IL VOLO

Grossly underrated progressive rock from 70's era Italy. IL VOLO offer strong and very thematic prog in the same vein as PFM with the highest calibre of musicianship. IL VOLO blends loads of keyboards (moog, synth, piano etc...) with great guitar/bass interplay. This release is actually very symphonic and offers great landscaped synth work. This release explores some great melodies and sound reproduction is surprisingly excellent. Vocals are in Italian and offer excellent vocal harmonies never becoming too dominant or loud. This is superb musical craftmanship and is far too excellent to not belong in your collection. Essential!

Il Volo is a unique Italian progressive rock band. This album has very little resemblance with other Italian bands like Banco, PFM and Le Orme: the keyboards are less melodic here, and they are not organ-moog oriented: they are rather electric piano-clavinet oriented, with many floating ambiences; the electric guitars solos are more omnipresent and conventional too.

This is their first record, entirely sung in Italian. The bass is varied, very loud and bottom. The expressive and addictive lead & backing vocals enhance the overall quality of this record. There are many electric mandolin parts, which are a bit their trademark. There are many subtly floating keyboards a la Pink Floyd's "Animals". The numerous melodic guitar solos are impressive, although they don't have very noticeable pedal effects. There are MANY mellow and fast electric piano parts, and some exuberant clavinet arrangements. The drums are very varied, fast and refined. The acoustic guitars take an good part in the music. There are some acoustic piano, especially on the last track, which contrasts with the TONS of previously played electric piano. The harpsichord (cembalo) parts are very hard to detect. Il Volo only made 2 records: this one is more conventional than the next one, being more instrumental, mellow and experimental.

Rating: 4.5 stars

I picked up this album in the 70's after seeing that it was on the same label as PFM (Numero Uno). I wasn't disappointed. The CD I now have includes both albums. Not strictly progressive, this group managed to blend a variety of styles into a very original- sounding, melodic "whole". Side one is excellect, and Side two is good for the most part (the last song is GREAT, though stylistically out-of-character). The vocals are better on some songs than others, as is often the case with Italian Prog. Two thumb up.

Excellent Italian prog album, in a slightly jazzy symphonic style. Possibly the first Italian prog "supergroup"; all members are from other notable bands. The dominant influence is from the two members of Formula Tre, especially guitarist Alberto Radius. In fact if you liked Sognando e Risognando by Formula Tre, you will love this one. One difference is that Il Volo has a strong bass player (in Formula Tre the keyboard player used his feet for the bass parts a la Ray Manzarek or the band Island). The twangy, Squire style bass drives along a good part of the music. This frees up Formula Tre's keyboard player to serve up some tasty organ playing. Shortcomings are few, including somewhat of a lack of originality.

One of the stellar and yet underrated classics of the golden age of Italian prog.This debut album in 1974 still shines for me today, 30 years later, a true monument of symphonic elegance with a much maligned dual guitar and dual keyboard set-up that exude rich pulsating e-piano motifs, sweeping synth strings (the legendary italian Eminent) , and inspired acoustic/electric interplay. But its the vocals that blow me away, richly gorgeous and inspiring, highly evocative indeed. The first 5 tracks in particular are just plain breathtaking , especially the way "il Calore Umano" segues into "Il Canto della Preistoria" , in my opinion , the finest 10 minutes of Italian prog ever recorded. The opener "Come un'zanazar en Africa" is a swirling tempest of e-pianos, booming bass, rippling drums, squeaky guitar bursts and some of the finest harmony and lead vocals anywhere. A majestic ISP monument .

5 stelle

Il Volo's first album is generally regarded as a good one, far from their (instrumental) second one, yet, which was released in 1975 "Essere o Non Essere?" (To Be or Not To Be?). It had to be not a traumatic split that of Formula 3, since two of their three members continued to work together in this new "supergroup". The same went for the Mogol's collaboration (and production).

I largely agree with other reviewers and listeners, even though I never thought instrumental tracks are better than the sung ones itselves. The fact is that the music on this self-titled album appears truly to be a little bit weaker than the 1975's work.

Two only exceptions: the opener track "Come una Zanzara" (Like a Mosquito) with a strong bass guitar provided by the obscure "Olov" (maybe Bob Callero, bass guitarist on the second album); "La Canzone del Nostro Tempo" (Our Time's Song) is arguably the other highlight of the album.or, at last, just another favourite of mine: ".It is not true you haven't choice.you can let you die right now, if you want!". Great keyboards' work, a sort of battle between two "eminent sirs" Vince Tempera and Gabriele Lorenzi.

