DORACOR

The first album was keyboards drenched symph prog. And there is not much change here either. The same style as on the debut album. Although with some more electric guitars this time. And the last song has some good vocals too.

I understand that keyboards is a good instrument. And the debut album had a some good melodies. But it feels like Corrado Sardella has run a bit empty on this album. No real good melodies and not many interesting details either. The progression I expected from the debut album is actually a step backwards. Which is a pity, really. This album is much more muzak than symph prog. And this muzak album is nothing more than a decent album, I am sorry to report. I hope for a better third album.

2.5 stars

This album is entirely built on keyboards. Corrado Sardella's keyboards that is. But when listening a bit more careful, there are also some other instruments present. A guitar hook here and there. Both drums and bass is rumbling in the background. There are also some vocals here. But the keyboards is the dominant factor here. Doracor and this album has been compared to ELP. I disagree a lot with that comparison. This album is much more in the direction of instrumental RPI and Camel. There is also a lot of new-age and ambient fusion/jazz here.

The overall quality is surprisingly good in my view. Yes, some of the material is a bit too dull. But it is obvious Corrado Sardella is onto something good here. The opening track Scenes from elsewhere for example. This is an album between two and three stars. But I drag it up to three stars.

3 stars

STYLE: Being entirely instrumental,this effort follows the paths of grandiose Symphonic Rock with plenty of keyboards and additional support by the other instruments.Every song offers double keys attacks,partly in melodic lines,partly delivering complex and bombastic musicianship.The compositions are well-crafted ranging from impressive symph passages to darker and mellower moments.Guitars aren't used often and when they are,they are a bit low in the mix.The general style ends up to be in a Neo/Symphonic mood.

INFLUENCES/SOUNDS LIKE: The mass of twists and breaks are definitely of the E.L.P. school of prog,but the bands that come straight to mind are an instrumental version of IQ and ARENA,especially CLIVE NOLAN's influence is more than obvious throughout the listening.

PLUS: A musician with incredible talent,Sardella amazes with his compositional skills and great virtuosic playing.He also uses a variety of keys to give the songs some alternating possibilities.Most of the album is quite melodic and he manages to deliver a good memorable dose of them.A good first step in the fields of symphonic-oriented progressive music.

MINUS: Too-much keyboard-based ''The long pathway'' lacks in different moods and ends up to be quite monotonous after a few listenings,with the tracks being quite similar.The rhythm section seems to be a little buried in the mix,while the sound of drums is too plastic.The presence of a vocalist propably would save the album from falling down.Flutes and violins are credited on the sleeve,but where are they?

WILL APPEAL TO: Obviously fans of Symphonic Rock with a love to endless keyboard sounds and even fans of electronic prog...for all the others,I would recommend trying some samples first.

CONCLUSION/RATING: A solid 3 star rating for nice album overall by a very talented musician,which fails to impress due to the lack of different moods.A big disease for all the one-man bands.However still the album comes recommended by my side.

As the title implies, "Lady Roma" is meant as a tribute to the Eternal City of Rome (Sardella's home town, as well as my own), represented on the cover as a beautiful woman. In spite of that, I find that it does not sound as distinctively Italian as other recent releases from Italian bands. Rather than the legendary Italian prog outfits of the Seventies, the main sources of inspiration here seem to be bands like Genesis, Camel and Marillion. Obviously, the trademark Mediterranean lushness can be perceived at times, and there are other (though few) elements that anchor the album to the Italian musical tradition: the Italian-language lyrics, as well as Riccardo Mastantuono's occasional use of the mandolin (one of the mainstays of Italian folk music).

Since Corrado Sardella is first and foremost a keyboardist, it will not come as a surprise that the album is quite strongly keyboard-oriented. However, all the instruments involved in the recording of the album work together smoothly and seamlessly, as reflected in the open, airy nature of the music. Nothing here sounds jarring or overly complicated, and the tracks blend into each other with a pleasing, natural flow, at times uplifting, at others somehow tinged with sadness for things that have gone forever - an impression compounded the autumnal beauty of the pictures featured in the booklet, such as the breathtaking, lavender-hued shot of St Peter's Basilica at the twilight hour.

