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I Pooh - Un Po' Del Nostro Tempo Migliore CD (album) cover

UN PO' DEL NOSTRO TEMPO MIGLIORE

I Pooh

 

Prog Related

3.34 | 18 ratings

From Progarchives.com, the ultimate progressive rock music website

Andrea Cortese
Special Collaborator
Honorary Collaborator
4 stars Well, well, well, this is probably the most beautiful Pooh's record.

In fact it was the least successfull of all their 70s productions. Almost nobody remebers nowadays a single track of it. In fact no hits were then picked off it.

The best thing is that the full orchestral arrangements are finally equaled by the typical sympho-rock instruments: mellotron, clavinet, minimoog, harpsichord and celesta.

Warning: don't assume that the band changed their mood (I won't be responsible for such a mistake... I won't give you compensation...); the band only went further, from the starting point album Parsifal. So, what we have here is still melodic and soft sympho-prog. Don't expect surprises... after all this is not the place where exigent prog lovers' ears have to search for. I'd say that Pooh play a "home-is-where-the-heart-is" pop-rock. That's it.

But now, I have to be honest with you all: the music of this band has become more serious, deep, extended. In other words: the apex of Pooh's sympho-pop with more than a simple prog touch... without a doubt.

It's not a case that the album opens with the sweet notes of PRELUDIO like in every respectable classic opera.

It's not a case that some expert reviewer has already pointed out some Puccini's hints in keyboardist Roby Facchinetti.

Wonderful opener, by the way, powerful and sweet orchestral movement with slight crescendo and drumming in the second part.

The prelude carries the listener to CREDO ("I believe"), an exciting piece that alternates strong orchestral sound (with also some absolutely good ahhhh ahhhh choruses) with a more rythmic part (mid-paced: excellent bass). Powerful vocals by Roby Facchinetti himself.

Una Storia che Fa Ridere ("a story that makes laugh") is somehow a step below ... so let me jump to the fourth track: OCEANO.

Wonderful. One of the highlights of the entire album. A solitary man sailing far from home, has to face (and taste) what real infinite seascapes mean... this one has a strong prog structure with orchestral shifting moods and uptempos. Harpsichord appears for the first time ever. A shady number with wonderful touches of electrig guitar here and there by Dodi Battaglia and a shocking (typically orchestral) outro... Wow!!

The next one FANTASIA is a gentle melody with acoustic guitar... good but nothing spectacular... let's jump again.

What follows is still another gem: MEDITERRANEO, the second and last instrumental track of the album, as the opener. Completely different though. Folk structure: acoustic guitar and mandolin plus delicate xylophone (and some low fleeting orchestral movements). Simple melody but superb delicate performance. It tastes really of mediterranean sea,oregano and small islands. Bells also in the final part. To be heard!

Now it's the time of ELEONORA, MIA MADRE, the first track penned (and sung) by drummer Stefano D'Orazio. Someone described it as "a decadent melodic portait"... it certainly would have pleased big shots of the end of the XIX century ... (Oscar Wilde, fort instance). Wonderful the two parts' interchange (song and classical sad ballad...). Somehow obsessive and delicate at the very same time!

The album still stands high with the track named 1966: emotional, aching ... by many considered the best one ... who can say... it features tasteful sparse moog, mellotron and wonderful guitar solos. Romantic in its essence... amazing harpsichord in the final part!

ORIENT EXPRESS is a nice tune but nothing special... it remebers me of LATTE E MIELE's Passio Secundum Mattheum... but probably it remains the least interesting. Another sweet and delicate melody, though... (good enough for another romantic dinner ...).

IL TEMPO, UNA DONNA, LA CITTA' ... that's the longest (over 10 mns) and proggiest track... for the nth time... it's the album's closer (as usual in most part of the Pooh's discography).

An epic number, as expressive as the Parsifal song of the previous record. Less joyful, though... darker somehow... wonderful flutes emerge from the orchestral sweet chaos... and then, after over two minutes of mysterious intro... the song begins.

A similar outro (other 2 minutes) closes the album after enigmatic and poetic lyrics: "the air closes to silence, then a cloud of dust is raised around us. I close my eyes, then I open them and...".

What is in the middle you ask... I say a wonderful masterwork, in my humble opinion: electric, acoustic and classic guitars, flutes, moog, strings, gong... great vocals sung by three of the band's members.

A simple phrase to describe the song: "iniquitous as only time can be" (as they sing in the track). Surely, a great satisfying experience. Thanks God, Pooh did it!

Today I also closed my eyes, opened and ...

Andrea Cortese | 4/5 |

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