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LE ORME

Rock Progressivo Italiano • Italy


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Le Orme picture
Le Orme biography
Founded in Marghera, Venice, Italy in 1966 - Hiatus from 1982-1986 - Still active as of 2017

Excellent early-70's Italian progressive trio (still around today) with classical stylings, featuring keyboards to the fore and a unique dreamy/powerful style. Le ORME was one of the three major Italian groups, the other two being PFM and BANCO. This band is usually considered as the Italian EMERSON, LAKE & PALMER and even BANCO DEL MUTUO SOCCORSO by the Italian singing. Its music is based upon organ developments and soli reminding Seventies groups which works are essentially built upon keyboards parts.

The band's truly classic period begins with their third next releases. "Uomo Di Pezza" (1972) is one of Le Orme's definitive Italian progressive rock albums. Although there is definitely an significant EMERSON, LAKE & PALMER influence here, as in the bombastic Moog and Hammond workouts countered by mellow balladry. It's not quite as integrated a feel as would characterize their next two albums, "Felona E Sonora" and "Contrappunti", though its fantastic nonetheless, and one of Le ORME's three essential albums. "Collage" and especially "Florian" offer a music tinged with classical music. "Felona E Sonora" (1973) is probably one of my top favorite Italian progressive rock albums. "Contrappunti" (1974) is another fantastic Le ORME album, and really the close of their classic trilogy. This album would effectively close out the band's streak of success.

"In Concerto" is an excellent live album from 1974 with many unreleased tracks. "Piccola Rapsodia Dell' Ape" is more recent, an excellent mixing of Progressive and Italian baroque music. "Collage" and especially "Florian" offer a music tinged with classical music. In 1993 the Japanese progrock label Crime Records released the 2-CD "Live Orme" with live-material from '75-'77. A far more captivating document than "In Concerto" from '74.

Their story goes on. After "Piccola Rapsodia Dell' Ape" (1980), in 1982 the band decides to break up. In 1986 they rejoin only for concerts but in 1990 a further work is issued ("Orme"). In 1992 Tony Pagliuca leaves the band, replaced by Michele Bon. That year they obtain the title of best Live-Act band seen in Italy. They never give up symphonic prog and their further works show it clearly. In spite of the success obtained by their live performances, in 1996 they publish a suite ("Il fiume"). After obtaining a great success at the Los Angeles PROG FEST and at th...
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Felona E/And Sorona 2016 Deluxe Limited NumberedFelona E/And Sorona 2016 Deluxe Limited Numbered
Limited Edition
Love Music 2016
$22.80
$24.09 (used)
Studio Collection 1970-1980Studio Collection 1970-1980
Universal Italy 2005
$11.44
$12.88 (used)
Sulle Ali Di Un SognoSulle Ali Di Un Sogno
Sony/Bmg Italy 2019
$13.99
$17.37 (used)
Uomo Di PezzaUomo Di Pezza
Mercury Italy 1999
$14.18
$18.41 (used)
Felona E SoronaFelona E Sorona
Mercury Italy 1996
$11.89
$11.84 (used)
Storia O LeggendaStoria O Leggenda
Mercury Italy 1997
$16.28
$5.14 (used)
Amico Di IeriAmico Di Ieri
Omega 2017
$23.64
$24.91 (used)
L'infinitoL'infinito
Crisler 2004
$13.08
$17.41 (used)
Live in PennsylvaniaLive in Pennsylvania
101 DISTRIBUTION 2008
$26.56
$23.61 (used)
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LE ORME discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

LE ORME top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.79 | 90 ratings
Ad Gloriam
1969
3.86 | 292 ratings
Collage
1971
4.21 | 653 ratings
Uomo Di Pezza
1972
4.24 | 890 ratings
Felona E Sorona
1973
3.70 | 75 ratings
Felona & Sorona (English language version)
1973
3.96 | 245 ratings
Contrappunti
1974
2.83 | 114 ratings
Smogmagica
1975
3.55 | 130 ratings
VeritÓ Nascoste
1976
3.51 | 137 ratings
Storia O Leggenda
1977
3.80 | 122 ratings
Florian
1979
3.20 | 71 ratings
Piccola Rapsodia Dell'Ape
1980
1.78 | 41 ratings
Venerdý
1982
1.51 | 49 ratings
Orme
1990
3.49 | 85 ratings
Il Fiume
1996
2.90 | 41 ratings
Amico Di Ieri
1997
3.86 | 144 ratings
Elementi
2001
3.77 | 117 ratings
L'Infinito
2004
3.60 | 113 ratings
La Via Della Seta
2011
2.83 | 20 ratings
Felona E/And Sorona 2016
2016
3.40 | 20 ratings
ClassicOrme
2017
3.17 | 6 ratings
Sulle ali di un sogno
2019

