GOBLIN

Roller has many cryptic sounds that remind me of those old bands where they played with great organs, like the style of jazz from New Orleans, not musically similar... For the description of this album i want to be as objective as possible, if that exists ... I think generally has a sound very slow, sometimes boring would say, there perfection in the execution of the instruments, everything is correctly written, played, but for me, are somewhat lacking viscera or emotion or feeling; Roller ( the track) is the demostration of this, with Aquaman, things improve a little bit, but return in every bad way to the same, and unfortunately the title of the song seems frankly ridiculous, plucked guitars and synths that seem to go in a zig-zag line is proposed on this water man ...

The album in general is not very far from that. Finally I would just like to add that it seems that I effort to hate this record, but the truth is not so, just think it's bad.

OK, Goblin is important RPI band (I like RPI), they were releasing film soundtracks for horrors (I like both horrors and also soundtracks). Mad Puppet is really mad, reminding me one melody from old DOS game Wolfenstein 3d. Weird. Also, I have somehow extended copy with all these bonus and alternate tracks. It's really horrible, I've tried to listen tracks in order how it's intended to be (this one here on PA) and have to say that it's better. Not much, but it is. But these songs, they're simply horrible anyway. Sometimes, I can understand why anybody rate something so high, even I rate it low. But this time, I'm confused by what can people consider good about it. What's so good that I lack to understand, that I'm missing to discover, or to enjoy.

2(+) for not so good film soundtrack. I heard better. And as a jazz prog music, it's quite dull. I didn't see the film yet, but by description, it should be good. As music accompanying film, it would be maybe listenable, but as it stands alone, it fails at every line.

Nice album in Italian Progressive vein. If we look from Reale Imperio Britannico, we don't find anything about this band and if we listen this album is a litle different of other Goblin works. Very nice synphonic parts and some psichedelic space moments just other Italian bands in 70 years with a high quality keiboard moments and ritmic atmospheres quite uniques. In some moments we thing that is a litle disco sound ritms but it's a pure progressive work. It's a mix of Goblin sound and psichedelic moments very used in this decade. I like very much this album and it's a very good adiction in Goblin collection but different of other soundtracks of Goblin universe.

'The Fantastic Voyage Of Beetle Mark'... A great album penalized by volal parts.

'Il Fantastico Viaggio Del Bagarozzo Mark' is Goblin's 4th studio album and the only Goblin's album with lyrics. Lyrics that ruins (also if not always) a very good album. The first track ('Il Bagarozzo Mark' [eng: 'Beetle Mark'] remember me Rustichelli & Bordini also for vocal style. For the rest Keith Emerson is too present in Claudio Simonetti's keyboards style and this fact is good for the pathos that creates. Also the guitar and drums are very good.

Incredible song is 'Le Cascate Di Viridiana' (eng: 'Viridiana's Falls') a perfect Goblin's song. It is noticeable also '...E Suono Rock' (eng: 'And I Play Rock) that is a good Proto Prog Metal song.

In first plan is the fact that the insertion of lyrics at first impact are not good but because lyrics are not common in Goblin's music. Once treated Goblin with lyrics here that the impasse is overcome.

So 'Il Fanastico Viaggio Del Bagarozzo Mark' is a good album, penalizes by vocal parts (not always), very well aged. Not a masterpiece but a great example of the more true and sincere RPI.

Perché Si Uccidono is a soundtrack album by Italian progressive rock act Goblin for the movie Perché Si Uccidono - La Merde which was written and directed by Mauro Macario. Goblin were forced to change their name due to the controversial subject matter of the movie which is about drug abuse/ addiction. Therefore this soundtrack album was released using the Il Reale Impero Britannico name. It´s the only time Goblin changed their name and when you think about the bloody nature of many of the movies Goblin have made soundtracks to, I actually find it rather strange that they had to make the name change. The album was originally released on LP by Cinevox in 1976 but became available on CD through Cinevox in 1999.

The music on the album is unmistakably Goblin whatever name they opted to use. Lots of mellotron, organ and moog on top of a sligthly jazz/ Rock/ fusion and kind of funky rythm section. The music comes off as rather kitchy at times but also pretty cool and it´s the mix of the kitchy and the cool that I really enjoy about Goblin. Songs like Epopea and R.I.B are favorites but all songs are excellent. While the album is pre-dominantly instrumental there´s actually vocals on a couple of songs. The song Edda has female vocals which are sung by female singer Edda Dell'Orso and the song My Damned Shit has some soul-like male vocals. It´s actually quite nice for the variation of the album that there are vocals IMO.

The level of musicianship on the album is excellent. Goblin is such a professional act.

I will not hesitate to call this production fantastic. Very enjoyable. When I think about great organic seventies productions this is exactly what I´m thinking about. No one makes productions like this anymore.

I don´t find Perché Si Uccidono as accomplished as neither Profondo Rosso (1975) nor Roller (1976) but it is an excellent album in its own right and a 3.5 - 4 star rating is deserved.

— First review of this album —

Interesting compilation that not conquest me at all. Honestly I was expecting something better. But yes, the title is correct: this is 'The Fantastic Voyage Of Goblin'.

Certainly that the story of Italian Prog is undoubtedly magical but with a band as Goblin also the storyof a single band is magical. But not for this all Goblin's releases are magical. This compilòation is not magical because good, because in other words all the compilations are not totally magical. Sure it is difficult to construction a good compilation with Goblin's music because Goblin's music out of the original context not have one gram of magic. Yes, remain a good music but... Not magical!

If this is the main problem of Goblin's music, another importan aspect is the decline of inspiration over the years has gripped Goblin. Certainly the various line-ups changes helped this fact but Goblin have always tried to fossilize on a musical genre that has not evolved, son of a very high success. And this is totally hear on this CD. Important is the fact that the quality of music is all high.

