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REALE ACCADEMIA DI MUSICA

Reale Accademia Di Musica

Rock Progressivo Italiano


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4.12 | 119 ratings | 16 reviews | 40% 5 stars

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Studio Album, released in 1972

Songs / Tracks Listing

1. Favola (3:46)
2. Mattino (9:19)
3. Ognuno Sa (5:19)
4. Padre (8:41)
5. Lavoro In Citta' (5:56)
6. Vertigine (7:11)

Total Time: 40:12

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Federico Troiani / acoustic & electric piano, organ, mellotron, vocals
- Nicola Agrimi / acoustic & electric guitars
- Pierfranco Pavone / bass
- Roberto Senzasono / drums, percussion
- Henryk Topel Cabanes / lead vocals

Guests:
- Pericle Sponzilli / guitar
- Maurizio Vandelli / acoustic guitar on 2, mellotron on 5
- Natale Massara / orchestra direction on 1, 2

Releases information

(K22P 281 / SMRL 6105 / BMG RICORDI 74321980752)

Thanks to ProgLucky for the addition
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REALE ACCADEMIA DI MUSICA Reale Accademia Di Musica ratings distribution


4.12
(119 ratings)
Essential: a masterpiece of progressive rock music(40%)
40%
Excellent addition to any prog rock music collection(36%)
36%
Good, but non-essential (19%)
19%
Collectors/fans only (6%)
6%
Poor. Only for completionists (0%)
0%

REALE ACCADEMIA DI MUSICA Reale Accademia Di Musica reviews


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Collaborators/Experts Reviews

Review by Marcelo
PROG REVIEWER
5 stars Like many Italian bands in the magic 70s, Reale Accademia Di Musica is another excellent and forgotten group. Just one progressive album carried out (this one, two years later they put their last stuff with Italian singer Adriano Monteduro, sadly a poppy work). The first track is sweet and soft, but since second track music begins to change, and it's possible recognize several influences from another Italian bands like Banco (second track) or Le Orme (songs 3 and 5). Nevertheless, in this album we can find one of the most fascinating Italian pieces, the fourth track "Padre": the mellotronic section -if you listen the song in a hard day- can make you cry, literally. At the end, "Vertigine" shows the real RAM splendor again, in a changing-atmospheric-mellotronic track. Even though this one isn't the best came out from Italy, it's still an excellent album, and truly representative of the Peninsular 70's progressive sound.

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Posted Monday, March 01, 2004

Review by Atkingani
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
5 stars Some people may disagree with me but I consider REALE ACCADEMIA DI MUSICA truly a one-shot band since their second album was done much more as a support for a singer (not a band member) and can also barely be considered as progressive. But here within the "Reale Accademia Di Musica", their self-title album, we have an almost perfect example of what Italian Symphonic Prog means. Really astonishing!

It's hard to talk about band's influences once this album was released in 1972 and in fact it seems better to nominate other acts that have been influenced instead - the sad point is that apparently RADM has been forgotten in the dust of time. Apart the skilful musicianship and fine arrangements I'd like to spot the exquisite and unique vocals, a bit different from the more acute vocals generally observed in other Italian progressive bands of the same period.

The friendly and relatively short 'Favola' opens the album nicely; bucolic and pastoral guitars are joined by poignant vocals that spread through the track in its entirety along with a catchy and beautiful middle section - there's magic in the air, and we go avidly to the next song.

'Il mattino' continues with the dream-like vocals, this time accompanied by incredible and unforgettable keyboards. But now the main gift is the solo part: a 5-minute dazzling intermezzo where piano, guitar, drums and bass provide a marvelous communion like shaped outside of the real world. Instruments run in crescendo, leaving hearts in suspension with so many musical magnificence and grandiosity. 'Ognuno sa', the next song, keeps high the atmosphere; an adequate follow-on for the previous marvel.

'Padre' starts with soft mellotron and hard guitars, just to blast into a short rock section introducing a sorrowful singing part. A good song, much more in a classic rock style however with neat progressive touches supplied by the ever-present keyboards. 'Lavoro in cittą' maintains the rock ambience conjugated with spices of avant-garde, blues and romanticism supplied by strange intro choir, crying guitars and harmonious vocals.

'Vertigine' closes the album in a true and enjoyable prog-rock mood. This time, vocals appear more sharpened and incisive, while the band plays explosively. Instruments come and go in an amusing manner, always surprising the hearer - the real essence of the progressive sound. After listening to this ender and if I were there in 1972, I'd be eager for their next release which unfortunately did not happen, at least in the way we like.