LE ORME Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.61 | 52 ratings
In Concerto
1974
3.50 | 25 ratings
Live Orme
1986
4.65 | 59 ratings
Live In Pennsylvania (2CD + DVD)
2008
3.50 | 10 ratings
Progfiles: Live In Rome
2010

LE ORME Videos (DVD, Blu-ray, VHS etc)

LE ORME Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.45 | 29 ratings
L'aurora delle Orme
1970
3.69 | 4 ratings
Beyond Leng
1975
2.75 | 4 ratings
Canzone d'amore
1976
5.00 | 1 ratings
Le Orme Vol. 1
1977
5.00 | 1 ratings
Le Orme Vol. 2
1977
3.25 | 4 ratings
Le Orme Antologia 67-69 vol.1
1978
4.25 | 4 ratings
Le Orme (70s collection) - 1983
1983
2.43 | 5 ratings
Grandi Incontri
1990
3.16 | 13 ratings
Antologia 1970-1980
1993
2.70 | 5 ratings
Le Orme
1996
4.00 | 4 ratings
"Gioco Di Bimba" E Altri Successi
1998
3.73 | 9 ratings
Studio Collection 1970 - 1980
2005
3.50 | 8 ratings
1967 - 1969 - Le Origini
2005
3.50 | 2 ratings
I Successi
2006
4.50 | 2 ratings
Studio Collection 1970/ 1980 (slim case edition)
2006
4.20 | 5 ratings
The Collection
2008
4.41 | 17 ratings
The Universal Music Collection (11 CD)
2009
4.33 | 18 ratings
Felona e Sorona - Deluxe Edition (English and Italian versions)
2011

LE ORME Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.40 | 5 ratings
Senti L'Estate Che Torna
1968
2.33 | 6 ratings
In Fiori E Colori
1968
2.60 | 5 ratings
Milano 1968
1968
2.40 | 5 ratings
Senti L'Estate Che Torna / Fiori E Colori
1968
2.60 | 5 ratings
Irene
1969
3.00 | 4 ratings
Il Profumo Delle Viole
1970
3.00 | 4 ratings
L'Aurora
1970
3.60 | 5 ratings
Sguardo Verso Il Cielo
1971
4.00 | 5 ratings
Gioco Di Bimba
1972
3.67 | 3 ratings
Felona
1973
3.33 | 3 ratings
Frutto Acerbo
1974
3.33 | 3 ratings
Sera
1975
3.33 | 3 ratings
VeritÓ Nascoste
1976
3.33 | 3 ratings
Amico Di Ieri
1976
3.00 | 3 ratings
Canzone D'Amore
1976
3.75 | 4 ratings
Se Io Lavoro
1977
3.33 | 3 ratings
Fine Di Un Viaggio
1979
3.00 | 3 ratings
Piccola Rapsodia Dell'Ape
1980
2.25 | 4 ratings
Rosso Di Sera
1982
2.50 | 4 ratings
Marinai
1982
2.00 | 4 ratings
Dimmi Che Cos'Ŕ
1987

LE ORME Reviews


Showing last 10 reviews only
 Felona E Sorona by ORME, LE album cover Studio Album, 1973
4.24 | 890 ratings

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Felona E Sorona
Le Orme Rock Progressivo Italiano

Review by jamesbaldwin
Prog Reviewer

5 stars After the settling step of "Uomo di Pezza", Le Orme aim higher, that is to combine music and lyrics in a real concept album (the previous two were not in all the respects) on a universe made up of two planets and a creator.

The first piece, "Sospesi nell'Incredibile" (Suspended in the Incredible), almost nine minutes, the only long track in the whole Lp, is an absolute masterpiece (vote 9), thanks to the technique of the three musicians and the compositional skills of the trio (always helped by the master G.P. Reverberi). Pagliuca bases an engaging melody, playing, in some passages, four types of different keyboards (I suppose: organ, synth, electric piano, mellotron), two for each listening channel. After about three minutes comes the voice by Tagliapetra to introduce the theme of the concept album, centered on the two planets of Felona (always illuminated) and Sorona (always in the darkness). First there is a strophe and then a progression that leads to a more acute melody, which would be the refrain if it were not that "Le Orme" don't respect the conventional song, preferring to give space, in this first track, to instrumental excursions and in fact after the singing by Tagliapetra comes a melody dictated by his bass, which is deep while De Rossi performs a work of absolute value, unstable, to the drums. Finally comes the synth by Pagliuca that plays a variation on the theme, which slowly fades, leaving space to the gigantic work of De Rossi, uncontanaible. Masterpiece.

