METAMORFOSI

What can I say about this masterpiece. It delivers from start to finish, perfect instrumentation hand in hand with some of the most marvellous lyrics in any RPI album. As a Banco del Mutuo Soccorso diehard-fan, I noticed the strong influence it has on this record, both on the strong rythms and the voice, with Jimmy Spitarieli getting dangerously close to di Giacomo's level (not like anyone will ever get there anyway).

It sends a powerful message about society's maladies, adding new, more modern sins to Dante's Inferno. A concept album full of interconnected short songs alla Le Orme's Felona e Sorona, but reaching deeper into my spirit.

Metamorfosi began life in Rome in 1969 when Sicilian vocalist Davide "Jimmy" Spitaleri teamed up with the musicians of I Frammenti, a group specialized in the "beat masses", a music genre typical of those years, characterized by associating texts with religious themes to beat music and to be performed during the new Catholic liturgy post Second Vatican Council. In 1972 the band released their first album, entitled "...E fu il sesto giorno", on the Vedette label with a line up featuring along with Davide "Jimmy" Spitaleri (lead vocals, flute) and main composer Enrico Olivieri (vocals, organ, harpsichord, piano, flute, synthesizers) also Roberto Turbitosi (vocals, bass), Mario Natali (drums, percussion) and Luciano Tamburro (guitars). It's an album that marks the passage from simple beat music to more complex, classical inspired structures but still bound to the song form.

The opener "Il sesto giorno" (The sixth day) starts softly, by delicate flute notes on organ chords while you can hear the sound of the sea waves in the background. Then warm, operatic vocals evoke the creation of Man according to the Book of Genesis and the rhythm section begins to pulse describing the banishment of humanity from Eden. As the years passed by fate carved into time the vanity of men and a thirst for science troubled their mind and made them ignore their own reality... Well, in these dramatic times of pandemia and climate changes it's a piece that keeps all its relevance.

The following "...E lui amava i fiori" (And he loved flowers) tells in music and words a fable where a peaceful man meets the personification of war, prime minister of evil on Earth. But in this fable there's a happy end, love is stronger than evil and the seeds of hate would not sprout in the garden of peace...

The long, dramatic "Crepuscolo" (Dusk) ends the first side of the LP and is a harsh critic to the hypocrisy and selfishness of many Christians. It is my favourite piece on this album and begins by a lively marching beat... Then the music and lyrics conjure up the image of a starving busker, a man in need ignored by the crowd. The passers by can hear his songs and prayers but nobody helps him. And yet, Jesus lives in him and in every famishing man or child... "I am cold and hungry and a man walking by looks at me / He smiles, then says something in someone else's ear / Words, only words / My fingers freeze on the old fretboard / They make a last effort / But the guitar falls down...".

"Hiroshima", as you can guess, is a song about the atomic bomb dropped on the Japanese city during World World II by an American aircraft. Here the music is still rooted in the sixties while the lyrics deal with regret, painful memories and the cathartic power of repentance and forgiveness...

"Nuova luce" (New light) is a nice song of hope full of positive energy where the shining light of love shows the way and darkness becomes synonym of pain. Only a new life can heal the pain for the loss of a man... A new light, a new love, a new life... This piece features good vocal harmonies and the atmosphere in some moments is almost mystical.

"Sogno e realtà" (Dream and reality) is another light song rooted in the sixties. It's a kind of lullaby for a little child who still believes in fairy tales crowded with dragons, fairies and enchanted dolls. The experience of a lifetime could cancel the memories of the dreams from the childhood, so he has better keep on sleeping peacefully while he still can...

The joyful, catchy "Inno di gloria" (Hymn of glory) ends the album and is linked to the past experiences of the band with the beat masses. Praising glory to the Lord, glory to Life and glory to Love, it could be a good choice as a song for a modern church service...

On the whole, a work with some ups and downs that deserves a try.

A very solid example of the RPI sound, Metamorfosi took a quantum leap from their debut lp to create the mini masterpiece Inferno. Based on Dante's Inferno, the album is instrumentally adventurous, well recorded and a great introduction for newcomers to what the RPI sound is all about.