After hearing and re-hearing, enjoying and tasting this work, in my opinion there are no doubts left about "Reale Accademia Di Musica": a masterpiece.

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Send comments to Atkingani (BETA) | Report this review (#118608) | Review Permalink
Posted Monday, April 16, 2007

Review by Finnforest
SPECIAL COLLABORATOR Honorary Collaborator
3 stars This album is just chock full of great piano, nice laid back vocals, organ, acoustic guitars, violins, mellotron, and solid bass and drums. The remastered mini that I have has decent sound (for 1972) and a nice gatefold with strange artwork. As with PFM the musicianship is very high, the arrangements are handled with great care and there is a nice balance between rock sections and more mellow, contemplative sections. I have read that the lyrics on both of their albums are quite good, though of course I have no way to confirm this personally. The music has a romantic and somewhat wistful sound throughout .

"Favola" begins the album with simplicity and beauty, a short vocal piece with gorgeous acoustic guitar and strings. Things then pick up much more in "Il Mattino" which has some sections that cook with driving percussion and organ, and softer vocal sections with piano, acoustic guitar, and violin. Very impressive track. "Ognuno Sa" for some reason reminds me of a Beatle melody and features good bass and sunny piano. This song is a little bit pop rock but still enjoyable. "Padre" brings forth a slightly heavier sound with the electric guitar. "Lavoro In Citta" has some sections that bring to mind "Meddle" era Floyd with some dreamy Gilmour-ish guitar flourishes. "Vertigine" closes the album with a harder edged vocal and more rocking than we've heard so far. But even during their rockier numbers they find pauses of calm.

While not one of the genre's greatest albums it has many nice moments and is recommended to RPI fans, especially those who prefer the genre's more traditional side.

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Posted Monday, June 04, 2007

Review by kenethlevine
SPECIAL COLLABORATOR Prog-Folk Team
4 stars At a time when Le Orme and Banco were just hitting their stride, "Reale Accademia di Musica" produced a self titled album that openly competed with the more household names of the Italian scene, but it was sadly ignored at the time. Today's fans have discovered this fine work that blends the raucous and the romantic as only this genre can.

I can't say how influential the album was, but certainly the rollicking pianos of "Mattino", the acoustic textures, and again, impressive piano accompaniment, of "Ognuno Sa", and the percussive organ flourishes of "Vertigine" have been oft expanded upon in subsequent decades. Names like "Metamorfosi", "Germinale", and "Foglie di Vetro" all come to mind. This is not to say that REDM were totally original - they themselves picked up on the earlier works of their countrymen as well as Deep Purple and the nascent proto prog scene, if that makes any sense, like Gracious! The aforementioned closing track reminds me a lot of Rick Wakeman's workouts on the live version of Strawbs' "Where is this Dream of Your Youth", and is psych in a way that only 1972 could produce so well.

A few of the more vocal oriented tracks are somewhat less interesting, such as "Favole" and "Padre", which drags on a bit in an uncomfortably bluesy meets Barclay James Harvest sort of way. In fact, the guitarist reminds me quite a bit of John Lees circa "Once Again". But "Lavoro in Citta" contains several masterfully integrated vocal themes and harmonies, including a reverent melody and gentle lead guitars in the later parts. The album is full of surprises, most of them pleasant.

Especially recommended to enthusiasts of Rock Progressivo Italiano, this should nonetheless appeal to most who enjoy good symphonic prog of any stripe. After a few listens you will be thanking the academy.

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Send comments to kenethlevine (BETA) | Report this review (#147378) | Review Permalink
Posted Friday, October 26, 2007

Review by LinusW
SPECIAL COLLABORATOR Italian Prog Specialist
4 stars 1972 was in many ways a golden year for the Italian Symphonic Rock movement, with titles such as Storia Di Un Minuto and Per Un Amico from PFM, Bancos's debut plus Darwin! and Le Orme's Uomo Di Pezza. Bands and albums that are familiar if not by nature, surely by name to many proggers out there, all seen as perhaps the most representative of their particular sub-genre.

But 1972 is also the year that spawned Reale Accademia Di Musica's self-titled first album, after being successful on the Italian festival scene under this name and I Fholks for a while. Perhaps that makes this album even more interesting in the discussion of pioneering efforts of this movement.