Following are three songs linked together (Felona; La Solitudine di Chi Protegge il Mondo: The Solitude of the One Who Protects the World; L'equilibrio: The Balance; overall score 8). The first starts with the party bells, it's a simple folk acoustic ballad dominated by guitars. "Donne e cicale discorrono d'amore": "Women and cicadas talk of love", is a phrase that well represents the piece. After about two minutes there is a melodic passage on keyboards that leads to the next song, with a very dreamlike atmosphere that soon gives way to a melancholy melody; after another two minutes the fourth track arrives, which involves an aggressive rhythm, like the initial one, to underline the void between the two planets, the abyss that separates the two worlds. The music is perfectly in line with the text. This section lasts almost 4 minutes and has a beautiful instrumental tail, first conducted by the synth, then by a classical piano, then again by the synth, until the melodic, angelic part of the ending arrives. End of the first side. Applause.

The second side opens with another short piece (Sorona, two and a half minutes), which with a sad, subdued tone, talks about the death of wheat and plants on the planet Sorona. The austere, almost church-like vocals by Tagliapetra gives a sound that is always very Spartan, Catholic, to the piece. It looks like a litany of a penitential act. Mixed to this ethereal mood, comes a more aggressive sound to the keyboards, "Attesa Inerte" (Inert Wait) withot a melodic development. The sequence of these two tracks is the weakest of the album (vote 7+). It joins an atmospheric piece ("Ritratto di un Mattino": Portrait of a Morning: vote 8), suffused, in which the voice of Tagliapetra sings the maximum of the album: "La FelicitÓ non puoi trovarla in te ma nell'amore che agli altri un giorno darai: You can'not find happiness in you, but in the love you'll give to others one day" followed by a melodic piece in solemn, triumphal "crescendo", with lots of final bells. The piano finally mixes this track with the next one ("All'Infuori del Tempo: Outside of Time", vote 7,5) "that overlaps with the acoustic guitars reminding the second song for arrangement and mood and melody, which is serene but less festive. Again it's an acoustic folk ballad. The voice tells the happy ending: "Due Mondi Felici Vibrano Insieme Nell'Arco del Cielo e Del Dolore Non c'Ŕ Ricordo, Soltanto Oggi Comincia la Vita: Two happy worlds vibrate together in the sky and there is no memory of sorrow, only today begins life"... Then the music stops, the acoustic guitar starts again and the bitter end arrives: "but while it still rejoices Sorona, Felona begins the Slow Inexorable Decline the Night Goes Down and the Balance Soon Ends, the End is the Circle, the Circle is Life, and is Destroyed and then Build Always Waits for Our Day, Doesn't Change Anything Outside of Time". Very inspired lyrics. The last part is narrated with the same serenity of the beginning, as the end of a fable, which however bitter must be accepted knowing that life is a circle where it is destroyed to rebuild. Final moment with keyboards and bass. The ninth track, "Ritorno al Nulla" (Return to Nothing/Nowhere, vote 8+), is a titanic final piece, to seal the return to nothingness. Led by Pagliuca with the synths, without the beating on the snare, it seems the end of the world is coming... And in fact it's an end of the world!

The concept album structure makes "Felona e Sorona", compared to "Uomo di Pezza", and especially to "Collage", an album much more narrated by the voice of Tagliapetra, formed by so many short sequences that don't leave much room for long instrumental digressions, which only focus in the last and in the first piece. The Lp almost seems like a theme music (Hector Berlioz) or a symphonic poem (Franz Liszt), where the lyrical part is sung. In any case, compared to Collage, what "Felona e Sorona" loses in surprise and originality and musical improvisation, it gains in homogeneity of arrangement and in the synergy of the union between lyrics and music that is really inspired and completely in unison. This album is the second small masterpiece signed "Le Orme".

Medium quality of the songs: 8. Vote album: 9. Rating: Five Stars.

 Uomo Di Pezza by ORME, LE album cover Studio Album, 1972
4.21 | 653 ratings

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Uomo Di Pezza
Le Orme Rock Progressivo Italiano

Review by jamesbaldwin
Prog Reviewer

4 stars Here's to you the third album by "Le Orme". After the spectacular debut on progressive rock with "Collage", Le Orme take with them synths and mellotron, and try to make a step forward.

"Una Dolcezza Nuova" (A New Sweetness), five and a half minutes, begins with a long instrumental piece on keyboards by Pagliuca, resembling the touches and fugues by Bach, but unlike "Collage", after two minutes the singing by Tagliapetra arrives to stand out above a classical piano (here we can feel the hand of Gian Piero Reverberi, author of the music, together with Tagliapetra). A slow and introvert song, it's in fact an acoustic ballad with a melancholic melody. Vote 7.5 / 8.

