RIVER OF LIFE: THE MANTICORE YEARS ANTHOLOGY 1973-1977

Such an interesting reissue of some ever-green classic tunes by P.F.M, this time (fortunately) remastered, cause a typical defect of their old albums was represented by a group of weak recordings...if I think of their old tapes or vynils I'm not so enthusiastic about it and-moreover-I've always been quite disappointed talking about their old records. But this time the job of the sound engineer is good, often being able to clean the dirty traces of the original vynils and making them more brilliant (except on a few circumstances only, which could make you change idea and erase an half star from the evaluation at least). This 2cd anthology is focused on four studio albums and a live record between 1973 and 1977, without regarding of four previously unreleased recordings from their "hot" stage- during the MANTICORE years- indicating a true testament concerning their best music season!! Instead I'm not so glad about a rare B-side of a UK session (becoming a UK single), which has not been improved in comparison to the old tape; nevertheless an immortal track like "Alta Loma 5 to 9" (already being unforgettable inside their live USA) and of course the classic numbers from Chocolate Kings as well, make this anthology quite essential!! Besides their performance regarding the Electric piano, the violin and the flute (for instance do you remember the classic piano within "Dove Quando"? Well this time it's a live version, with a good execution to be remembered..), without forgetting the typical tone by B. Lanzetti too, not often remarked in the present anthology as a singer, are the best features here!! At the end, if you consider the support of an excellent musician like Mauro Pagani (always involved in the music plot), for sure you'll choose the present anthology!!

This compilation heralds Esoteric's acquisition of the Manticore catalogue. ELP became talent scouts (in much the same way as Led Zeppelin with Swan Song) and seemed to show particular fondness for Italian acts, signing Banco and the more recognised Premiata Forneria Marconi. Already Italy's number one band and heavily influenced by King Crimson, they were signed by Greg Lake and paired with the lyrical talents of former Crimson courtier Pete Sinfield to bring them to an English audience. Their first two albums were re-arranged and re-written and called `Photos Of Ghosts' and `The World Became The World'.

This 2CD well annotated and packaged release acts as a definitve introduction to the band's glory years between 1973-77 and provides an overview of the five albums they released for Manticore together with some hitherto unheard gems. To the novice this is the perfect place to start, to the casual listener a perfect overview, and to the afficionado there is enough to justify purchase, with a total of some 40 minutes unheard top quality material.

For fans of `PFM Cook' in particular there is a stunning 16 minute previously unreleased `Is My Face On Straight' from the same NYC Central Park 1974 source tapes. The band really stretch out here with winning mini-moog and rhodes solos, delivered with aplomb, logic and not a note wasted . In many ways the essence of PFM was and is as a spectacular live outfit with dazzling virtuosity on display, and other key selections here are `Four Holes In The Ground' and `Alta Loma Nine Till Five' from `Cook'. Studio releases `Photos Of Ghosts', `The World Became The World' `Chocolate Kings' and `Jet Lag' are all represented by 3 tracks each, and there is a rare and most welcome B-side `La Corrozza Di Hans' from 1974.

Disc two offers up a further 20 minutes of unreleased live material from Nottingham University from the 1976 tour including the perennial favourite `Celebration', and in general this compilation charts the development of the band over a five year period during which they covered a lot of musical territory from classically informed ensemble rock to their final offering for Manticore `Jet Lag' which is a particularly under-rated work which has aged well and has a woody, fusion feel to it and some truly lovely keyboard sounds.

It all bodes well for Esoteric's forthcoming issuing of the individual albums, with more unreleased material promised on each .

I'm reviewing this as someone with only a passing interest.PFM are probably just too 'jazzy' for my taste although without doubt they are great musicians.There are some beautifull moments here including some tasty live performances.The first disc is perhaps the best even if it is supposedly the inferior re-recorded English versions.Can't really fault it although on a creative level if this is their best then I can understand why they never became as popular outside their own country as in.It all dissappears at times in a haze of wonderous noodling.Easy to see why they were so highly rated as a live band.Overall solid 4 stars but I'm not encouraged to explore any further.

This collection of PFM's Manticore-years I a fine one. It features higlight-tracks from all the LP's they recorded for the label.

The first disc features the formation without a proper lead-singer. Except for the very strong attemt 'Il Banchetto", all is sung in worse English. It does not disturb much, though, for tracks like 'River Of Life', 'The World Became The World (one of the best instrumental parts in progressive rock to me, with a combination of mellotron and mini-moog)' and 'Just Look Away' (accessible, but with a wonderful mellotron-flute / whistle melody at the end).