What this album presents the listener is predominantly a very lush symphonic landscape, with soaring Mellotron strings and various keys together with an earthier blues-rock touch in a mellow Atomic Rooster and Deep Purple area. Don't expect to hear clear influences from those bands, it's just to categorise parts of the sound in something with substance. Not always an easy task, believe me. It's heavy on piano, based around the piano on some tracks - acoustic and electric - and in my eyes that's always a good sign, adding delicacy and poignancy like no other similar instrument, and it really is the albums big bonus.

It's no surprise that many reviews mention the similarity to PFM, or more precisely the earlier PFM, with regards to the sweet romantic melodies and becoming melancholy. Vocals are very pleasing, never really grasping for either emotional highs or lows, which has different prospects for different people. But where PFM aims for more grandeur on Storia Di Un Minuto (which I consider closest to RADM), this is in many ways a more down-to-earth AND a more spacey album (and also stripped from the clearer classical influences of PFM). Instead of choosing one, why don't take both and place it on top of the omnipresent symphonic properties? The down-to-earth part is pretty self-evident, with the blues-rockier approach on both structure and instruments (especially the guitarist presents some rather familiar licks) that can be found on songs like Vertigine and Padre. Ognuno Sa also has a slight boogie-feeling to it, contributed almost exclusively by the piano. The spacious bits and pieces are a little harder to explain. But on Favola and Il Mattiono and then scattered around the other songs are quite lengthy parts with a clear and crisp not to say dreamy and distant, quality to them. These are what thrill me the most; exciting, enticing and inviting in a strangely beautiful way.

I'd say three tracks affect me more than the rest: Favola, Il Mattino and Padre. With a sensitive, hypnotizing guitar in that indescribable Mediterranean style, Favola is a mellow and relaxing tune, with a dreamy interlude from the keys in the middle. Comforting, and yet deeply sinister, it evokes a mildly unpleasant uncertainty I find irresistible.

Il Mattino is the killer track here, beginning with another crisp and soothing display, this time lead by a melodic piano. And then it just explodes. Distinct build-up from bass and drums with an escalating tone from the keys, it soon turns into a fest of crescendo after crescendo, a tsunami of musical energy with the piano riding on its top. Unstoppable as it might seem, it suddenly.just stops, falling back into a reprise of the dreamy first part. A powerful example of how important structure is when making music of any kind.

Repeating a theme from the keys over and over again, a slow, yearning and slightly darker build up from the rest of the instruments launches Padre. Guitar-driven and tense, it has a certain Dazed and Confused vibe to it from time to time and leaves a lot of space for keys-induced atmosphere and plenty of emotions. A song that just works on many levels.

Pleasant, lush and melodic and not particularly challenging are the keywords for yet another Italian success. If not for the band, at least for us listeners.

Heartily recommended. 4 stars.

//LinusW

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Posted Wednesday, July 02, 2008

Review by ZowieZiggy
PROG REVIEWER
4 stars The wonderful Italian genre has left us so many great albums from the early seventies. Unfortunately, at the time it was very difficult to get these works outside from Italy, and the young prog lover I was back then could only cope with some English versions of great albums (PFM and alike).

It is with a lot of nostalgia that I discovered this album. And actually, it is better late than never.

If ever you would like to listen to brilliant vocals, this record is for you. If ever you would like to listen to some skilled piano parts: this album is for you. If ever you would like to listen to some great and little known band: I can only recommend this album.

Il Mattino, the second track from this album is an absolute jewel: it is an upbeat track which pays a great tribute to each band members but piano is the highlight. The fantastic bass/drum are just incredible as well. This is a huge number which combines heavy parts with the most symphonic ones. These do belong to the closing part and those very soft vocals from the excellent Henryk are a superb complement to this fantastic track.

At the time of Ognuno Sa, I just wondered if the forefront piano was a production problem or if it was really intentional to have it featured so loud in each track. Just too much IMHHO.

My favourite song from this album is Padre. It starts as a heavy rock song but after this instrumental intro, a sublime vocal section just overshadows this song (and probably the album). It is so magnificent and persuasive. In terms of vocals it reminds me of the great Franceso DiGiacomo as a point of comparison.

This track is simply a masterpiece: a wonderful symbiosis between the lead vocalist and his band. The bombastic guitar play is not alien to this feeling. A highlight. In terms of great guitar, I highly recommend Lavoro in Citta as well. It is another romantic song which synthesizes the music form this band very accurately although it ends up in an awkward and jazzy mood.