"Gioco di Bimba" (Female Child's Game), three minutes, has a music suitable for his title: nursery rhyme with an almost circus organ-like sound. It's the album hit. Le Orme have always had an eye on the commercial side. In fact it is almost a vaudeville pop song. Vote 7. "La Porta Chiusa" (The Closed Door), more than seven minutes, has an instrumental beginning to the keyboards almost space-rock that recalls various pieces of Collage but also in this case it's only an incipit, which soon leaves to the voice by Tagliapetra. It seems that "Uomo di Pezza", unlike Collage, doesn't "take off" with music. But finally the instrumental piece in the middle of the song brings back to the glories of Collage. When the voice of Tagliapetra reappears, it seems that of Greg Lake in "Peace" by King Crimson (Lp In The Wake of Poseidon). Then last half minute in instrumental tour de force. Great track. Vote 8+.

The short "Breve Immagine" (Brief Image) opens the second side on an organ carpet that soon explodes into a rock debtor of EL & P. Vote 7.5. "Figure di Cartone" (Figures of Cartoon) is a ballad where the sound of Pagliuca's synths, is what dominates on the background of the drums played by De Rossi and the acoustic guitars played by Tagliapetra. It is a resigned and minor piece. Vote 6,5/7. "Aspettando l'Alba" (Waiting for the Dawn) begins with the acoustic guitar and an indecisive rhythm, as long as the keyboards of Pagliuca arrive but this time they don't take off: Tagliapetra in this album has more parts sung, which more cage Pagliuca (despite for the first time he plays synths and mellotron), which can express itself only in the long final fading. Vote 7+.

Last song, "Alienazione" (Alienation), is a great instrumental track where finally Pagliuca can shows his skill in playing the typical instruments of prog. Song that sounds like a soundtrack, it concludes the album with a crescendo of quality. Vote 8,5.

"Uomdo di Pezza", on the whole, confirms the status of high-class prog group for Le Orme after the sensational "debut" in this genre. Compared to "Collage", "Uomo di Pezza" has less engaging parts, no particular steps forward, if anything more weak pieces, in fact it can't repeat, if not in a few parts, the really brilliant passages that Collage showed for more than half album making it a masterpiece. Overall, "Uomo di Pezza" is more than a good album, although not innovative and less brilliant than the previous one. A step of settling, waiting for new ideas, which will arrive on time with "Felona and Sorona".

Medium quality of the songs: 7,57. Vote album: 8+. Rating: Four Stars.

 Collage by ORME, LE album cover Studio Album, 1971
3.86 | 292 ratings

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Collage
Le Orme Rock Progressivo Italiano

Review by jamesbaldwin
Prog Reviewer

5 stars "Le Orme" first album, "Ad Gloriam" (1969), was full of beat music, in fact beat ruled italian charts until the end of Sixties. But after a trip of keabordist Tony Pagliuca in England to get to know the international pop scene (and buy a synthesizer), "Le Orme" became the first successful italian group of progressive rock. In fact, "Collage" is the first famous album of progressive in Italy (before Collage, Balletto di Bronzo's "Sirio 2222", and The Trip's title album were the first unripe attempts to compose progressive rock).

Pagliuca came back to Italy full of ideas and enthusiasm, dragging the complex into a project with international thickness. The main prog influences on Pagliuca were Emerson Lake & Palmer and Quatermass, two bands lead by the piano man and without guitarist, like "Le Orme", that are formed by Aldo Tagliapetra on bass and vocals (occasionally guitar), Michi De Rossi on drums, Tony Pagliuca on organ and electric piano - no synths, no mellotron: they will come later.

And here's to you Collage, cornerstone of Italian progressive rock.

An important element is missing. This album marks the beginning of the collaboration between "Le Orme" and Gian Piero Reverberi, who before being a great producer was a great classical composer and conductor, author of some of the most beautiful classical melodies of Italian light music among the years Seventy and Two thousands. An institution, in short, in Italy. Reverberi also founded and wrote the music, and directed Rond˛ Veneziano chamber ensemble, which played his compositions written in the eighteenth- century Venetian baroque style. We are therefore faced with a cultured composer, whose talent, lent to pop-rock music, has given sublime results, of which "Le Orme" have benefited, especially on a compositional level (Reverberi and Tagliapetra have written the music of all the songs), and in musical writing for piano and organ.

And... In fact, the opener "Collage" is a prog symphonic ballad, baroque style, with, in the meddle, a piece by Domenico Scarlatti's Sonata in E major, K 380. It is a powerful song, a hymn, with the effect of trumpets, and a triumphal final progression worthy of a classical symphony. Masterpiece. Vote 8,5.