The remaining six tracks of the album aren't at the same level, in my honest opinion. Good anyway the vocals provided by Alberto Radius, always enjoyable (in fact I usually enjoy it!) his well known acoustic guitar, in the vein of the Formula 3's previous album "La Grande Casa".

A moderate recommendable album. Good to understand their musical direction which came to maturity with the excellent album Essere o Non Essere.

I add this review because I am in love with this album! I must agree with "thomas", the reviewer above, and add the info that Roberto (Bob) Callero is indeed 'Olov' as the line-up remained the same six musicians for both IL VOLO's albums. Many prog fans prefer their second mostly-instrumental album "Essere o Non Essere?" (1975), and I too, would normally tend to go for less vocals in my prog. But, IL VOLO's first album is a flawless exception (in my humble opinion).

All the music is easy-going, well played (but not too flashy) with a "European cinematic" quality to it. The entire album features catchy and charming melodies with very good Italian vocals (and really nice 'echoey' background vocals in places). All the vocals are mixed well and not overpowering or upfront. Like much Italian prog, the vocals are used as another instrument. It's all just done so well and understated that I cannot think of an improvement.There is a familiarity with the music even upon first listening.

I've read many reviews of this album over the years (even before I'd heard it) and some have rather discarded this album as "pedestrian, cheesy or boring". Well, it's a guilt-free pleasure for me, as I love every second of this over-too-soon classic. A real feel-good album and one of my 'top five' of Italian progressive rock!

Debut board released in 1974 "Il Volo". The content is jazzy rock. It is a highly technical instrumental work. Initial P.F.M presented the world that had been refined based on a classical technique and the influence of Britain. Against, and here is fused with the Italian fork and pop, jazz/fusion, and a magnificent, sensual sound. It is an image that piles the technique to the final work of FORMULA TRE further. The ensemble deliberately piled up is pop at the same time as thrilling. Work that feels dense zeal. It is pop music with an unique perfection. This album is music that is sure to arise only in Italy.

Before the release of their eponymous debut album, all the members of "Il Volo" had collaborated with Lucio Battisti and with lyricist Mogol... Years of hard work as session men and as members of other bands (Alberto Radius and Gabriele Lorenzi were members of Formula 3, Mario Lavezzi of Flora Fauna e Cemento and Camaleonti, Bob Callero of Osage Tribe and Duello Madre, Gianni Dall'Aglio of I Ribelli, Vince Tempera of Pleasure Machine) have resulted in considerable musicianship and experience, but the problem here, in my opinion, is the lack of originality in the song-writing... This probably explain why in this album you can feel so strong resemblances to some works of Lucio Battisti like "Umanamente uomo: il sogno", "Il mio canto libero", "Il nostro caro angelo" or "Anima latina"...

However, although lacking a little bit of originality, the music is good and the opener "Come una zanzara" (Like a mosquito) is really promising... An instrumental introduction that lasts more than two minutes and that features good bass work and a suggestive and mysterious atmosphere, then vocals come in... "Like a mosquito in Africa / Me too lost among millions, nay milliards, of people... Why am I a man?"... The rhythm section is powerful, all along the album you can appreciate good keyboards interaction and Alberto Radius' beautiful soaring guitar... The music flows steadily, track after track, there are some acoustic and melodic moments, some bluesy and jazzy influences... There are no outstanding tracks, but the average quality is really good...

Unfortunately lyrics are quite uninspired... All the lyrics of "Il volo" have been written by Mogol, but in this work he seems to have lost inspiration and every now and then I have the feeling that the lyrics of this album are just leftovers of those written for Lucio Battisti, especially in songs like "La mia rivoluzione" (My revolution), "Il calore umano" (The human heat) and "Il canto della preistoria" (The singing of the prehistory)... This album could have been a good "concept", the music is well performed and there are some recurrent themes (for instance, at the end of the second and of the third track there are little reprises of "Come una zanzara" played by the guitar), but at length "Battisti's shadow" is overwhelming and the band seem to suffer from a kind of "crisis of identity"... In the whole a good album, although not an essential one in a prog collection...