The live-tracks 'Four Holes In The Ground' and 'Alta Loma Nine Till Five' from the double-live- LP 'Cook' are impressive and contain influences from jazzrock like Mahavishnu Orchestra.

The second disc features some previously unreleased live material and songs from the last 2 Manticore-LP's 'Chocolate Kings' and 'Jet Lag'. Bernardo Lanzetti (Mangala Vallis) is doing the lead-vocals here and the sound is leaning more towards King Crimson. 'From Under 'and 'Harlequin' are great progtracks with great instrumental work. The three threats from 'Jet Lag' are very Chick Corea-ish, atmospheric and pleasant to listen to, although quite different from the 'Chocolate Kings'-sound.

Their most popular track, the instrumental 'Celebration', is featured in a live-version here. The studio-version can be found on the 'Photos Of Ghosts'-cd.

After all, PFM easily can compete with giants like Yes, ELP and King Crimson with those 70's- album. The quality of their playing and compositions is that high, you can see them as one of the major progrock-bands from the 70's. If you are new to this band, this very stable 'best-of' is really worth the purchase!

If you really like the live-PFM, you should keep aan eye on Esoteric Records, who will release a re-issue of the double live-LP 'Cook', with a bonus-live cd added, later this year.

If you are (hardly) not familiar with PFM this double CD is an excellent introduction to the highly appreciated Classic Italian prog band. Because it spans the time between 1973 and 1977, PFM released four studio-albums in that era and were at their artistic pinnacle. This 2-CD also includes additional live material and an unreleased B-side of an UK single.

CD 1 focuses on the albums Photos Of Ghosts (1973) and The World Became The World (1974, the English version of L'Isola Di Niente) with additional the previously unreleased track La Carozza Di Hans (B-side of the UK single, this version fails to keep my attention) and songs from the live LP Cook (aka Live In The USA) from 1975. PFM their music has obvious hints of early King Crimson (mainly their debut album). But the inventive arrangements with captivating musical ideas, the both tasteful as virtuosic work on guitar, keyboards and violin and the shifting moods and changing styles turns PFM into an unique progrock formation. For example, in River Of Life PFM flowingly changes from classical with flute, acoustic guitar and harpsichord to mellow symphonic rock with Mellotron and Minimoog. And Photos Of Ghosts delivers a thrilling acceleration while in Il Banchetto we can enjoy a shift from classical to lush keyboard oriented symphonic rock in which the harp is subtly blended, concluded with virtuosic Grand piano. The way PFM succeeds to generate excitement and surprise is breathtaking! In the composition The World Became The World I notice a very delicate mix of Fender Rhodes electric piano and warm vocals, then a sumptuous eruption featuring majestic violin-Mellotron but the fat Minimoog flights give a special favour to the music. In the live track Four Holes In The Ground the band showcases their heavy side with fiery guitar leads and use of the wah-wah pedal.

But my highlight on CD1 is the long final track Alta Loma Nine Till Five (around 15 minutes). It opens with bluesy guitar and dreamy Mellotron, then the guitar gradually turns into more heavy, the interplay with the Mellotron is awesome. Halfway there's a break with bass guitar, then a strongly build-up violin solo, now the keyboard support is from the Hammond organ. In the end PFM delivers a grand finale with catchy violin work, culminating in a version of Rossini's Willem Tell Overture with fat Minimoog runs, goose bumps!

CD 2 opens with a 15 minute previously unreleased live version of Is My Face On Straight (USA 1974), the vocals lack a bit power but I am carried away by the cascades of solos, from flute and guitar (with biting wah-wah) to accordion, sensational Minimoog and delicate Fender Rhodes electric piano. The sound is not really optimal but PFM the remastering of the almost 35 years old material is good. The 3 songs of the LP Chocolate Kings (from 1975), immediately you can recognize Bernardo Lanzetti his distinctive, theatrical voice (like in Harlequin featuring an exiting break with swirling violin) and PFM their sound has move more towards early Yes (Howe and Wakeman sound), especially in From Under. Then 3 live previously non released tracks from 1976, these sound a bit sloppy but how classy PFM plays like the Fender piano intro in Dove Quando and the violin with Hammond in Out Of The Roundabout. Finally 3 tracks from the LP Jet Lag from 1977, now PFM their musical direction has moved more towards jazz-rock, especially in Storia In L.A. (fluent synthesizer solo) and the title track (wonderful Fender piano with powerful bass).

I don't know how many fans are pleased with both PFM their symphonic rock - as the jazzrock sound. But this double CD delivers a comprehensive view on their era between 1973 and 1977, embellished with interesting live material from 1974 and 1976.