"Era inverno" (It Was Winter), was a scandal for the lyrics theme (written by Pagliuca): the love between a man and a prostitute ("Ten thiusand, Twenty thousands, In the hands of the client, Who own you false joy). After an acoustic beginning, there is a wonderful instrumental progression, virtuosity on organ, Then come back the singing by Tagliapetra: "Ten thousand, Twenty Thousands, always smiling, an actress who doesn't change the scene". Very good. Vote 8.

"Cemento Armato" (Reinforced Concrete), almost seven and a half minutes, begins with the shout of Tagliapetra: "Cemento armato, La Grande cittÓ, senti la vita che se ne va": "Reinforced concrete, The big city, You feel the life that goes away". Again instrumental pieces with a great work of all three musicians, with an excellent organ sound, a mighty bass, a refined drums work. In the middle almost a jam section arrives. It is incredible how Le Orme are already with total naturalness the owners of their music, as their prog sounds completely natural, inspired, not at all artificial or forced. The singing returns, and we move towards the great instrumental finale. Possibly the masterpiece of the album. Vote 9. - It ends up a first spectacular side, to be envious. And we are only at the debut in the progressive.

Side B opens with the hit of the Lp, "Sguardo verso il cielo" (A Look Towards the Sky): almost heavy prog, is a wonderful track, with a beautiful sound on the organ, a powerful basss, a great instrumental ride in the middle of the song and in the grand finale, which unfortunately fades too quickly. It is the most powerful song on the album, although not the best of all. The text made the pro movement of the period turn up their nose, because they were very politicized, and Le Orme sang a prayer: "A look towards the sky, Where the sun is marvel, Where nothingness becomes the world, Where Your light brights". Vote 8. How long will this shining inspiration continue, this magic of sound?

"Evasione Totale" (Total Evasion) is a brave piece, seven minutes. Instrumental track, with some jazzy sound, something psychedelic, lead by bass and organ. Atmspheric ballad in the beginning, similar to a soundtrack of Seventies. Great work on the bass, and in the meddle we are in a totally psychedelic sounds, thanks to the art of Tony Pagliuca. Again, excellent inspiration. At five and a half minutes the music stop and come a church organ to bring the piece to the inizial jazzy sound. Vote 8+.

"Immagini" (Imagines), marks the end of the magic. Only three minutes, it is the weakest song of the album. It developes alternating verses with organ phrases, without any refrain. The song isn't bad, but it seems unfinished, it's not very effective. Vote 6,5. "Morte di un fiore" (Death of a Flower) starts with acoustic guitar and vocals, then comes drums and organ to take the piece to a sustained rhythm, while Tagliapetra sings about a girl found dead on a meadow, with the wind only companion. Good progression and grand final in crescendo. But it fades away too quickly. Vote 7,5.

The final of the album reserves two short songs, three minutes, which are stylistically a bit 'in contrast with other compositions, more extensive and able to develop more fully. Overall, there is actually a slight drop in quality in the last two songs. And so, this is not a great masterpiece but.., a small masterpiece. Yes, five stars.

Medium quality of the songs: 7,96. Vote 9. Five Stars.

 Florian by ORME, LE album cover Studio Album, 1979
3.80 | 122 ratings

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Florian
Le Orme Rock Progressivo Italiano

Review by nikitasv777

5 stars In 1979 Le Orme released an album of classically inspired music, tinted with progressive elements.They managed to do something completely different from what they had done before. Violin, cello, piano, acoustic guitar, glockenspiel, bouzouki, harpsichord, harmonium, vibraphone and mandola, which is mainly used in Italian folk music are the instruments used here. Aldo Tagliapietra voice is good. Florian very short album, just over 30 minutes, but is a very underrated album and I think it deserves more attention. Florian is not only an album: it is an experience. Sure it is not perfect, but not many albums are perfect. 4 stars.
 Florian by ORME, LE album cover Studio Album, 1979
3.80 | 122 ratings

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Florian
Le Orme Rock Progressivo Italiano

Review by Warthur
Prog Reviewer

4 stars The prospect of a prog rock acoustic album is a tricky one to contemplate. Marillion attempted one not so long ago with Less Is More, but this was a set of earlier material adapted to the format and I found it underwhelming in the long run. On the other hand, given the healthy overlap between 1970s prog and the more adventurous folk music of the time - think of the various prog flutists and violinists we've celebrated over the years - you'd think that a leap into an outright acoustic mode would be viable given suitable material.