The darkest and heaviest song is the great closing Vertigine. Huge organ wall of sound and powerful vocals are such a perfect introduction; but the whole song is built on strong instrumentals. Even if I feel that the band is mostly improvising in here. Still, it remains a fine composition.

I have been more impressed with several other Italian bands, but this album remains a good way to investigate more into the genre. RADM is not an essential band, but it surely deserves your attention.

Seven out of ten for this album, rounded up to four stars.

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Posted Friday, October 31, 2008

Review by DamoXt7942
FORUM & SITE ADMIN GROUP Moderator / Psych / Avant / Neo Teams
3 stars Basically this is a primitive Italian pop album.

REALE ACCADEMIA DI MUSICA (Real Academy of Music...good band name!) was one of early Italian as-it-is-said progressive rock bands. Not always with a strong attachment to their skill of play, they pushed Henryk's voice in front of themselves and made a beautiful music style with Federico's romantic keyboard. This self-titled first album, produced by Maurizio Vandelli, was exactly a crystal of five talented men I wanna say. (Anyway, on the inner sleeve a boar is playing violin but no member played violino... :-P )

Back to the review of this brilliant gem. From the beginning (Favola), quiet, warm, and lovely harpsichord flow and slow & smooth bass attacks could make us peaceful. Henryk's vocal is not very good but floating in the sky and our minds and blowing like a breeze. Country or folk flavour we can love much. On the contrary, sad piano sound leads the second track Il Mattino to the heaven...with Italian atmosphere in the voice. In the middle part, string section weeps and passes away...especially piano sound is well-oriental, not simply oriental but hot southern sound I always feel. 'Eavy rhythm section follows after that...but the core of this song is absolutely the mixture of sad piano and sad voice... Hum, there's such a light and gentle song Ognuno Sa. Light percussion and bass are our pleasure. Comfortable. Well, the B-side first track Padre can always remind me Alphataurus...(!) Of course, not completely same. :-) Melancholic voice and keyboard are very amazing. Oh, yea, that is, B-side is a dark one I find now! Lavoro In Citta' has a vivid and jazzy keyboard solo and voice as a spell casted by Henryk, with heavy rock sound. Without myself I always say this is the first heavy prog! But wait, the next stage has so kind and calm ballad sounds...but with heavy guitar and bass sounds. Their various facts are in the song. So impressive. Vertigine is a vertigo surely. Heavy heavy keyboard solo with 'doom-doom :-)' bass and drums. Voice is also on vertigo...and could let us dizzy-dizzy. This song is the most heavy and dizzying one in the album. Plenty of atmosphere are around us. The last stage! Let's dizzy, friends! Tap tap...

I consider this terrific album can't be given a absolute RPI definition but is the beginning of RPI. How do you think?

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Posted Sunday, April 26, 2009

Review by apps79
SPECIAL COLLABORATOR Neo Prog Team
3 stars Often listed among the greatest bands of Italian progressive rock,this quintet emerged from the ashes of the excellent beat group ''I Folkhs''.This rome-based band played in numerous famous festivals to split in early 70's,having released only a single,while drummer Ruggero Stefani quit (to join ''L'uovo di Colombo''),later followed by guitarist Pericle Sponxilli.The two were replaced by Roberto Senzasono and Nicola Agrimi to create the first and last REALE ACCADEMIA DI MUSICA line-up.The band recorded a self-titled LP,which were released by Ricordi Label.

''Reale acceademia di musica'' is a good release in soft symphonic prog style,much centered around the piano and keyboards of Federico Troiani.Reminding a lot of the mellow parts of BANCO DEL MUTUO SOCCORSO and even the smoother parts of E.L.P.'s debut,the six compositions contain a lot of sung parts with calm vocals surrounded by the relaxed keyboard sounds and the changing guitar parts,ranging from pastoral acoustic passages to driving electric lines.The piano and the organ parts are very good,creating a classical atmosphere close to a less grandiose KEITH EMERSON's style and there are also some decent mellotron strings around to add an extra dark atmosphere.The overall result is close to other Italian prog acts like CELESTE,ERRATA CORRIGE or IL VOLO and anyone after this style of prog will have a great time with this one.I wouldn't call it a classic by any means,but it's nevertheless a good example of early-70's Italian symph prog.Recommended!