The classic Italian prog genre is probably the single most rewarding moment in progressive music history. A large claim to be sure but when you look at the sheer volume of amazing work it is hard to argue. The music of this period is rich, groundbreaking in many ways, and always painstaking attention is paid to sound, arrangements, and composition. Almost every album sounds different and will be filled with surprises! We didn't have to worry about formulaic albums yet! It was a time of great discoveries and the music was warm and wondrous.

Some Italian prog can be described as "difficult" or "complex" and therefore might scare away some prog listeners who have heard stories of "harsh, operatic vocals." That may be true of some albums although we Ital-prog fans love those vocals.

In any case, Il Volo is no such animal. This is an easy to digest work for anyone. Aside from the Italian language singing, this album is more conventional prog than others in the genre. Nice melodies, laid back vocals, smooth electric guitar solos, some acoustic guitars, and less weird keyboard. The percussion and bass are hard hitting and the sound quality is outstanding on the Japanese mini-lp CD.

Unlike some of the more complex Italian albums, Il Volo may be a good starting point for newbies to the genre. If you're looking for one to try out that isn't too weird or wild, this album will deliver a solid rock experience and give you a little taste of the Italian scene. Then you can sample some of the more challenging material from the Italian Symphonic "top 20" list at this site.

Sort of an Italian progressive supergroup,IL VOLO were formed by members of various important Italian bands like Formula Tre,Camaleonti,Duello Madre and Ribelli.They were an exclusively studio outfit,who recorded their eponymous first album in 1974.''Il volo'' is a deeply emotional work with a song-based style,based heavily on romantic vocals and sensitive soundscapes.If possible,imagine of a less-folky and lighter version of PREMIATA FORNERIA MARCONI.Quite easy-listening,the short-length compositions of the album are characterized by the light melodic electric guitars,the careful use of keyboards and the atmospheric and emotional vocal arrangements,resulting a ''light'' symphonic rock album with ''heavy'' doses of intense atmosphere.I trully loved this release and would recommended it easily to all fans of soft symphonic progressive rock.

With dual keyboards, dual guitars and prominant bass I thought I would like this a lot more. There are two amazing songs, three good ones, and three i'm not fond of at all. They really use a lot of string-synths as well on this album. Vocals are good, they actually reminded me of PFM.

"Come Una Zanzara" is one of my two favourites. It doesn't really get going until a minute in. String-synths and bass stand out before the keys start to shine. What I really like about it is the vocals before 3 minutes as the bass throbs and string-synths soar. Nice drum work and the guitar cries out 4 minutes in. "La Mia Rivoluzione" is a pretty good song once it gets going. I like the rhythm section. Lots of string- synths, and I like the guitar 3 minutes in. "Il Calore Umano" builds with heavy drums, string-synths and vocal melodies. Some tasteful guitar as the melody stops before 2 minutes. Guitar and a fuller sound a minute later. It's an ok song. "Il Canto Della Preistoria" opens with spoken words before reserved vocals take over with strummed guitar. A fuller sound 2 minutes in. Again it's another ok tune. Pleasant.

"I Primi Respiri" is laid back early with string-synths, piano and reserved vocals, before it gets intense 3 1/2 minutes in. "La Canzone Del Nostro Tempo" is my other favourite track. Check out the bass intro ! A good melody with vocals follows. This is so good ! I wish the whole album was as good as this track. Great keyboard work as well. "Sonno" features strummed guitar,keys,guitar then drums as fragile vocals arrive. Again this is ok, but too light sounding. "Sinfonia Delle Scarpe Da Tennis" opens with organ before drums and vocals come in. Piano follows. String-synths then harpsichord late. Not a fan.

I really feel this could be so much better. The potential is obvious.

''Il Volo'' is another discreet Italian band from he seventies. Unlike several of their colleagues, they won't release only one album. They will last long enough to be able to record.two.

This debut album has a definite jazz feel, but this is not an isolated fact in this genre (PFM, Banco.). But don't worry, this symphonic jazz is easy to digest (believe me). My concern about this album is that some of the tracks are only BRILLIANT during a portion. You should listen to the fantastic guitar solo from ''La Mia Rivoluzione''. Only Carlos could have produced a more emotional one. I would have liked a little more though.

Talking about ''Santana'': this feeling was very present as well during the closing part of ''Come Una Zanzara''. Totally jazzy for a while, it ends up into some frenetic Latin-rock extravaganza.