For this 1979 release, Le Orme undertook the exercise of putting out an all-acoustic album, taking a two-year break after their preceding album specifically to hone their mastery of the instruments in question. Out are electric guitars and synths; in comes acoustic and classical guitar, harpsicord, harmonium and piano.

The end result is a masterful bit of acoustic folk-prog in the RPI mode. It's graced with one of the most winter-y prog album covers ever executed - reminiscent of those from Genesis' Wind and Wuthering, or Galadriel's Muttered Promises From an Ageless Pond, and whilst the three albums each have a differing musical approach they all share the same sense of melancholy so aptly captured by their varying bits of mostly-monochrome cover art.

 Felona E/And Sorona 2016 by ORME, LE album cover Studio Album, 2016
2.83 | 20 ratings

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Felona E/And Sorona 2016
Le Orme Rock Progressivo Italiano

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

2 stars Reboots and remakes - let's face it, everyone loves them!! In the film world, nothing gets devoted fans excited and filled with hope like recreations of their favourite movies such as `Ghostbusters', `Robocop' and `Total Recall' being remade with (surely!) the purest of intentions, and no doubt beloved albums are exactly the same - the more the merrier, right?! OK, so snarky sarcasm aside, what we have here is a modern remake of one of THE most cherished, important Italian prog albums of all time, by a current version of the same band who recorded the defining original, just with some different musicians this time around, founding member and drummer Michi Dei Rossi the only original player in the group at this point.

The current trio that makes up Le Orme these days - the above mentioned Dei Rossi, bass player Fabio Trentini and keyboard player Michele Bon - carried the band forwards after founding member, bassist and singer Aldo Tagliapetra departed back in 2009 for a late run at a solo career. At the time, the band regrouped and recorded the grandly symphonic `La Via della Seta' in 2011 utilising the powerful voice of Metamorfosi singer Jimmy Spitaleri. A fine grower of an album it turned to be, beautifully lavish and pompous in that classic Italian prog style, however the group are now back to a trio here with Fabio handling the vocals this time around, and admittedly doing a reliable job of them.

With 2016 bringing the fiftieth (yes, really!) anniversary of the band, Le Orme could have simply played some commemorative concerts, released a new `best of' compilation, issued a string of reissues, or even better, planned ahead and worked on an all-new album of material to suggest the band was still vital and worthwhile in a modern Italian prog environment. Instead, they have bafflingly decided to commemorate the occasion by completely re-recording the landmark RPI release from 1973 `Felona e Sorona' (as well as including the English language version `Felona and Sorona'), and while the efforts of the players are still impressive as always, the project has ended up as a fairly redundant and unnecessary release.

Discussing each track of an absolutely definitive Italian prog work would be a waste of time here, not only because the album is overly familiar at this point if you're a fan of the original (and there's no shortage of reviews for that one everywhere), but the band more or less play the album in the exact same way, with only the most minute and superficial differences added in. For instance, you want that classic opener `Sospesi Nell'Incredibile' with a shorter intro but extended by a whole two minutes simply by an unaccompanied drum solo at the end - it's here. `Felona' kicks in a little more boisterous from the second verse onwards, and the closer `Ritorno al Nulla' is perhaps heavier and more frantic, but...that's about it. Michi's vocals work fine and there's still plenty of rambunctious fire in his drumming, and both Trentini and Bon deliver great playing, but they're all simply recreating exactly what has come before.

If `Felona e Sorona 2016' is simply meant as a loving `thank you' to fans for the support over the years, then this is a perfectly innocent recording that doesn't deserve much critical looking at (in which case, stop reading now, and this review will self-destruct in five seconds!). However, if the band remade this with the intention of giving it a vital freshening-up that stands on several original merits, to somehow hopefully make this the `new standard' version that should be considered the defining interpretation, then it's all very disappointing. Compared to something like Latte e Miele's 2014 remake of their `Passio Secundum Mattheum' with `The Complete Work' where the original was thoroughly reworked and stood strong as a powerful musical statements all its own, `Felona e Sorona 2016' sounds by-the-numbers, safe and somewhat lazy in comparison.

Back in 2013, modern Italian prog icon Fabio Zuffanti's La Maschera di Cera project released `Le Porte del Domani', a controversial `sequel' to the Seventies `Felona e Sorona' album that rather cheekily used the briefest of little themes and reprises from the classic Le Orme LP (plus similar artwork from the same artist!), but it stood proudly as a powerful standalone effort - actually one of the year's best. It's interesting that Zuffanti's sequel treated the original with honour and respect, and even better was an all-original continuation, because 2011's `La Via Della Seta' proved that Le Orme in a modern era still have plenty to offer with their own original material, so perhaps their efforts would have been better put towards making their own `official sequel' of all brand-new music?

