STORIA DI UN MINUTO

Not the highly touted masterpiece most people laud, this is a nice album that exhibits well the the complex song structures and virtuosic instrumental capabilities of these obviously well-(classically?)-trained musicians. IMO, the album suffers a bit from going into too many directions--even within the space of a single song. To me, this shows that the band is still gelling, still lacking a cohesive, coherent vision. 1. "Introduzione" (1:09) opens with a pastoral voice and flute that gradually builds to a burst of full rock band power. (8/10)

2. "Impressioni di settembre" (4:23) has a kind of MOODY BLUES/PROCUL HARUM feel to it. I thin this has something to do with the 60s sounding recording effects as well as the musical sound and development. The vocal is bluesy and the unified synth, bass and drum sections (B) are also a bit familiar, steeped in blues-rock. (8/10)

3. "E' Festa" (4:51) has quite a BEATLES/ELP vibe going on in the A Section. The more prominent electric piano in the B Section has a cool feel to it--almost dragging it into JETHRO TULL territory. Group and then yodeled vocals make a brief appearance just before a significant, albeit brief tempo and mood downshift. A MOODY's like bass-led rhythm is then established for a time before shifting again to some variations on the previous sections' themes. Definitely an exhibition of some classically trained musicians. (7/10)

4. "Dove . . . Quando . . . (1 Parte)" (4:10) opens with a kind of SERGIO LEONE Spaghetti Western cinematic intro before settling into a gentle, airy multi-voiced lyric with Latin guitars and gentle flutes in support. A very beautiful pastoral song (8/10) which sets up... (Side Two's)

5. "Dove . . . Quando . . . (2 Parte)" (5:45) opens as a kind of vaudevillian piano jazz piece before the electric rock band joins in. Mellotron and cymbal crashes denote a change in directions at 1:50. Chamber strings and classical piano interlude is replaced by a Beat-generation-like jazz section set up to present some flute pyrotechnics. Feels a bit like Brubeck's "Take Five." (7/10)

6. "La carrozza di Hans" (5:42) starts out with a heavier JTULL approach before shifting into a very fast section of a very tightly played group weave. This, too, fades away and is replaced by a very soft and delicate vocal section. At 3:25 an acoustic guitar leads us up and into an uptempo bluesier section. The band joins in and an excellent violin solo takes its turn. Back to a fast-played group weave rock before ending with a some chant-like "aahh's." (7/10)

7. "Grazie Davvero" (5:52) is, to me, the harbinger of things to come for PFM--a snapshot view of their next album and their first masterpiece, Per un amico, but still a far way off. An awkward song with mystifying dynamic and instrumental variations. (7/10)

A nice album to introduce yourself to this band of classically trained yet diversely interested musicians, but not one for masterpiece status nor is it essential to one's collection. Too scattered and lacking goals and direction (unless those were to show off skills and imitative abilities).