Opener Introduzione takes us through an ELP styled piano/organ/drums high tempo race. Here keyboardist Enrico Olivieri flashes his brilliance on an array of keyboards, but especially his synth lines are a stand out, (one of the better uses of moog in Italian rock), and this song is a strong representation of what you have in store for you. Vocalist Jimmy Spitaleri may be a problem for some, as his distinct operatic vocals seem at odds with the music underneath. Explosions lead us to another level of hell. Lussuriosi is harpsichord driven with falsetto chorale vocals that pulls a fade that seems indicate the end of side one, but it fades back for a quick Avari, which unleashes some powerful moog before quickly fading once again.

Side two weaves together seamlessly as a single song despite individual titles. It opens with Violenti, once again featuring the very distinct operatic vocals and builds in tempo for a PFM styled race to the finish line with the moog once again leading the way. This shifts instantly into Malebolge, an organ driven high tempo song again featuring strong vocals. Wakeman-esque synth lines weave on top of some complex ELP styled keyboard workouts (guitar is all but non existent on this record). For those who like keyboard heavy prog, this is a smorgasbord on display. It is a shame that some will never be able to get past the vocals, as he adds that nearly indefinable Italian touch to the proceedings. The instrumental intro to Razzisti has echoes of their former 60's era origins and is a fast piano workout over a blistering but catchy rhythm section. Lucifero (Politiciani) kicks off with a discordant synth run with snatches of La Marseillaise and the Soviet national anthem lead us to a deeper circle of hell, one reserved for politicians. A gentle falsetto chorale brings our journey to an end, (fading out on an unsettling moog warble), and it is a fairly wild ride well worth your time.

I feel like if you replaced Spitaleri with any UK second tier prog vocalist singing in English (which I'd never want to do) that many fans would be lauding this for decades and you'd see Metamorfosi t shirts at Yes concerts to this day. Many Italian bands resemble ELP in varying fashions, and this is another one, but with a richness to their sound that ELP lacked. Rustichelli and Bordini would also be a good reference point for the outstanding keyboard work and excellent and prominent use of moog. Highly recommended for both RPI and prog fans.

The reissue Lp is a stunning reproduction of the original release in matte cover with a distinctive surrealist cover. Beautiful package that enhances the whole experience. 4.5 stars

One of the best Italian prog albums. What I have to point out that Italian vocal not always fits into Rock (for me), but this is not the case. Quite the contrary? I cannot imagine anything else for this particular long prog suite inspired by immortal Dante's "Divine Comedy". Perhaps this is because it is nothing but powerful vocals of opera quality, and, in our minds, Italians are still unsurpassed masters in this genre. The suite is divided into 12 parts, and thanks to producers, there are no breaks between the parts. Whatever the source of inspiration for this album, it works at a high level. Simply put, this album is sheer joy. It has everything that fans of the symphonic prog want. Does it have an ELP in it? Yes, in some kind of stylizing way? and this makes it even more enjoyable.

10 years ago, the Japanese independent prog label Belle Antique released 'Inferno' in its Italian Rock Mini LP SHM-CD series. The liner notes say: "Digitally Remastered in Japan by Shuichi Takano, Cands Music". Now I have listened to it again in my hi-end system, and I can say: the sound quality fits firmly into the category "Best". Thank you, Mr. Takana for the remarkable job. Now the best part: January 25, 2020, long out of print release, will again see the light of day as the Limited Encore Press reissue (along with 'Alphataurus'). That's why I write all this? because 'Inferno' deserves much more attention from us. Do not miss the opportunity to get such a nice album in the best sound and physical presentation that only the Japanese are willing to do. 5 stars from inferno.

Hell? More like Heaven to me!

Holy Chianti and Rigatoni this is good. Like 6 stars good. This record loses no time: right at the beginning big gong, church organ, harpsichord and wham! one tasty synth melody after the other. Keyboards firing right with toms rolls, bass punching with loud organ on my left with heavy rock drumming in the middle; of course, with a bit of reserve, Metamorfosi is pumping lots of ELP by moments, but I must stress the originality of their grooves.

