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LE ORME

Rock Progressivo Italiano • Italy


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Le Orme biography
Founded in Marghera, Venice, Italy in 1966 - Hiatus from 1982-1986 - Still active as of 2019

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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LE ORME discography


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

2.82 | 102 ratings
Ad Gloriam
1969
3.87 | 316 ratings
Collage
1971
4.21 | 693 ratings
Uomo Di Pezza
1972
4.24 | 969 ratings
Felona E Sorona
1973
3.70 | 84 ratings
Felona & Sorona (English language version)
1973
3.97 | 265 ratings
Contrappunti
1974
2.82 | 119 ratings
Smogmagica
1975
3.54 | 134 ratings
VeritÓ Nascoste
1976
3.51 | 141 ratings
Storia O Leggenda
1977
3.81 | 133 ratings
Florian
1979
3.19 | 72 ratings
Piccola Rapsodia Dell'Ape
1980
1.74 | 42 ratings
Venerdý
1982
1.49 | 50 ratings
Orme
1990
3.49 | 87 ratings
Il Fiume
1996
2.90 | 41 ratings
Amico Di Ieri
1997
3.86 | 146 ratings
Elementi
2001
3.77 | 119 ratings
L'Infinito
2004
3.59 | 116 ratings
La Via Della Seta
2011
2.78 | 22 ratings
Felona E/And Sorona 2016
2016
3.33 | 21 ratings
ClassicOrme
2017
3.56 | 18 ratings
Sulle Ali Di Un Sogno
2019

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

3.61 | 53 ratings
In Concerto
1974
3.51 | 26 ratings
Live Orme
1986
4.65 | 60 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)

2.47 | 31 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
2.29 | 5 ratings
Grandi Incontri
1990
3.14 | 13 ratings
Antologia 1970-1980
1993
2.70 | 5 ratings
Le Orme
1996
4.00 | 4 ratings
"Gioco Di Bimba" E Altri Successi
1998
3.76 | 10 ratings
Studio Collection 1970 - 1980
2005
3.50 | 8 ratings
1967 - 1969 - Le Origini
2005
3.50 | 2 ratings
I Successi
2006
4.67 | 3 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
4.37 | 19 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
3.40 | 5 ratings
Il Profumo Delle Viole
1970
3.40 | 5 ratings
L'Aurora
1970
3.83 | 6 ratings
Sguardo Verso Il Cielo
1971
4.17 | 6 ratings
Gioco Di Bimba
1972
4.00 | 4 ratings
Felona
1973
3.75 | 4 ratings
Frutto Acerbo
1974
3.75 | 4 ratings
Sera
1975
3.75 | 4 ratings
VeritÓ Nascoste
1976
3.75 | 4 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
 Contrappunti by ORME, LE album cover Studio Album, 1974
3.97 | 265 ratings

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Contrappunti
Le Orme Rock Progressivo Italiano

Review by jamesbaldwin
Prog Reviewer

4 stars This album sees Gian Piero Reverberi, classical composer, entered the formation of Le Orme.

The Lp is characterized by the alternation of instrumental pieces with sung pieces. In the instrumental ones and in particular in the first, Reverberi, classical composer, makes an essential contribution in outlining an exceptional piece.

1. Counterpoints (5:56). vote 8,5 / 9. For a minute and a half there is a piece of church organ, remarkable, which introduces the atmosphere of the record, then the keyboards are unleashed, and in reality there is a competition of virtuosity, between piano (Reverberi), keyboards (and harpsichord) (Pagliuca), drums (De Rossi) and bass (Tagliapetra). However, they are virtuosity not an end in themselves, there are no musicians who go on to play each one for themselves (as often happens with EL&P), here everyone plays in order to arrive at an overall synthesis. After the harpsichord, the rhythmic progression restarts, ending with the emphatic final conclusion. Exceptional: if we consider the progress from Collage. It is the masterpiece of the record, and one of the absolute masterpieces of Italian progressive.

2. Frutto Acerbo (3:35). Ballad with the acoustic guitar, a delicate, Catholic love story, hints at the theme of adolescent virginity. Beautiful ballad, rating 7.5 / 8.

3. Aliante (3:20). Piece with electronic sounds and strong percussion, cybernetic, a little ugly. There is a drop in quality in the album. The "counterpoints" have begun: the odd pieces, usually instrumental, are very free-range, the even ones are very calms. Rating 6.

4. India (3:13). Initial vocal part, cybernetic solo in the middle that continues with the previous sounds, a little annoying but with an excellent bass, and final vocal part, very good. Rating 7,5.