The album's title-track, a mini-suite in four movements, is introduced by a passage recited by the soothingly deep voice of Daniele Si Nasce (known in Italy for his activity as a one-man tribute to Roman-born singer-songwriter and showman Renato Zero). The lyrics, written in the Roman vernacular, are a nostalgic paean to 'vanished Rome'; the combination of Mastantuono's lilting mandolin and Sardella's tinkling piano lends an endearingly folksy quality to the tune. The rest of the suite is more along vintage symphonic prog lines, with clean-sounding guitar and broad keyboard sweeps in classic Genesis mould, and excellent vocals by Milton Damia. The vocalist shows more of his considerable range and expertise in the atmospheric, sax-infused, blues-tinged ballad "Vento dell'Est". The somewhat darker, spacey instrumental "Roma dei Misteri" opens with faint mandolin strains, then turns into a pulsing synth riff lifted out of Rush's "Subdivisions"; while the short "Imperium", featuring Marillion's Ian Mosley on drums, is a heavier, synth- and guitar-driven piece with a solemn organ introduction. On the other hand, the neo-prog influence is quite evident in the romantic, keyboard-led mid-tempos "Testimone la Luna" and "Questo Folle Girotondo".

As a whole, "Lady Roma" is a classy package, further enhanced by Milton Damia's stunning vocal performance. Though it does not offer any really ground-breaking ideas, it is nonetheless a well-rounded, well-crafted offering, which fans of classic symphonic prog, as well as neo-prog, will not fail to appreciate. Hopefully Corrado Sardella will manage to keep this group of top-notch musicians together for his next recording efforts.

The opening and title track is a complex piece of music which captivates the listener for about nine minutes. All the elements of the genre are present: skilled musicians, emotional vocals, fine melodies. You name them. It is an excellent start, although it might be difficult to confirm such a high profile song.

On the atmospheric side, the band proposes Vento Dell'Est, which is a soft ballad not too far from the early Genesis. It is a very relaxing and straightforward song which features a splendid and very melodic guitar solo. I really like such moments. The song closes on a symphonic sax part, just as it begun.

Corrado Sardella has not forgotten his debuts: Roma Dei Misteri is a spacey instrumental which seems to come back from his early releases. It is not my fave here. It is true to say that good old Emerson influence is noticeable when you listen to Diafana Ipnosi: but it sounds so fresh and light. The frenzy is also leaving the place to some very melodic vocal lines which are quite remarkable.

There are lots of moving passages on this album: the beautiful violin during the short Lungotevere Insonne is such one. Another outstanding band member is Milton Damia: I have already mentioned his excellent vocal skills and it is combined with some very good guitar capabilities (Testimone La Luna).

Lady Roma is a very pleasant album to listen to. It offers peaceful themes (Zucchero Filato and its sweet sax part) and provides emotions like we are used to with the Italian genre (probably the only one to convey such passion).

This album belongs to the very best work of Doracor. Four stars.

The band got back to long tracks again, which is fine since their best work was almost made of two very good epics.

Needless to say that the music you will discover in this album has lots of Italian flavours. Actually, from "Antiche Impressioni" onwards, their musical style has more to share with Italian symphonic than rather just symphonic rock IMO. The addition of vocals is of course not alien to this feeling.

This album is easy to listen to: music is at times atmospheric or symphonic; both genres interplaying nicely with each other. As many Italian bands, their vocal parts are usually well crafted and melodic. They even hired a special guest in the form of Gianna Chilà to bring more diversity to this "instrument". She is convincingly singing in Il Giardino Di Petra.

If ever you are a lover of superb guitar breaks, I am sure that the finale of "Onrika" will please you as I do. It is the best part of this long track, which is somewhat disappointing.

I have to say that "Il Giardio Di Pi" doesn't belong to the best of the band either. The music is pleasant, but the keys aren't too sophisticated; they are too conventional and not so inspired. Again, a brilliant guitar solo to close this number comes at the rescue. The same can be said about the last song from this album (the keys, the guitar etc.).

I feel something is missing in here. The whole is pleasant and (too) gentle. No surprise and conventional. A calm symphony all the way through. Three stars.