Bang! Boom! Ka-Pow! Lots of energy flying around with abrupt time changes with more synths lines emerging in another mood change. Then another! From softly meditating to self pity to perhaps despair, the singer is fully committed at singing his trip to Hell. This skillful level of blending darkness and light has not been seen much these day. The album that gave me such goosebumps at first could be RDM's Contaminazione. Their approach is not too far from each other: balls to the wall rock intertwined with light, ethereal passages.

The cherry on top could be the ominous art cover straight outta Lucio Fulci's cinematography, straight scary. Imagining spending the eternity in that state is what 70's nightmares were made of. The really scary stuff: no gore, just the oppressing feeling of being trapped.

Frenzy, sad, desperate, beautiful, gentle and sometimes jazzy, this album is one trip to hell and back.

Stuff of Legends. Absolutely recommended.

METAMORFOSI had formed all the way back in 1969 when lead vocalist Jimmy Spitaleri left Sicily and moved to Rome where he joined up with the musicians of the band I Frammenti which was just one of many beat groups of the era. Having a common interest in the burgeoning Italian prog scene, Spitaleri found promise in the virtuosic keyboard playing of Enrico Olivieri and METAMORFOSI was formed. It would take them three years to craft their debut "E Fu Il Sesto Giorno" which emerged in 1972 but the band was way behind the prog trends and still woefully weighed down by the 60s and found their rather uninspiring debut come and go without notice. Coming to the game at that late stage seemed like METAMORFOSI would be destined to go down as a mere footnote of the Italian bands that existed in the 70s but somehow they transmogrified into one of the most memorable bands of the 70s Italian scene with their sophomore release INFERNO.

Due to the lack of interest of the debut, there had been a lineup change. The three core members Jimmy Spitaleri continued as lead vocalist and flautist. Enrico Olivieri would continue as keyboardist and synthesizer abuser but gave up his role as second flautist. Roberto Turbitosi who only played bass on the debut continued to do so on INFERNO and picked up a secondary task as guitarist after the departure of guitarist Luciano Tamburro. Drummer Gianluca Herygers replaced Mario Natali and overall the quintet was whittled down to a quartet with more emphasis on the dynamic counterpoints of Spitaleri's dramatic operatic vocal style with Olivieri's virtuosic keyboard wizardry. While the guitar hadn't been completely removed, it had been practically silenced under the thundering roar of a more stellar percussive drive and keyboard prowess.


INFERNO (Hell in English) contained two side long suites that broke down into twelve tracks and conspired to create a darkened musical journey in the form of a rock opera that was based on Dantes "Divina Comedia (Divine Comedy)" which took the listener to the different levels of the afterlife, namely hell, purgatory and heaven. Dante's masterpiece has been a long lasting preeminent work of Italian literature created in the 1300s. METAMORFOSI takes some liberties in adapting the concept to modern days relating the concepts to the modern ills of society. Like most Italian prog bands of the 70s, all lyrics are sung in Italian where Jimmy Spitaleri proves he can play the big kids game with his impeccably perfect presentation on INFERNO with strong operatic bravado all the way through. The second star is the classically divine keyboard prowess of Olivieri who delivers some of prog's greatest keyboard runs on par with many of the greats of the day.

Through its album length run INFERNO gracefully wends and winds through many movements with creative feedback fueled uses of the Moog and seductive flute tag alongs to the exquisitely melodic developments that make INFERNO utterly addictive even upon first listen. While METAMORFOSI lacked the compositional technical workouts that more seasoned bands like PFM, Banco or Area could dish out in their sleep, METAMORFOSI focused instead on seductively melodic pop hooks and melded them into classically infused pieces of a larger puzzle. INFERNO runs as a single listening experience but each track holds up on its own with catchy melodic hooks that find all the extra creative layers conspire to unfold one of the 70s greatest Italian prog rock experiences with clever adaptations of the theme through the myriad percussive and synthesized sounds that spring forth from one passage to the next.