By all means, Le Orme should celebrate their legacy by playing some live concerts performing complete albums, perhaps releasing some live DVD's or blurays of the events. But spending effort on a kind of pale imitation of something much better seems like squandered time, money and energy. Fans would love to hear all-new material from this line-up, especially if there's a chance it could turn out as well as `La Via Della Seta'.

`Felona e Sorona 2016' superficially sounds fine, and it's easy to enjoy on a surface level, but that could also simply be the comfort of already knowing what you're hearing. If you've never heard the original album, by all means give this a spin, but the only logical course of action after that is to immediately rush to the superb original and see what all the fuss is about (which then renders this new one obsolete in an instant). If this was a brand new album of fresh material recorded in the same manner, there would be plenty of reasons to praise the effort here, because all the musicians are in great form. Instead, despite curious little fleeting differences and additions that are momentarily surprising on only the first listen, as it stands `Felona e Sorona 2016' works as an interesting `different perspective' at best, and sadly that's all it will probably ever be.

Two stars.

 Uomo Di Pezza by ORME, LE album cover Studio Album, 1972
4.21 | 653 ratings

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Uomo Di Pezza
Le Orme Rock Progressivo Italiano

Review by Modrigue
Prog Reviewer

3 stars Romantic and dreamy

First true progressive album by Le Orme, "Uomo di Pezza" ("Rag doll man" in English) offers a music on par with its cover art: sweet, mellow, reassuring, oneiric... The disc can be divided in two sides: Side 1 incorporates classical music elements and could be described as symphonic prog, whereas Side 2 - my favorite - is more dreamy and soothing. However, the compositions possess a proper Italian sensibility that cannot be found on British bands.

Keyboardist Antonio Pagliuca plays synthesizer for the first time on this record.

To be honest, I'm not really a big fan of Side 1. The opening of "Una Dolcezza Nuova" is the introduction of JOHANN SEBASTIAN BACH's chaconne no. 2 in D minor, BWV 1004, played by guest pianist Gian Piero Reverberi. The rest is a delicate ballad, smooth but a little cheesy. Released as a single in Italy, "Gioco Di Bimba" is a gentle naive song, typically Italian, with a slight medieval touch, a bit too sugary for me. Some nice floating passages can be found on "La Porta Chiusa", the longest track of the disc. Influenced by symphonic prog bands such as ELP or KING CRIMSON, the song contains a few changes, but is overall uneven.

Nonetheless, the dream really begins with Side 2. The soft "Breve Immagine" is a pretty moment, touching and enchanting. The spacey ethereal keyboards enhances the oneiric impression. Too short. The delicate "Figure Di Cartone" has a beautiful melancholic melody, while the trippy crystalline "Aspettando L'Alba" seems to come from the unreal world depicted on the cover, somewhere above the clouds. These three songs are simply delightful. The only intruder here could be "Alienazione" and its more oppressive ambiance. This threatening instrumental, jazzy at times, is nevertheless quite nice.

Despite the average tracks of Side 1, Side 2 is well worth the listen alone and make "Uomo di Pezza" an essential record of the genre, possessing its own charm and identity. Furthermore, the music is coherent with the cover art. As a non-Rock Progressivo Italiano fan, I recommend this album to people into symphonic or even space prog wanting to discover this style and, of course, to RPI lovers.

A romantic dream awaits you...

 Felona E/And Sorona 2016 by ORME, LE album cover Studio Album, 2016
2.83 | 20 ratings

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Felona E/And Sorona 2016
Le Orme Rock Progressivo Italiano

Review by Andis

3 stars A 2016 re-recording of one of the greatest progressive rock albums of all time. How exciting! This is also a re-recording of both versions, the italian original and the english version. I don't have the english version of the album so I am going to review only the italian version. I have the double CD edition called "The gold edition". Strange is that the CD 2 contained the same song twice but in the shippment I also received another copy of CD2 with the right songs. Something must have gone wrong in the printing of the CD. This review is also more about comparing the original from this 2016 version more than the music itself, that you can find in the reviews of the original. First, when you re-record an album as original and great as this one can only assume that this is because you either want to record the album with a better sound, or you didn't like how the original composition of the original turned out. Now you have the chance to do something about it. There is only one rule; make it better! So, did Le Orme improve their original album and made it better? The short answer would be; no.

The album have the same titles as the original and the lenghts of the songs are basically the same, the first song is two minutes longer so here I am expecting something cool that the band have added. My, my. Am I disappointed? Yes. The two longer minutes consists of an expanded drumsolo. They have taken the original short drumsolo that finishes the first song and expanded it two more minutes. Aaaagh... I hate drumsolos. Not a good start. The second song have a slighter rockier approach than the original as have the 6th song. The rest of the songs are basically the same for the exception of the last song that is one minute longer.