This album also holds some delicacies which are more in line with the genre like the sweet ''Il Calore Umano'' or '' Il Canto Della Preistoria'' although the later is not really impressive: some weird keyboard sounds are quite disturbing and should have been avoided.

My favourite track is the beautifum ''Sonno''. At last one song which is perfect from start to finish. But it is the last but one song from this work.

Three stars for this very short album (as it is often the case for Italian bands in the seventies).

Lucio Battisti.And, the existence of Mogol who was a director in Ricordi at that time might have been shown as complete existence for the situation of Rock of Italy of the 70's. The establishment of one main current by PFM succeeded worldwide and collected the keen attention in the flow of the market in a situation and Italy of course at that time.

The theme that "Numero Uno" had might have worked on the account with a very reformative part when a situation at that time was considered. The flow not related to sales of the music of the music the movie the main current of each recording label at that time and the canzone, etc. might have challenged the field of new music as a flow with originality. The work of Numero Uno to be established of the success and the main current to some degree for emphasizing the part of Rock works extremely out work with the band with the technology with high all qualities with a worldwide success of PFM. The music character that derived in the latter half of the 60's with the flow of Beat Rock and psychedelic is enumerated and the second stage will be able to enumerate the existence of the band that gives priority to the improvement of a more progressive element, the reformation, and the performance power with the first stage if it counts. PFM, Banco, and Osanna. Or, there might have been time when this Il Volo appeared in the flow that the music character of the band with high quality such as New Trolls appears as a flow of the market of the music of Italy of the 70's exactly at reformative time. Of course, it has the experience that members who were related to this Il Volo also were doing important work in the flow of Prog Rock of Italy. This band might have been very special exactly existence in the band of Prog Rock of Italy at that time. Therefore, it was existence to which the role of Super Band was played.

The band that should call the antecedent of this band as a well-known fact might be "Formula Tre". Formula Tre that led Alberto Radius said that it received a large influence to Cream and Jimi Hendrix attracted attention as a band with a novel music character in the early the 70's. Formula Tre connects first establishment Numero Uno with the contract by Lucio Battisti. "Dies Irae" is announced in 1970. And, "Formula 3" is announced in 1971. The work of production by Lucio Battisti informed them of their names by "La Folle Corsa". The music character of Formula Tre had been established enough from continuing "Sognando E Risognando" to "La Grade Cosa" in a market at that time. The band faces the revolution further in 1974 after musical diffusion and development are accomplished. Guitar player's Alberto Radius and keyboard player's Gabriele Lorenzi are exactly centered and Formula Tre has developed into this Il Volo. The composition etc. that appointed the part, the guitar, and the keyboard that appointed a musician who was active with other I Camaleonti and Duello Madre, etc. to the member of the band respectively by two people and arranged it will have been reformative parts. Existence as the band that was able to draw out the possibility of the music character enough might have been exactly shown enough. It is music that splendidly united exactly an original music character of work and this band of Nemero Uno and was expressed.

"Come Una Zanzara" shifts from the flow of the sound with the anacatesthesia to the part where overwhelming power of the band is demonstrated. Melody with expression of feelings. Sound of Bass and guitar that continues tension. Melody of sitar in close relation to decorated sound. Element of song and Groove in close relation to progress of original Chord. Done consistent expression of feelings and tension are pulled by a complete melody of the guitar. The originality of Prog Rock of Italy is demonstrated enough.

"La Mia Rivoluzione" starts by the melody with good beautiful acoustic guitar and song. The rhythm of the shuffle twines round the sound of the shining keyboard. Obbligati of keyboard and sitar in close relation to song with expression of feelings. The tune reaches the peak gradually. The tune will be pulled before long with Bass and the guitar. Solo of the guitar to make the melody of "Come Una Zanzara" appear has a good sense again.

Bass and the keyboard twine round "Il Calore Umano" all together with a good guitar. The chorus consistently continues expression of feelings. After a glossy guitar pulls the tune, the melody of a good song decides the impression of the tune. The tune opens complete energy by the obbligati of Riff and the keyboard of the guitar.

As for "Il Canto Della Preistoria", the narration appears in the sound of the guitar that flows quietly. It progresses with a good flow of Folk. The progress of gentle Chord with originality has good atmosphere. The chorus has the impression of the tune decided with the song. And, the part of Solo with a vocal impression and the obbligati of the synthesizer also raise the quality of the tune.

