussion and a memorable guitar riff, then introducing chords for the great vocal passage that follows.
After some great guitar variations there is a sudden shift to Black Sabbath-tempo heavy rock introducing another melody. This is developed and varied in shifting dynamics with further strong guitar work and vocals. The third and last melody part starts after a short drum solo after minutes and is closer to the blues with the addition of harmonica. After a short time this leads into another drum solo, gradually resurrecting the first melodic theme of the song.
The reasons why this composition works so well are a superb rhythm section and an almost violent enthusiasm from all those involved. The remaining three tracks are also quite powerful, with only "Sono Un Pesce" being indicative of the softer moments of the previous album. A couple of years elapsed before the quartet assembled again under the name Etna.
This time they recorded a powerful instrumental fusion album fronted by guitar and electric piano, resembling Mahavishnu Orchestra or the Spanish group Iceberg. The spontaneous enthusiasm was exchanged for cold and studied intellectualism, although this is not a bad jazz-rock album. Alberto Radius - guitars, vocals, bass Gabrielle Lorenzi - keyboards, bass Toni Cicco - drums, vocals.
This trio was among the earliest on the Italian progressive scene. It was formed in by musicians that had played beat music I Quelli and Camaleonti. Almost none of the material on their first two albums was written by the group. It was mostly written by singer, songwriter and producer Lucio Battisti later a well-known pop singer in Italy and lyrics writer Mogol no forename ever mentioned. The title track of Dies Irae was in fact an adaptation of one sequence from a mediaeval mass for the dead by Thomas von Celano. This is indeed the standout track on an album that lies halfway between psychedelic beat music and early progressive rock, comparable to Vanilla Fudge or New Trolls' heavier sixties singles.
Several tracks have a soul influence. The track "Questo Folle Sentimento" was previously released as Formula 3's first single in Indeed, Alberto Radius revealed himself to be a very able guitarist on this album, totally dominating the instrumental parts. The follow-up Formula 3 was clearly inferior to its predecessor, with some dubious pop material inbetween a few better tracks. Even the minute track "Nessuno Nessuno" could easily pass for a European song contest entry if the instrumental parts were edited out!
Timebandits concert at S. As though existence is immediately and intimately transposed with dream - dream more real than any object forged by hand or machine To a magical place-Middle Earth- where perception is unfettered and free to move on its own will of whim, fancy and imagination, and with pinpoint accuracy give compass to the our living residence. And of his Hobbit, J. Tolkien must needs smile proudly to hear such a grandiose portrait, a tsunamic impulse swelling on aesthetic wave transporting us all. Pier Paderni and Andrea Ortu is giving their interpretation of timeless classical masterpieces by G.
Telemann and G. Haendel and others, a total of 20 delightful tracks. You feel that your body relaxes and you want to shout that life is a wonderful piece of experience. What is life without music, it's empty and hollow. It's wonderfully flowing music. The unhurried pace of the music transports the listener to a variety of emotional locations without becoming redundant or trite.
The live unproduced quality of the recordings lends them an aura of authenticity and immediacy that is far too often missing from this kind of music. I was very, very moved by "Cohesion" which to me was the ultimate in total communication Andromeda is something magical for me.