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Posted Sunday, June 14, 2009

Review by Mellotron Storm
PROG REVIEWER
5 stars I've been trying to hunt this one down for some time and I finally got my hands on a copy. This is beautiful and romantic Italian Prog from 1972.

"Favola" opens with acoustic guitar as bass and reserved vocals join in. It's so uplifting and moving 2 1/2 minutes in as we get some orchestral sounds and mellotron then back to the main melody. "Il Mattino" is the longest track at almost 9 1/2 minutes.The vocals here remind me of the singer from the band BAUER. Piano and those fragile vocals lead the way early. Beautiful. It picks up some with piano before 3 minutes as the vocals stop. Drums 4 1/2 minutes in as the sound gets fuller including some organ. Great sound ! The guitar lets it rip after 6 minutes. A calm before 7 1/2 minutes as the vocals return. Nice. Violin 9 minutes in to end it.

"Ognuno Sa" is led by drums, organ, vocals and piano. I like it. Check out the piano/organ melody to end it. "Padre" and "Vertigine" are my two favourites.The former begins with a darker and heavier sound then what we've heard so far. The guitar starts to solo 2 minutes in. A calm then reserved vocals arrive before 3 minutes. Floating organ dominates after 5 minutes. The guitar is back 6 1/2 minutes in as the drums pound away. A calm with vocals before 8 minutes. "Lavoro In Citta" opens with piano melodies as drums then vocals join in. It settles into a dreamy soundscape after 2 minutes with mellotron. Nice. The tempo picks up late with guitar joining in. "Vertigine" is heavy right away with some powerful organ runs. Vocals join in. A calm 2 minutes in.The guitar starts to solo a minute later. Percussion 4 1/2 minutes in as the organ continues. So cool. The guitar is back !

This just connects with me in so many ways, to the point that it's holding me captive and it won't let go.

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Posted Saturday, June 20, 2009

Review by andrea
PROG REVIEWER
4 stars Reale Accademia di Musica were formed in Rome in the early seventies and rose from the ashes of another band called Fholks. In 1972 they released a very interesting eponymous debut album with a line up featuring Henryk "Enrique" Topel Cabanes (vocals), Federico Troiani (keyboards, vocals), Pierfranco Pavone (bass), Roberto Senzasono (drums, percussion) and Pericle Sponzilli (guitar) who left the band soon after the recording sessions replaced by Nicola Agrimi. The album was produced by Maurizio Vandelli and the overall sound features pleasant melodies and pastoral acoustic passages. This work doesn't shine for its originality and lyrics sometimes are a little bit naive but it's well played and recorded and I'm sure that Italianprog lovers will love it.

The opener "Favola" (Fairy tale) is soft and dreamy. Delicate pastoral melodies depict an enchanted world of songs and fairy tales where time calmly "weaves its story"...

Then comes the long and complex "Mattino" (Morning) which is about the end of a happy childhood when dreams are blown away by the cold reality. Music starts softly, lead by piano and vocals... "Open your eyes / Mind that your childhood is over / And you have no time to dream anymore... The simplicity of ingenuity will burn like a candle...". After a piano interlude the music becomes tense and rhythm takes off for a beautiful instrumental ride through reality. When music calms down again it's time for a new awareness... "Now you are a man / And as a man you have money, a job, dignity and a woman who warms you but... / Even heaven can't give you back the happiness of childhood...".

"Ognuno sa" (Everybody knows) is a melodic ballad inviting you to live like a thoughtless child, dreaming of endless roads towards the blue sky... "Life is a flower that you can pick up if you want, when you want it / Because it's the only gift that you can have for nothing in exchange / And if you want you can give it to the people who love you, to the ones who are with you...".

On the next track, "Padre" (Father), the atmosphere is definitively more troubled and heavier. It's a complex piece featuring intense instrumental passages and heartfelt vocals. Lyrics are about the generational gap... "Father, you ask me what I think / You ask me where I want to go, how will it end... You never think to your way of living, walking in circles and killing your dreams...".

"Lavoro in cittą" (Work in the city) is a beautiful track in three parts. After a short piano intro music drives you in a nightmare. Lyrics depict an ill world where machines have taken over and freedom is the bed where you sleep in. Fritz Lang's film "Metropolis" images come to mind... "The radio can't sing / It shouts that my civility is dying by now / Around me there are faces of people scared like me...". The atmosphere of fear and alienation melts in a dreamy invocation for a peaceful and simpler life, full of magic songs and sounds... "Everything is divine, you know / Just if you want it / And if you want it, it will be so...". The third part is a lively and jazzy instrumental finale.