"I Primi Respiri" might be a tune with one expression of feelings that the band challenged from another angle. It is a tune with the atmosphere of the waltz that multiuses the rhythm of three. The melody completely types out originality. This expression of feelings and the processing of harmony might be the good atmosphere that Italy of the 70's completely had.

"La Canzone Del Nostro Tempo" accompanies Grrove that explodes because of the part of dark atmosphere. The composition of the rhythm and the melody with the tension might be splendid. The tune shifts to the part with a complete, transparent feeling suddenly. And, energy is discharged again toward the top. The arrangement of the part of Coda is also splendid.

The arrangement of a beautiful acoustic guitar and the keyboard of "Sonno" is splendid. The progress of Chord advanced as elements of a few ballade are taken has succeeded completely as a tune. Gentle melody of song and arrangement of guitar. Melody of song to make good use of falsetto. Composition power of tune that puts fast and slow. The band runs about the space in union. Especially, the melody of the song is perfect.

"Sinfonia Delle Scarpe Da Tennis" progresses from the melody of a solemn organ attended with the rhythm of the shuffle. The melody of a usage of the percussion instrument and a bright song will expand the width of the composition of this album. A bright performance of the melody and the keyboard that gives hope might have an interesting part as a composition.

Time when Il Volo had been taken an active part was very a short span of time. The existence of the band might be valuable Music who showed enough existence as one of the histories of Prog Rock of Italy surely.

Italian sextet Il Volo boasted twin guitarists and keyboardists, but don't expect lengthy instrumental passages and complex structures from their 1974 debut album. What we do have is a collection of short and commercial-sounding songs. There are some featherweight fusion touches scattered throughout the album's 8 tracks, but generally things are all very accessible. That said, the standard of the compositions is first-rate and the level of musicianship is high. Vocals are pleasant and the soundscape is well endowed with a rich variety of keyboards, mainly electric piano and string-synth, and guitars.

The fusion influence is most apparent in the forceful funk and Santana-influenced licks of COME UNA ZANZARA, and the biting guitar and free-flowing electric piano of LA CANZONE DEL NOSTRO TEMPO. The ultra-catchy LA MIA RIVOLUZIONE is basically a shuffle, spiced with Alberto Radius' electric sitar and a graceful guitar solo towards the end of the song. There's some nice work on the toms from drummer Gianni Dall'Aglio on the sedate IL CALORE UMANO. The closing section features the sunny effect of wordless vocals sung over another velvet-toned guitar solo. Throughout the album, keyboards are used together with the rhythm section as building blocks for the guitarists to lay down their solos. However, the main focus is always on the songs and after a brief spoken word intro, IL CANTO DELLA PREISTORIA develops into a beautiful acoustic ballad. SONNO is equally romantic with its tension-filled falsetto vocals. I PRIMI RESPIRI is a quirky little ditty that features Mario Larezzi's electric mandolin and more of that electric sitar. This and SINFONIA DELLE SCARPE DA TENNIS, which contains honky tonk piano, both sound like '60s psychedelic-pop throwbacks and they tend to make the album sound a bit dated. The first half of this album contains some wonderfully melodic songs. The second half is not quite as good, but is still a very pleasant listen. However, herein lies a slight problem. This album is just a little too easy; essentially, it's a pop-based album. There's no denying Il Volo's musical prowess or ability to write warm and endearing melodies, but I'd recommend their more dynamic second album over this release.

In a succession of countless bands and artists is impossible not have also in Italy the "Supergroup" phenomenon. Maybe an example could be the collaboration between PFM and Fabrizio De Andrè, not a supergroup sure, but a supercooperation! Under a carpet of leaves the evolution of music in RPI scene was slowly fading out, but the ferment of many artists, drowned by the Italian cultural evolution of that time so paradoxical, has produced many musical exchanges and a lot of good music.

So into the intimate reality of RPI in 1974 a "gang" of important musicians coming from several bands has created a group really impressive. There were Alberto Radius and Gabriele Lorenzi from Formula 3, Roberto "Bob Olov" from Osage Tribe and Duello Madre, Gianni dall'Aglio from I Ribelli (the same origin group of Demetrio Stratos), Mario Lavezzi from Flora Fauna e Cemento and Cmaleonti, Vince Tempera great composer and "maestro" from Pleasure Machine and as lyricist the great Mogol, fellow historian of adventure of more known Lucio Battisti. Nothing else to say, but surely there are many expectations.