Side B. 5. La Fabbricante D'Angeli (4:47) is sung with a very pumped concert style orchestral crescendo, rhythmically complex piece, but good, rating 7.5 / 8

6. Notturno (3:51) is an instrumental song conducted by Reverberi's piano with evocative classical accents. Rating 7+.

7. May (8:51): interlocutory instrumental start, conducted from the bass, then comes a church atmosphere with the keyboards, and in fact the vocals speak of a nun who is reflected, we are in the wake of the Catholic tradition, both for music and for lyrics, an ideological manifesto that places Le Orme on the "Right" of the student movement of the Seventies within which the prog of Pfm, Banco and Area was born. Then another instrumental piece with the sounds of Pagliuca's keyboards arrives, and it seems a bit annoying, there is still a great work of arrangement, and then the vocals returns. Good melody of the singing, especially when Tagliapetra sings: The man is the greatest treasure on earth. Rating 8.

Total Time: 33:35

Overall, this album is

Rated 8+.

Four stars.

 Florian by ORME, LE album cover Studio Album, 1979
3.81 | 133 ratings

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Florian
Le Orme Rock Progressivo Italiano

Review by zeuhl1
Collaborator RPI Team

4 stars Le Orme's penance album.

Very few have heard of Florian, including some Le Orme fans, and that is a shame. For the casual Le Orme fan, this won't even sound like the band. Shorn of the 'Le' for the first time, Orme are also shorn of all of their familiar instruments-electric bass, organ, synth, drum kit? None of these make an appearance on this album. Instead, Orme utilize violin, cello, acoustic guitar, bouzouki, vibraphone, marimba, hand drums, piano and harpsichord to create a chamber music effect that many have mistaken for the band performing with a smaller orchestra.

But fans of the band will still hear what makes the Le Orme sound so recognizable-close your eyes and listen to the violin and cello arrangements of the opener, title track Florian, and you can hear this song played as an organ/bass/drums arrangement that is dancing in the background. This theme continues throughout this baroque inflected mini gem, where those familiar with the band can interpolate these acoustic themes into more familiar electric arrangements. Another highlight is the album closer, El Gran Senser, with some attempted spacey moments and more playful string moments that wouldn't be out of place on a Kronos Quartet album. Very few weak points here, but for those expecting a full on electric blitz, this is not that at all.

One gets the impression that this is somehow late penance for the LA slickness that pooched the 1975 'recorded in California' album Smogmagica that nearly sank them. They recovered strongly on followup Verita Nacoste but couldn't really sustain it on 1977's Storia o Leggenda. Which makes this album so astounding-who would follow up a dollop of the worst of LA with a tribute to the first Gryphon album? Certainly one of the most peculiar follow ups to the usual career killing pop arc in the history of rock, an aberration so startling that one is temped to add another half star for sheer brazenness. Very few in rock could have pulled this off, and even fewer would attempt this, never mind it is the crucial cusp year of 1979 when prog rock officially abdicated. Delicate and beautiful, this album will bear repeated listenings.

Recommended for Le Orme fans that have a few albums under their belt, and acoustic classical/prog fans.

3.75 stars

 Felona E Sorona by ORME, LE album cover Studio Album, 1973
4.24 | 969 ratings

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Felona E Sorona
Le Orme Rock Progressivo Italiano

Review by sgtpepper

5 stars This is clearly one of the best output of the progressive rock in Italy - Rock Progressive Italiano. All clicks well together - emotional vocals, strong instrumental moments when keyboards and drums/bass take the progressive lead like on the first track. You can hear synths, organ, piano so typical minimal prog keyboard player equipmen at these times. The first track has a fantastic development from a bit majestic early sound of prog, then vocals come in and with some tension in the synth. The bass is quite audible and muscular. The speed increases and the powerful rhythm trio is excelling turning into a futuristic Moog solo while closely supported by bass and drums. "Felona" and "Serona" are two lovely stripped-down ballads. "L'equilibrio" has a certain Genesis organ feeling in the first part; no worries because the instrumental peak with keyboard/synths chops is arriving at 2:40 - a perfect culmination albeit too short before sliding into a retrospective vocal led part. "Attese Inerte" is a showcase for the bass guitar."All'Infuori Del Tempo" gives majestic feelings with solemn keyboards and finally we distinctly hear some guitar - acoustic one. "Ritorno al nulla" sounds like an apex, all instrumentalists being busy and intense but mainly the drummer.

Excellent album; I just regret that the compositions aren't longer - the album deserves it indeed!