This one has been a slow burner for me. While the pop hooks are addictive, they almost seem too addictive as the album comes off as rather sugary sweet but once my gaze shifted from the irresistible melodies, the interesting dynamics and unfolding of the storyline come into play. It also may come down to how this album is experienced. I find it a masterpiece when played loud on my most recent remastered CD on the Belle Antique label however when i listen to this with the volume turned down or when i've heard it on YouTube, it seems to lose some of its magnificence. While considered a modern day classic, it wasn't exactly deemed so at the time of release like so many great gems of the past, however throughout the decades it has been agreed to be one of the greatest of the entire scene.

METAMORFOSI intended to release a sequel to INFERNO but while working on the followup, would disband and not return until 2004 when they at long last unleashed their next chapter of the tale in the form of "Paraiso." As good as INFERNO is, it seems that the lack of guitars makes it fall a little flat despite the majestic attempts to carry on without them. While the music is quite intricately interwoven with creative keyboard attacks, lyrical brilliance and an emanate vocal command, INFERNO falls a tad short of all the masterpiece tags i've seen heaped upon it. No doubt that it is an amazingly strong album that is lightyears beyond their debut, but it also falls short of the raised bar wizardry of the more technically gifted competition of the era. Had INFERNO emerged in 1971, this would have been one of the best albums of the year but coming out in 1973 at the very peak of the Italian scene, keeps it from excelling beyond the just excellent category. Still though, this is definitely one of the must have albums of the era.

The path of Italian RPI group Metamorfosi has been an interesting one. Starting, like many of the future defining Italian prog acts, with a humble little debut that mixed Sixties pop, gospel and folk elements (1972's `...E Fu il Sesto Giorno'), a year later they would deliver what would become one of THE legendary Italian progressive works with `Inferno', also one of the greatest keyboard-dominated albums in all of the genre, based around one part of the epic `Divina Commedia' (Divine Comedy) poem, a source that would continue as inspiration for continued Metamorfosi works over the decades. Despite a third album being written soon after the seminal 1973 work, the band split and it would remain unrecorded, at least until a version of the group reformed in the Nineties with a new bassist/guitarist and drummer, to be finally released as the gentler `Paradiso' in 2004. But with grand singer Jimmy Spitaleri finished with his commitments to fellow notable Italian proggers Le Orme (having performed lead vocals on their `Prog Files - Live in Rome' set and very underrated `La Via Della Setta' studio album between 2010-11), 2016 brings us the middle `Purgatorio' chapter of the tome, and while it doesn't hold too many genuine surprises, it's sublime, bombastic and lavish symphonic progressive music as only the Italian bands do so well.

A quick and overly simplified history lesson - The `Divina Commedia' is a long narrative poem written by Dante Alighieri, begun in 1308 and completed in 1320, and is considered a preeminent work in Italian literature. The poem presents an imaginative vision of the afterlife, separated into three sections - Inferno (Hell), Purgatorio (Purgatory) and Paridiso (Paradise). Written in the first person, the poem tells of Dante's journey through these three realms, guided by Roman poet Virgil through the first two, then by his courtly love interest Beatrice through Heaven.

The notion of purgatory is regarded as the intermediate state between life and death, in some beliefs a place a person goes to be judged to determine where their soul's eternal destiny is assigned - heavy going stuff! Sure enough, it means that `Purgatorio' is a much more frequently dramatic and darker work than the previous `Paradiso', one that allows for plenty of the classical bombast and theatrical flourishes expected of the group over lengthy and continuous suites of music. Throughout the album, they offer passages and lyrics based around the surreal events detailed in the poem, so please excuse the rather awkward descriptions that follow!

Right from the start, `Eco dagli Inferi' (Echo from Hell) is a foreboding gothic spoken-word narration over cavernous keyboard atmospheres that launches right into strident rocker `Catone' with Enrico Olivieri's humming Hammond organ and whirring synths, Fabio Moresco's pounding drums and Jimmy Spitaleri's commanding boisterous croon detailing a meeting with Cato, once a Roman military leader who now serves as warden to the entrance of the mountain of Purgatory. `Angelo Nocchiero' is a reflective interlude to convey a beautiful white angel in charge of transporting the souls residing in purgatory by boat, `Negligenti' a swooning lament detailing an encounter with those doomed to wait outside the entrance of Purgatory for a term equal to their lives on Earth, and the playfully malevolent `La Malastriscia', full of frantic instrumental organ pomp and a heavy wild vocal conveying a confrontation between a serpent/devil and the two angels that drive it away.