The opening song is so exciting full of a verve, at the same level of Banco or New Trolls. "Come Una Zanzara In Africa" ( As A Mosquito In Africa) sounds as if you can really imagine a mosquito that is dancing around an unknown scene, before it starts a more powerful piece in typical RPI style. For a moment you can forget all Great RPI bands! Fantastic. I try to think about how much enthusiasm there was in 1974 at first listening, a year far from the wonder productions of 1973! All is assembled perfectly. A fantastic rhythmic session that sometimes remember me Reale Accademia Di Musica "Vertigine", a variety of perfect elements arranged with taste in music and with the great guitar of Alberto Radius. In fact the first part of album is unbelievable, characterized by a groove line bass that gives at the album a good rhythm. On the same line is composed "La Mia Rivoluzione" (My Revolution), very interesting song.

With the third song "Il Calore Umano" (Warmth) is possible to appreciate Alberto Radius ability on guitar with a memorable solo. From here the album presents a series of song (the next 3) with more slow tones and interesting elements. "I Primi Respiri" (First Breaths) and "La Canzone Del Nostro Tempo" (Our time Song) sound like one the continuation of the other, as a very little suite. Personally I think nothing really special, but there are some good ideas. With the song "Sonno" (Sleep) they retake again the previous sound with a singing intermezzo that remember a classic Lucio Battisti period, with an evident participation of Mogol in sung piece. The album ends with a strange musical choice for this kind of music, or however because I have much expectations. "Sinfonia Delle Scarpe Da Tennis" (Symphony Of Sneakers) sounds as a careless song, so simple in its structure, but we say it's ok!

This album marks a middle age in Italian pop music but especially in RPI. It is a watershed between the Golden Age of experimentation when was born the Great creations, and experimentation more jazz oriented after 1974, with bands such as Arti e Mestieri, Agorà, Il Baricentro, Nova, etc? It sounds as an echo of past times, far from the previous creativity and maybe results a little bit boring in sung parts, remembering Italian pop of those years. Anyhow it is a "place to visit" at least one time in lifetime, surely to know and appreciate in some of their musical parts. In other words not their best but only a foretaste of what will be their next album "Essere O Non Essere: Essere Essere Essere", in which they certainly let us to know their real musical power.

3,5 Stars ? A lot of good moments but something does not convince.

An interesting jazz rock group made up of pieces of other well known Italian bands, Il Volo don't quite live up to their pedigreed expectations, but deliver a very well recorded, if flawed, album.

Opener Come Una Zanzara is reminiscent of latin era Return to Forever with vocals-this album is much closer to 1974 anglicized prog and jazz fusion sounds than most of their brethren (though by 1974, other Italian prog bands were starting to turn towards slicker sounding Jazz fusion). Given the combined industry experience of those involved (including lyricist to the stars, industry heavyweight Mogol), one could see they had a larger world view than most of their contemporaries.

La Mia Rivoluzione starts with acoustic guitar and vocals before heading into a slick Santana guitar break. More commercial than the opener. Il Calore Umano sports some wordless vocal choir work straight from an Italian 70's Morricone film. before hitting a decent guitar solo that almost cuts loose. This one sounds like a bunch of neo prog bands from decades in the future. You can tell that a larger amount of money was devoted to this project as it is audibly superior in recording techniques than most albums of the era. Il Canto della Preistoria starts with a spoken introduction gives us a little PFM lite. A warped bass(?) synth (?) demented little solo on top of something that sounds like Camel in their later commercial days is a nice juxtaposition-my favorite moment on side one. So far the album is a little polite for my liking as they straddle obvious commercial aspirations with obvious talent.

Side two starts with I Primi Respiri, a song that has some nice reverb tank vocals with whispering underneath that show some promise for weirdness. Bass dominates this song and it seems like its about to take off when they veer into a lazy bit of Southern California soft rock but let the final riff build until...the song stops. La Canzone del Nostro Tempo is the first burst of genuine RPI and most satisfying song on the album. A little bit of seventies Funkadelic era guitar perks things up in a fairly high energy ending. Sonno features falsetto vocals, with acoustic guitar driven piano symphonic with a polite Rothery-ish solo. Last song Sinfonia Delle Scarpe da Tennis has some great ELP stylings with barrelhouse piano and a quirky italian jig with vocals that is just too short at under three minutes.