 Smogmagica by ORME, LE album cover Studio Album, 1975
2.82 | 119 ratings

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Smogmagica
Le Orme Rock Progressivo Italiano

Review by mimacondo

3 stars This is definitely not among the greatest Le Orme albums. I was expecting a little bit more of this album after listening to "Collage" and "Uomo di Pezza". In my opinion, the cover is the best thing the album has to offer. Nonetheless, it contains two songs that I highly recommend, namely "Los Angeles" and "Laserium Floyd". This two songs are worth playing the record over and over agian. The rest of the songs are fine, but they are not on the prog rock type of music and one or two are rather catchy. If you are a Le Orme fan give it a try, otherwise it is better to pass on this one.
 Felona E Sorona by ORME, LE album cover Studio Album, 1973
4.24 | 969 ratings

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Felona E Sorona
Le Orme Rock Progressivo Italiano

Review by friso
Prog Reviewer

4 stars Le Orme is considered to be a major '70 symphonic prog group from Italy. The band uses almost every keyboard sound from the ELP pallet. Yet, Le Orme ends up sounding more authentic because of the cultured Italian footprint that relies less on virtuosity, but on beauty and sensitivity. The airy vocals by Aldo Tagliapietra are among the best of the Italian prog genre and the band uses the short song-burst to great effect between the electronic & symphonic interludes. Though there are some folky bits with acoustic guitar, the band mostly uses organ, synths, bass guitar and drums. On this album the band uses more electronics then usual, sometimes adding a spacey layer to the music. Whilst the atmospheres change between dark and melancholic to optimistic and energetic, most of the album is actually quite dark - which I like. 'Felona E Serona' is a concept album mostly made up of shorter songs. It does however sound more like a single multi-part epic, also because of the short running time of 34 minutes. In Italian progressive music I usually get bothered by the slightly out of tune synths and 'Felona E serona' isn't an exception. Otherwise, this would have been a masterpiece - for it clearly has that memorable edge to it.

The remastered Universal vinyl reprint has a nice warm sound to it. I couldn't find any of the problems with the production sound that others have described in such detail.

 Ad Gloriam by ORME, LE album cover Studio Album, 1969
2.82 | 102 ratings

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Ad Gloriam
Le Orme Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

3 stars LE ORME ( Italian for "the footprints" ) was one of the few Italian progressive rock bands that found international success outside of its homeland and at the band's peak was playing many live shows all over North America and Europe in the 70s, but all things have humble beginnings and like many bands of the era, LE ORME began in a much different way than the band became. Formed in Marghera near Venice, the band started all the way back in 1966 by Aldo Tagliapietra (vocals, guitar), Marino Rebeschini (drums), Nino Smeraldi (lead guitar) and Claudio Galieti (bass) of which only Tagliapietra would carry on into the classic prog years.

Like most bands of the era that went on to forge their way into the prog universe, LE ORME began as a psychedelic rock band that still retained a lot of the beat music that was popular from the late 50s to the early 60s. As a band, LE ORME started playing live fairly early in 1966 after forming and recorded its first single "Fiori Di Giglio" in 1967 however the lineup started to change before the first album was recorded. After Michi Dei Rossi replaced Rebeschini who joined the military and Antonio Pegliuca joined the team on keyboards and band began to record its debut release AD GLORIUM in late 1968 and hit the market in 1969.

The song "Senti L'estate Che Toma" which appears on the album was placed in a competition in 1968 run by the Italian Phonographic Association where it finished at #24 out of 56 songs, not exactly a stunning success but enough to get the band noticed and the ball rolling. One look at the colorful psychedelic album cover with the five members sporting their best Beatles haircuts tells you everything about AD GLORIUM. This is indeed a child of the 60s with beautiful catchy pop hooks right out of The Beatles' playbook only drenched in psychedelic sound effects and a retro beat sort of rhythmic drive. While not quite the progressive rock band that would deliver such classics as "Felona E Sorona," at this point LE ORME had already mastered the art of excellent songwriting skills that displayed sophisticated compositional skills and tight musicianship that allowed variation to make the album interesting.

With all lyrics sung in Italian, despite the English influences, AD GLORIUM feels like a bona fide product of its homeland as the Italian language has a gravitational pull that takes the musical flow along for the ride. While the guitar, bass and drums are clearly imbued with 60s influences, it's the other instruments such as the flute, celesta, sarangi and harpsichord that give it a more futuristic feel (for its time) in comparison to other psychedelic rock bands of the late 60s and in retrospect there are signs of the prog direction that the band would veer towards however nobody including LE ORME could've predicted it at the time as the entire prog world was just beginning to blossom and soon explode into myriad directions. Overall AD GLORIUM is a light and airy album that relishes the sensual side of the rock world.

While it would take another album and a new direction to give LE ORME the opportunity to find international success, AD GLORIUM provides some vital blueprints and overall is a really decently crafted psychedelic pop album from the era. There's not really one bad track on it and it indeed captures the spirit of the psychedelic peace and love 60s only with a European vibe that was quite different the the American scene. While the album wasn't exactly a smashing success at the time, the title track has been remixed by Irish DJ David Homes in the year 2000 with the new name of "69 Police" and also appeared on the film soundtrack for "Oceans Eleven" where it was used in the final scene. Catchy and psychedelic 60s pop that's very well done but still several steps away from the symphonic prog that the band would craft for 1971's "Collage."