Covered over the following ten tracks, the arrival at the gates of Purgatory (`Porta del Purgatorio') leads to journeying through the seven terraces that represent the seven roots of sinfulness. `Superbi' (Pride) has relentless scathing synth-emulated orchestration and choirs, `Invidiosi' (Envy) is a sorrowful and thoughtful piano reflection and `Iracondi' (Wrath) is an infectious whirring keyboard theme with a jazzy electric piano solo in the middle. `Accidiosi' (Sloth) is a propulsive organ and harpsichord-laced interlude, `Golosi' (Gluttony) has a playful lurch to its slithering keyboard and electric piano stabs, and `Avari e Prodighi's upfront lead synth themes (with nice bass soloing from Leonardo Gallucci) and the electronic-dominated `Lussuriosi Purgatorio' convey Avarice and Lust.

At the summit of Mount Purgatory lies the Earthly Paradise (the Garden of Eden), perfectly represented by the purely instrumental `Paradiso Terrestre', an extended showcase for Enrico Olivieri's calming and victorious piano soloing and proud keyboard fancy. `Beatrice', the woman who symbolizes Dante's path to God, is a piano and vocal swoon, `Il Carro e L'aquila' details her triumphant arrival on griffin-drawn chariot and is grand keyboard-dominated pomp, and closer `E Rinnovato Volo' (renewed flight) is a stirring symphonic finale. With a glorious sweeping vocal, Leonardo's sweetly gliding bass and precious guitar chimes and a heavenly choral climax, it's a dignified and emotional tune to soundtrack her rebuking of his sins, his drinking from the River Lethe which erases his memory of past sin and restores his good memories, and prepares him for his ascent to Heaven (the third act of the Divina Commedia, which was adapted by the band on their 2004 album `Paradisio').

Please be aware - completely frustratingly, there is a world of difference between the LP and CD versions, with the vinyl edition leaving out seven tracks from the album. Admittedly the full album is definitely overlong at just over 56 minutes, but despite how amazing Giuseppina Laura Tarantola's watercolour cover art must look on the larger package, these sort of `highlights compilation' rearrangements to fit an ill-fitting format that here leaves out over 16 minutes of music is completely inexcusable (especially considering some of the stand-out pieces on the album like the instrumental `Paradiso Terrestre' are removed). If you're interested in the album and want the full experience the way it is meant to be heard, the CD edition is your only option.

`Purgatorio' was never going to be an `Inferno' beater (honestly, would ever would?), and some listeners may find that this really doesn't offer anything new when compared to many of the recent `comeback' albums from important vintage period Italian prog bands. But the amount of effort gone into painstakingly writing, producing and performing an interpretation of such a multi-layered and complex work is hugely commendable of the group, and their efforts actually encourage further study of the origin of the material that proves richly rewarding. In addition to Laura Tarantola's above-mentioned cover art and the gorgeous illustrations inside the accompanying CD booklet from Bruno Tarantola that have to be seen to be believed, `Purgatorio' ticks all the right boxes fans could want to Italian progressive music and the grand symphonic music of that country, truly `RPI' in its purest form, and anything less than top marks would be grossly insulting.

Five stars.

Hello all,

First of all I wanted to say that I don't consider myself a good reviewer of albums as far as going into details song- by-song, etc.. I respect/admire those here that do that!!

I've been a big fan of Metamorfosi's Inferno since my ears feasted on it back in 1998 when I first heard it (that's when I discovered italian prog) thanks to "Tommy's Forest of Progressive rock". That is a classic of italian prog. Needless to say in 2004 I was very excited when I heard Paradiso was coming out and I was counting down the days to put down "whatever amount it took to get it" as I was expecting another Inferno. Sadly Paradiso was a big letdown for me as there were too many neo-prog (although I like neo prog) leanings and "forgettable" melodies on that album. In all honesty, I need to give that album more of a chance. Seems like everytime I listen to it, I keep hoping I'll finally "get it" and consider it a classic. And every time I listen to "paradiso", I struggle hard to make it all the way thru. Something(s) is just missing with that album (not enough vintage keys, melodies are weak, sounds too modern, etc.).