Overall, it is odd that though there aren't any really great songs on here it still hangs together pretty well. Very well played and recorded, but a little too slick for its own good, Il Volo would be a good one to slip in for UK prog and fusion fans to try their first tastes of RPI. In a way, these guys were ahead of their time as it was another 3-4 years at least until a ton of bands started to sound like this. Perhaps this is an early example of what happened to Asia: put a bunch of amazing musicians from great bands into a room and hit 'record' on the reel to reel. The sum of the parts isn't always the miracle we'd hoped for.

3 stars

I have a German original pressing on ariola, and it is an impressive high quality recording with deep bass and crystalline treble. Do wish it was the gatefold version though.

"Il Volo" was one of the earliest commercial experiments in the realm of "superbands." The group was formed in 1974 by a producer named Mogol, who had previous ties to Premiata Forneria Marconi and was the technical and musical brain behind Formula Tre. Il Volo is considered an extension of Formula Tre, as when Tony Cicco left the group to pursue a solo career, Mogol brought together the remaining two members of Formula Tre with four other musicians from legendary groups to form Il Volo:

- Mauro Lavezzi (ex-Flora Fauna Cemento, on guitar) - Alberto Radius (Formula 3, guitar) - Vince Tempera (ex-I Giganti, keyboards) - Gabriele Lorenzi (Formula 3, keyboards) - Bob Callero (ex-Osage Tribe, bass) - Gianni Dall'Agio (ex-Ribelli, drums)

The group released only two albums, both of which were excellent. Mogol wrote all the lyrics, while the others composed the music separately. This resulted in excellent songs with a simple and direct style, deeply rooted in the Mediterranean style but with highly melodic passages connected to unexpected eruptions. The intelligent use of studio effects on guitars and vocals produced a unique sound that, while reminiscent of Formula Tre's music, leaned slightly more towards jazz-rock. Lavezzi's voice was a distinguishing element that set Il Volo apart from its predecessor.

"Come Una Zanzara" transitions from mesmerizing sounds to powerful demonstrations of the band's musical prowess. It features expressive melodies, tension-building bass and guitar interplay, and a sitar element that adds depth to the composition.

"La Mia Rivoluzione" - Starting with beautiful acoustic guitar melodies and soulful vocals, this song gradually builds momentum with a shuffle rhythm and shining keyboard arrangements. The interplay between the keyboard, sitar, and vocals adds richness to the emotional depth of the track.

"Il Calore Umano" - Bass and keyboard elements intertwine seamlessly with the guitar, creating a cohesive sound that drives the song forward. The consistent expression of emotions through the chorus and the energetic guitar riffs add layers to the overall energy of the track.

"Il Canto Della Preistoria" - Beginning with an intriguing narration, this track evolves into a gentle folk-inspired progression. The soft chord progressions and vocal harmonies contribute to its unique atmosphere, with well-crafted solos and synthesizer elements enhancing the song's quality.

"I Primi Respiri" - This song explores a waltz-like atmosphere with a three-beat rhythm, showcasing the band's versatility in musical expression. The melody and harmony processing highlight the band's ability to capture the essence of 1970s Italian music.

"La Canzone Del Nostro Tempo" features a mix of dark atmospheres and explosive grooves, exemplifying the band's compositional prowess. The dynamic shifts in rhythm and melody create a compelling listening experience, with a memorable arrangement in the closing section.

"Sonno" - A beautiful blend of acoustic guitar and keyboard arrangements sets the tone for this track. The gentle progression and vocal melodies, including falsetto, showcase the band's composition skills and emotive delivery.

"Sinfonia Delle Scarpe Da Tennis" - This song starts with a solemn organ melody accompanied by a shuffle rhythm, gradually expanding into a brighter, hopeful composition. Using percussion and bright keyboard melodies adds depth to the album's overall composition.

Despite the impressive pedigree of its members and the high expectations they generated, the group disbanded after releasing their second album, which was entirely instrumental and did not achieve the commercial success of the first. Lavezzi and Radius pursued solo careers, while the others became highly successful session musicians. Il Volo's active presence may have been brief, but their impact as part of Italy's prog-rock history remains significant, showcasing their prowess as musicians and innovators within the genre.