The biggest difference between the original album and this is that the sound is a bit more fresh, more of a live feel. The singer has of course got older but still sings great. The songs are slightly rockier, the basswork is slightly heavier och more prominient but the rest is almost exactly as the original. Even the sound of the keyboards are almost a carbon copy of the original.

So, how do I feel about this then? The music is great, some of the best moments in progressive rock history, but that we kind of already knew. The sound is marginally better, it's a tad rockier and it's a bit longer but on the other hand contains a drumsolo (why...why??).

For completists only, or for us Le Orme suckers that want to hear everything with them. If you have the original, don't bother. If you don't, this could be a great start, or just buy the original album. The music would get a five star, but this re-recording, compared to the original, will get only three stars because this is basically just a re-recording and nothing else.

 Felona E Sorona by ORME, LE album cover Studio Album, 1973
4.24 | 890 ratings

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Felona E Sorona
Le Orme Rock Progressivo Italiano

Review by FragileKings
Prog Reviewer

4 stars I knew that someday I would have to discover for myself what all the fuss was about with Rock Progressivo Italiano. That day came about two years ago now when I decided for my first foray into RPI "Felona E Sorona" would have to come home. From the first listen I was impressed and pleasantly surprised. For an album that is basically keyboards, bass and drums along with vocals (only some acoustic guitars and no electric guitars), I enjoy this album quite a bit.

The concept has been discussed before but in brief it is the story of two planets, one prosperous and glorious the other destitute and plague-ridden, whose fates become inverted. Though I don't understand Italian more than the odd word, I like Aldo Tagliapietra's vocals and so I don't care about the language barrier. More so, I'm glad to hear him sing in his native tongue.

Largely keyboard-based, there's an array of sounds produced by synthesizers, organ, and piano. The drums are also pretty intense at times, especially near the end of "Sospesi nell'incredibile" where I swear the drummer is seeing ants crawling over his kit and trying to smash each one!

Acoustic guitar makes its appearance on "Felona", a cheerful song describing, I presume, the glorious planet. It's a short but very uplifting song that segues into "La solitudine di chi protegge il mondo". Most of the songs are pretty short, around three minutes or even shorter, but there's a variety of music and good use of keyboard sounds (I find "Attesa inerte" interesting for its 1980's video game synthesizer effect).

The whole album is actually rather short but well thought out. I have found that my enjoyment depends a lot on my mood. Sometimes I think this is an exciting and brilliant piece of work while other times I find parts a bit vacuous with rather empty parts. It's all part of the mood in some of the songs. From every bit of sparseness comes something beautiful or rewarding.

I don't know if this is the best album to hear for an introduction to Italian prog but it impressed me enough to go out and check out two more bands. Recommended!

 Storia O Leggenda by ORME, LE album cover Studio Album, 1977
3.51 | 137 ratings

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Storia O Leggenda
Le Orme Rock Progressivo Italiano

Review by Neu!mann
Prog Reviewer

4 stars The last album released by Le Orme in their Progressive Rock heyday is, despite its fairly modest score in these Archives, one of the highlights of their Golden Age discography. The music was gentler than the keyboard-heavy workouts of earlier albums, and more obviously song-driven. But the songs themselves are some of the warmest and richest in the greater Orme catalogue, and no less affecting for being so economical, with every track falling neatly into a radio-friendly four to five minute range.

It's also arguably the band's most well-rounded and balanced effort since becoming a quartet: more classic GENESIS than classical ELP, although both are lazy comparisons. Le Orme always had its own voice, regardless of the influence: lyrical, romantic, and genuinely emotional, as only the best Progressive Rock can be, especially in Italy during the mid-1970s.

The striking cover illustration by Walter Mac Mazzieri pays tribute to his own artwork for one of Le Orme's best-loved albums ("Uomo di Pezza', 1972), but the newer LP was never meant as a re-tread. The band instead took the simpler musical arrangements of "Smogmagica" and "VeritÓ Nascoste", and gilded them with a delicate magic, leading even the unlikely ersatz-reggae verses of "Tenerci per Mano" toward a soaring RPI chorus.

I shouldn't have to remind regular visitors to these pages that a softer, more accessible Prog album doesn't indicate an immediate sell-out. The music here might be easier on the ears, but from start to finish it's pure Rock Progressivo Italiano, beautifully written and performed. And the album closes with a real humdinger, in the aggressive throwback instrumental "Al Mercato della Pulci" (The Flea Market), in retrospect four of the strongest minutes in Le Orme's later history. It's hard to imagine a more dynamic or appropriate ending, to the album and to the era itself.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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