3.5 rounded down

 Collage by ORME, LE album cover Studio Album, 1971
3.87 | 316 ratings

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Collage
Le Orme Rock Progressivo Italiano

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars LE ORME was fairly unique for being one of Italy's few psychedelic rock bands still rooted in the beat music of the early 60s that looked towards the English scene for inspiration. The band was formed in 1966 and was successful in the fact that the band won music competitions and crafted some of the earliest proto-prog sounds to emerge from the Italian music scene. Although the 1969 debut album "Ad Glorium" focused on catchy psychedelic pop tunes that captured the melodic sensibilities of The Beatles infused with elements from the early 60s beat music, the album nevertheless began to show slight signs of prog gestating between the cracks. The inclusion of flute, cello and harpsichord sounds may have been merely supplemental to the psychedelic drenched pop hooks but in fact would point the way to the next phase of the band's career when LE ORME would become one of Italy's first and most famous progressive rock bands.

After the release of "Ad Glorium," the music scene changed overnight. When English bands like King Crimson and East of Eden released their landmark prog albums in 1969, it was an invitation for musicians far and wide to craft more intricate and complex albums that focused on an album experience rather than short punchy singles. LE ORME heralded the call and took on the challenge. After the debut bassist Claudio Galieti left the band to serve in the military and was soon followed by guitarist Nino Smeraldi departing as well. Instead of replacing the two fallen soldiers, the core trio of Aldo Tagliapietra (vocals, bass, acoustic guitar), Antonio Pagliuca (Hammond, electric piano, audio generator) and Michi Dei Rossi (drums, percussions) who together would experience the band's international success throughout the 70s. It took two full years to craft the band's first true progressive rock album COLLAGE which was released in May of 1971, just in time for the prog party!

In many ways LE ORME continued the spirit of "Ad Glorium" only by dropping the beat aspects and adopting more classically infused keyboard parts. The trio set itself up to be the Italian version of The Nice with stealthy keyboard workouts backed up only by bass and drums with only sparse uses of acoustic guitar. The opening title track is an instrumental that is right out of The Nice's playbook. Bombastic keyboard heft with a focus on symphonic Baroque workouts in full pomp and awe and with Tagliapietra having switched from guitar to bass, the emphasis is squarely placed on the Hammond organs, electric piano and audio generator sounds. Tracks like "Era Inverno" and "Cemento Armato" display some of the most adventurous workouts and while comparison to The Nice and ELP are justified, LE ORME crafted a unique sound of their own mostly due to the fact that lyrics were sung in Italian. Quatermass and early Deep Purple are also legit references to the band's early prog sounds, however LE ORME delivered a distinct Mediterranean flavor to its style.

COLLAGE was the band's first success at least in Italy by way of the promotion of the album through RAI (Radiotelevisione Italiana) on the radio program "Per Voi Giovani" which sent the album skyrocketing into the top 10 on the Italian album charts. While many prog bands were going for the avant-garde jugular, LE ORME set the tone for many Italian bands to come by keeping the music accessible through classical melodies and in tandem with narrative lyrics. Most tracks kept the playing time to under five minutes for accessibility with only the eight minute "Cemento Armato" exceeding eight minutes and drifting into prog wankery. The album while not the peak of LE ORME's creativity and far from the ambitious efforts of other Italian greats like PFM or Banco, nevertheless was one of the earliest Italian prog albums to capture a significant audience which opened the floodgates in many ways. All the great masterpiece of Italian prog would emerge the following year in 1972.

While tracks like "Sguardo Verso II Cielo" find the perfect ground between the classical symphonic and heavier rock aspects, the album is fairly light and given the lack of guitar heft always sounds more subdued than many prog contemporaries even compared to other guitarless bands like ELP since none of the members mastered the virtuosic roar of the its English counterpoints but since the band masters the subtle effects, the slower passages work quite well. Of all the tracks, "Evasione Totale" is the most experimental and my vote for best track on the album. It generates many dark moods that delve into psychedelia and interesting instrumental passages that display the create use of keyboard interplay and point the way to the band's more experimental albums that follow. Unfortunately the last two tracks seems to fizzle out into generic pop territory which makes the album a bit uneven but was quite the bold statement for the time and place COLLAGE emerged. Not my vote for best Italian prog album by any means but a thoroughly enjoyable one even if its limitations sound quite dated.

 Felona E Sorona by ORME, LE album cover Studio Album, 1973
4.24 | 969 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 | 693 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
3.87 | 316 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.

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

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