I guess that helps me with Purgatorio as I've been "dumbed down" by the disappointment of Paradiso. I learned of Purgatorio coming out a few months and thought "Oh really? cool! They're finally going to complete the trilog". But I was not expecting much as I thought "This will probably be more in quality like Paradiso than Inferno".

I've listened to this album now about 10 times so I may change my review/ratings as time goes. One such reviewer on "ratemymusic" says "I've heard it all before" and he gave Purgatorio a low (2 star) rating out of 5.

On to my personal thoughts after 10 listens. It's no Inferno (by golly that one is a classic) but it's better than Paradiso to my ears. Maybe I just like darker/sinister overtones more and this album is more dark/sinister than Paradiso (why wouldn't it tho since it's about Purgatory rather than Heaven).

Album runs about 58 minutes, starts out with a narration over a familiar melody heard in Inferno over a 'pipe organ'. Well that's cool, they use some pipe organs here like the Abominable Dr. Phibes. Nice touches there. Spitaleri vocals are as good as ever and show no sings of aging/weariness. That is evident on the album's most sinister (and short 1 minute) track "Porte di Purgatorio" in which Spitaleri sounds like he did in the closing adrenalene-rushing 10 minutes of the "Inferno" album.

Keyboards by Oliveri and the bass guitar is musicianship is very good. There's still some modern sounding keys (like Paradiso) but Oliveri seems to have added some pipe organs and the occassional ELP analog sounds (that was missing on Paradiso).

There are some other nice pieces like "Angelo Nocchiero" with Spitaleri's operatic vocals over what sounds like a flute-organ and a nice fingerpicking arpeggio on the electric backing. "Negligenti" has a melancholic piano solo (which could fit on Felona E Sorona) and then a nice sad vocal section by Spitaleri (operatic tho in the Francescio Di Giacomo tradition) and then it goes to "heaven" with a beautiful vintage 70's italian keys sound like on the Le Orme Uomo Di Pezza/Felona and RDM's "Contaminizione" albums.

There a lot more to like on this album than with Paradiso. But please don't expect another "Inferno" or you will be disappointed. That should not, however, dissuade you from checking out this album.

I don't think I ever officially rated their other 2 albums. I'd rate "Inferno" as a 4.5 and a classic in the RPI. "Paradiso" a disappointing 2.5 that I found hard to get into (just dull) no matter how many times I tried too. For Purgatorio, a step up and a 3.5. With more listens (as I plan to), I could be persuaded to change my rating to a 4. It already went up from a 3 to a 3.5 after about 10 listens.

The album cover is pretty cool too on this one.

3.5 stars Really.

As well as numerous one-and-done standalone albums released by many Italian bands in the vintage Seventies period, there's also a fascinating collection of early albums in more of a Sixties flavoured experimental rock/ambitious pop style from many standout RPI bands before they went on to make their grand progressive defining works - for instance, Le Orme began life as a psychedelic pop group, and Pierrot Lunaire delivered a more gentle folk flavoured debut that were very different from their then upcoming special works. Roman band Metamorfosi would release what many consider to be one of the landmark Italian vintage prog titles with `Inferno' in 1973, but a year before that they delivered `E Fu Il Sesto Giorno', a very promising collection of constantly evolving rock pieces and melodic clever pop with plenty of flute, organ and passionate vocals already in place.

Jimmy Spitaleri's bold, bass-filled croon powers opener `Il Sesto Giorno', a pop-length but softly ambitious mix of Luciano Tamburro's snarling guitar, classical piano pomp, gentle synth trills, drifting flute and Enrico Olivieri's organ that moves between sombre and reassuring. It actually reminds of Panna Fredda's superb album `Uno', and Mario Natali's boisterous snappy drumming is a standout here, as it is throughout the entire disc. Sweetly chiming acoustic guitar and warm humming organ sedately bookends `...E Lui Amava I Fiori', but it quickly races up in tempo backed by heavy rattling drumming and Roberto Turbitosi's dirty bass turning the piece into a more raucous pop/rocker. The nine minute `Crepuscolo' is one of the most intricate and exciting moments of the album, moving the group closer to the proper RPI extravagance of their next album `Inferno' with lengthier instrumental passages and grand symphonic themes. Rising powerful drums builds, spacey keyboard runs and a dominating vocal from Spitaleri feature, with haunting group vocals and cool guitar/bass duelling in the extended instrumental middle a great addition as well.