But Goblin is a legend...!

Soundtrack of B sci-fi gore movie released by Luigi Cozzi, Contamination introduces us into the typical-distinguisable Goblin musical universe. This album is still rockin and rather diverging to late groovy-electronics of the band (Phenomena, Tenebrae). It conciliates intense, deeply emotional church like organic parts with doom-like minimalism echoing guitar tricks and groovy bass lines. Some parts are furiously chilling with hauntingly blackened atmopsheres. Nevertheless, some musical pieces sound terribly kitchy and old fashioned with a constant use of funky-jazzy flashy dark disco moods and sulfurous exoticism. Consequently the result is rather unequal. The film in itself is far to be a classic just as the score which is dominated by soft, pop-ish arrengements. Beginners should start with the tremendous ansd classy Deep Red. Only recommended to those who have a particular interest in vintage B movie scores and to the most die hard fans of Goblin.

With Buio Omega Goblin proove once again that they are masters of groovy, soulful and utterly dark progressive rock. Recorded at the end of the 70's, this is the soundtrack of Joe d'Amato shocking horror B movie which is all about necrophily and sadistic perversion. For an exploitation film Buio Omega is above the average containing some good claustrophobic sequences but I think that the music helps a lot to create a moody-intoxicated ambience. The self title track is a catchy and efficient composition for repetitive electronic arpeggiatos, sustained by a dynamic-pulsating groove and blackened epic melodies. The second part of the song features langurous-melodic piano lines taking back the usual theme with a kitchy-tense-romantic feel. The other tracks alternate old fashioned fusion-electronic jazzy stuffs with some astonishing creepy-foggy organic sequences and minimal captivated little piano notes. This is all time Goblin musical signature despite that is not at the level of furious, freaked out songs written for "Deep Red" or "Suspiria". Not my favourite but still refined and cinematically evocative.

Roller is the second studio album by Italian progressive rock act Goblin and one of the few albums by Goblin which isn´t originally made as soundtrack music. Goblin is mostly known for making music for movies by Giallo/ slasher/ horror movie director Dario Argento, but Roller is as mentioned an exception. Goblin´s debut album Profondo Rosso (1975) proved to be a very enjoyable album for me and even though the music was made for a movie score the songs worked just fine without the pictures from the movie. Roller is a bit more classic progressive rock as the suspenseful moments from Profondo Rosso are not featured here. Roller is not a very long album with its only 34:14 minutes playing time but quantity doesn´t always equal quality and in this case there´s not a dull moments during those 34:14 minutes and to me that´s more important than quantity.

The music is keyboard and synth driven instrumental progressive rock with a very impressive and at times funky rythm section. The moog is a dominant instrument on the album. There are some great guitars on the album as well, so this is not a strictly keyboard driven album. Four out of the six songs on the album Roller, Snip Snap, Goblin and Dr. Frankenstein, are energetic and at times symphonic songs while Aquaman and The snake awakens also feature more mellow moods. Most songs are varied though and a song like the 11:10 minute long Goblin is very impressive to my ears.

The musicianship is excellent. I really enjoy the tight interplay and the innovative performances.

The production is a wonderful warm and pleasant seventies production. With a sound like this I can´t wish for more.

Roller is an excellent album by Goblin and a sure 4 star rating in my book. I´m really glad I began checking out Goblin´s music as it is one of the best finds I´ve had since I started visiting PA. Top notch musicianship, great production and clever/ intriguing compositions all means that I´m entertained greatly. A very recommendable album for those who enjoy instrumental progressive rock from the seventies. I hope my excitement shines through clearly here because I really want to give this album all the praise it deserves and hopefully inspire more people to purchase it.

This is an excellent introduction for Rock Progressivo Italiano. While it is instrumental, the music retains many lovable sensibilities, and it is highly enjoyable. The musicians are excellent in their respective capacities, and still each piece moves in a definite direction. This exceptional album is certainly not one to pass by.

"Roller" A brief atmospheric section brings in plucky keyboard, bass, and drums, followed by a steady organ. The organ is incredible during this piece, even though it largely follows the lead guitar. This is an exceptional work, and is not to be missed. While I wish the bass had a fuller sound, it's still well-performed and tight with the drummer.

"Aquaman" Soft, watery sounds, keyboard, and acoustic guitar open this piece. The bass growls but keeps a trebly head. The guitar is pleasantly gritty, working over the bass and drums. The descending riff at the end leads right to the dripping water.

"Snip Snap" This short piece is also the quirkiest. The bass is snappy (makes sense), and it has some great panning effects with the synthesizer. The guitar is funky also. The synthesizer solo is fantastic, though, and the drums sounds phenomenal. This is just a great, fun instrumental.

"Il Riveglio Del Serpente" The percussive introduction is a powerful introduction to the acoustic guitar and piano that follows. But the guitar and piano are jazz instruments in the best way on this one, even with the other instrumentation over and under it. The piano is amazing, running underneath the other instruments as it does.

"Goblin" The piece that bears the name of the band begins with strange sounds, like popcorn being popped, or devilish hands clapping. Synthesizer and piano work alongside each other as the other instruments burst in. The synthesizer use is the best here, though, contributing to the overall structure. The bass guitar is powerful and punchy. The lead guitar work is simply spectacular, working alongside the other music even as the musician demonstrates his ability. It is the synthesizer that makes this track stand out, though. The piece features a rollicking drum solo that is heavy on the snare.

"Dr. Frankenstein" Fabio Pignatelli uses some swampy bass to lead the rest of the of the music. Otherwise, it sounds similar to Camel on the Mirage album. Abruptly, it stops to bring in machine gun bass, drums, guitar, and a wild synthesizer lead, which is the most unrestrained thing on this album.