Last track "Vertigine" (Dizziness) concludes the album with a full tank of dark and heavy energy. Electric guitar riffs and organ patterns underline gloomy lyrics. Long rivers are carrying clouds of gas and a threatening shadow is approaching... "You door is close but you know that you can't stop it / It's coming here, it's coming here!".

An excellent addition to your Italianprog collection!

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Posted Monday, December 06, 2010

Review by Warthur
PROG REVIEWER
5 stars The debut album by Reale Accademia di Musica is a tour de force of Italian prog from the celebrated RPI boom of 1972. It distinguishes itself from other albums from the Italian scene of the time in its diversity of influence and sound. As far as influence goes, the band show a broader range of influences than typical RPI bands - as well as the usual Genesis and Jethro Tull references, and the less frequent nod to Van der Graaf Generator, I can hear the influence of Procol Harum and Rare Bird on the group's sound. When it comes to sound, the album begins in a very gentle, soft, pastoral place, and over the course of its songs gets louder and heavier until it concludes with wild guitar solos and virtuoso keyboard playing worthy of ELP or Deep Purple. Truly an exceptional album from a truly exceptional period in progressive rock.

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Posted Sunday, August 14, 2011

Review by Nightfly
SPECIAL COLLABORATOR Rock Progressivo Italiano Team
4 stars An essential example of seventies Italian symphonic prog is this wonderful debut from Reale Accaemia Di Musica, released in 1972, as great a year for Italian prog as it is also considered for the UK. It's the only album listed under the band's name to feature this line up and as such can be considered a one off release, other line ups bearing little resemblance on a musical level to what's happening here, though I can't speak for La Cometa released in 2010, an unreleased album from 1974 which I'll hopefully get round to hearing one day.

Six tracks of beautifully crafted symphonic prog, not overly complex though played with great feeling and flair. There's a melancholic vibe often present, even on some of the more bombastic moments, no doubt increased by Henryk Topel Cabanes' plaintive vocal delivery. It's an album for keyboard lovers with piano featuring heavily as well as some enjoyable organ work and Procol Harum is sometimes brought to mind. There are many mellow moments - it's halfway through the second track before we hear the rhythm section but it does have its share of powerful bits and reaches a climax of sorts with closing piece Vertigine, the albums most adventurous song including a stunning organ workout.

While this may not be one of the most adventurous Italian prog albums of the period, and there were plenty that were, it nevertheless has many admirers with its sense of melody and melancholic charm and while not the stuff masterpieces are made of is still pretty essential listening for RPI fans.

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Send comments to Nightfly (BETA) | Report this review (#578246) | Review Permalink
Posted Tuesday, November 29, 2011

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5 stars Certainly one of the best symphonic albums that came out from Italy on seventies. With an attachment to italian popular music we found many delightful melodies. With a great keyboardist, a guitarrist influenced by D Gilmour and - most of the time - a calm vocal that few times goes to agressive ... (read more)

Report this review (#272988) | Posted by Thiago Hallak | Friday, March 19, 2010 | Review Permanlink

5 stars In spite of still not knowing completely the lyrics of this album, that does not rest merits to the wonderful and striking music, that goes from the beginning to the end of the album, flowing softly and making all the changes to make it rich in textures and emotions being expressed with notes. It ... (read more)

Report this review (#178639) | Posted by progaddict_salvatore | Friday, August 01, 2008 | Review Permanlink

4 stars This one found its way into my hands recently, but it's already formed a nice bond with my ears. Reale Accademia often explore similar territory to that of PFM and sometimes go even "lighter", or more romantic. This one will not be beating you over the head with raw aggression or overt exper ... (read more)

Report this review (#174993) | Posted by jimmy_row | Monday, June 23, 2008 | Review Permanlink

4 stars Reale Accademia di Musica first album is one of the best in the early italian prog. The five band musicians were very talented and the album was produced by Maurizio Vandelli, former of Equipe 84, a famous beat band in Italy. It's a very pleasant mixture of melodic songs and progressive ideas, ... (read more)

Report this review (#99198) | Posted by armapo | Friday, November 17, 2006 | Review Permanlink

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