Side two's `Hiroshima' appears to be a rather pretty pop tune at first, but a driving beat, spacey keyboard shimmers and untamed acid-rock guitar outbursts make it firmly a foot-tapping rocker, then `Nuova Luce' is an upbeat spiritual pop piece with a joyful group chorus, enjoyable yet somewhat throwaway. `Sogno E Realta' is another more dynamic progressive moment, moving between a hazy atmosphere of Pink Floyd-like sighing voices with droning immersive organ and wilder rock guitar outbursts with murmuring bass and frantic drumming. Sadly after all the innovation and daring of that previous piece, the band close on a twinkling little pop piece `Inno Di Gloria', but it's well played and a pleasing tune all the same with all the musicians getting decent little standout moments.

While understandably it doesn't share close to the status and reputation that `Inferno' enjoys, this is still a well performed and enjoyable rock/pop album, where at least half the compositions are really quite intelligent and gently daring, and two or three pieces approach genuine greatness. If you've got a healthy set of the true landmark vintage Italian discs and are looking to expand your collection with some of the more unimportant yet perfectly worthwhile titles, `E Fu Il Sesto Giorno' certainly falls under that category. It captures that moment when many Italian bands were just beginning to explore the limits of their music, presenting very respectable experimental rock/pop albums brimming with promise and the exciting potential to come.

Three stars.

Back in 1972 the Italian prog rock scene was in full swing and the nation set itself apart from many other European by taking the most interest in the exploding prog rock style and also was one of the few nations that utilized their own language for lyrics. In addition to the bigwigs of PFM, Bnaco, Area and the Celeste type acts out there, there were a gazillion smaller acts that blossomed into an equal amount of directions making the Italian prog rock scene one of the most fruitful and diverse in Europe with countless bands forming, recording an album or two and then disappearing into obscurity.

METAMORFOSI was one of those lesser known bands that came from Rome and managed to pump out two releases before they would take a hiatus until their 2004 comeback "Paradiso" Better known for their second release "Inferno," their debut release E FU IL SESTO GIORNO (And It Was The Sixth Day) came out in the height of the RPI craze. The band formed way back in 1969 and was originally part of the late 60s beatnik scene before heading into the realms of progressive rock and on this debut album can be heard some of the remnants of their pop years which in all honesty makes this album a little tame in comparison to the other bands of the period.

What begins sounding like one of the Andean folk bands with those unique sounding flutes and even the style i was beginning to think that someone slipped a Los Jaivas album in my METAMORFOSI digipak, but lo and behold the lyrics come out Italian and it starts sounding like the pastoral symphonic prog the Italians were pumping out at breakneck speed in '72. Many of the bands prog elements are in play here. This is first and foremost a classically keyboard album focusing on the playing of Enrico Olivieri who delivers nice hooks and pleasing melodies accompanied by the operatic vocal approach of Jimmy Spitaleri. One of the things that separates METAMORFOSI from other bands is that the guitar parts were kept to a minimum and when the very few solos occur they are usually accompanied by the flute.

For an RPI album of 1972 this is pretty weak. At this point the band hadn't stepped too far beyond the 60s and the songs are very boring compared to the explosion of creativity all around them. What we get is simple song structures that never really develop into much of interest. The melodies are pretty straight forward and there are literally no surprises like on "Inferno." This one plays it way too safe and suffers from a serious lack of imagination. After coming to this one after "Inferno" i was way underwhelmed. While nothing on here is bad by any means, nothing is memorable either. This is Italian pop rock that has a just a bit of prog lite that leaves me unsatisfied. Luckily they would step it up big time for their followup.