PREMIATA FORNERIA MARCONI (PFM)

If you like Genesis, you probably would like this. I adore Genesis and love this sound. I may happen I come back and raise this rating to five but now I think four is enough, and that is a high rating. This is a record especially for fans of Genesis and PFM of course. If I compare it to their british precursor I would compare this record with "A trick of the tail", a little more poppier but still a fantastic progressive sound. These songs are so clever and fine, all of them are good. They use many instruments and do it well. There is a lot of brilliance and and elegance here. One thing that makes this a good record is the great vocals that sometimes has been breached in prog. "From under" starts the record with speed and a good text, "Harlequin" continues with a great song and the title track "Chocolate Kings" is quick and has a funny meaning. Next side has two longer pieces in "Out of the Roundabout" and "Paper Charms". They are both very good but I think this record is a bit short. With one song more thay could have gained appreciation, and done a more complete disc. Beside of its small faults this was a great experience of Premiata Forneria Marconi in English and the first review I write about them. I will listen again and perhaps give it a better opinion furthermore.

The focal point of each song is its thematic concepts, which I greatly appreciate. That's something I listen to with great preference, so their writing style appeals to me greatly. In addition to that, another obvious feature is the ability to evoke multiple styles effectively, even within the same track. Take, for instance, Dove... Quando Pt. II, in which the more classically-driven section gives way to a more energetic jazz-tinged passage. In spite of the direct, even abrupt shift, because the thematic content is still perceptible, it doesn't become too jarring. In fact, it serves as a great balancing mechanic. This new energy is very welcome and arrives just in time before the track becomes stale. As a whole, the willingness to exploit multiple styles, no matter how disjointed they may seem on the surface, even within the same track, demonstrates the tremendous amount of compositional skill and boldness this group brings to the table. I highly admire that quality.

The group's instrumentation is very noteworthy as well. From the keyboard-driven passages of Impressioni di Settembre and E' Festa to the precise horn and intricate bass parts featured in the closer and my favorite track on the album Grazie Davvero, we are treated to highly memorable sonic textures that catapult the power and feeling behind each player's material to a whole new expressive plane.

This is a milestone album and a wonderful starting point into this band's catalog and the RPI scene as a whole. Aside from a few dull, dragging passages in the second-last track La Carrozza di Hans, I enjoyed every minute of this release. Those few stale moments may hold it back from true masterpiece status in my opinion, but no other substantial detracting details come to mind. I give this album a strong 4.5 and am very much looking forward to hearing more from this undeniably talented group of accomplished musicians.

Premiata Forneria Marconi shows a nice blend of classical, jazz and folkrock and uses the "standard" symphonic prog equipment (bass, electric guitar, mellotron and other key instruments and drums) with a violin addition, which gives the folky sound to the band. I always heard that PFM had clear influences from the British symphonic prog scene, but on this live recording this seems not to be the case. No long progressive epics like Yes or Genesis or jazzrock like King Crimson. In fact I thought that this live recording has a distinctive sound.The composition are far more fragmentated then I am used to and it took me a while to "create" songs out of it because of some great changes in style within the songs or compositions. I guess this is one of the characteristics of PFM or the RPI as a genre.

There is some good team play and also room for the individual skills. One of the best parts is a quiet complex guitar tune which is played faster and faster and finishing with an intriguing speed. The violin shows many rhythm of folk and other styles in the last composition and finishes this record.

Enough ingredients in this "Cooking pan" for a nice listen. The instrumental skills are of a very high level and the only big disadvantage are the vocals, which are sometimes mediocre. This live recording makes me interested in the studio recordings of PFM. The recording is good for a live recording, but I expect the studio recordings to be better.

Premiata Forneria Marconi released two amazing albums in 1972, and both are included here in their entirety. Unfortunately, the mastering used is a victim of the "loudness wars," and both discs are practically unlistenable. Compare an early RCA CD pressing of Per Un Amico for instance, to the Sony/BMG version used here, and you don't have to be an audiophile to tell that the latter has been completely ruined - the sound is harsh, trebly and completely lacking in dynamics. Just listen to the beginning of "Generale" as the splash cymbal distorts - the song is totally lifeless and actually painful to listen to. This might be okay to have in the car or at work, but in any serious listening environment will be immediately revealed.

The Road Rarities disc touts itself as containing 12 unreleased live versions spanning 1972-2012...this is somewhat deceptive as there are really only 8 songs, four of which are indexed in such a way as to separate the intro and main song. Not only that, but the vast majority of tracks are from 2001-2010, a period that has been amply covered in other releases. The lone exceptions are a 1985 take of "Impressione di Settembre" featuring a very interesting interpretation of that classic, and a live rendering of "Dove...Quando" from 1997 which sounds like it was recorded in a coffee shop. Neither of these warrant purchase of this set; interested parties would be better suited to purchase songs a la carte if you can find them (www.play.com in Europe has digital downloads for sale, for instance).

Overall, I can't figure out who this set is intended for or what it's purpose is. The whole package feels like a cash grab on behalf of Sony, as they try to milk every last drop of a dwindling CD market. The better release may actually be the vinyl box, as LP copies of the first two albums are exceedingly hard to come by. But again, any serious fan will already have the vast majority of content here, and neophyte listeners will be better served to purchase titles individually. As superfluous as this box set is, I just can't bring myself to rate it only one star, as even for $35 it is a nice conversation piece and will look good on the mantle shelf.

An incendiary version of "Four Holes in the Ground" starts the set, and the energy never lets up from here. "Dove...Quando" will slow the pace a bit, and other than part of "Celebration," is the only track sung in its native language. Mauro Pagani delivers some achingly beautiful flute passages here, supplemented perfectly by minimal electric piano and bass guitar. One minor quibble is the absence of "Dove...Quando (Parte II)," as a somewhat awkward fade to "Just Look Away" announces an extended intro from Mussida. His classical guitar technique is simply brilliant. A riotous crowd cheers on as "Celebration" roars like a freight train running off the tracks...and transitions into the coda of "World Became the World."

"Mr. Nine Till Five" starts the second side, and there's no sign of the band letting up yet. The sound quality does seem to suffer here somewhat; I'm not sure if they changed tape reels on the mobile truck for this tune or what, but there is a marked difference between it and the rest of the program. "Alta Loma Five Till Nine...," a staple of their live shows during this era, is a jammy, bluesy number; there is plenty of Mellotron goodness to keep it rooted in the symphonic tradition, though. Expect several mood and tempo changes, the most famous of which is the rendition of the William Tell Overture, prog-style. The extended version of Cook is available domestically for $8-10, and features the Central Park concert in its entirety, so there is really no excuse to not go download it right now.

The album opens with the operatic singing of the title track. The song has a perfect mix of atmospheric parts with keyboard and acoustic guitar and some harder rocking parts. Though listed as almost 11 minutes, the song always seems shorter, a true testament to the musical abilities of this great band.

'Is My Face On Straight' Is probably the only weak point of the album, if only because of the vocals. Instrumentally it's quite good, but the weak attempt at singing in English when it could have been done beautifully in Italin always irks me.

'La Luna Nuova' is the star of the album with its chaotic interweaving of a myriad of melodies. The one beginning at two minutes and thirty seconds is a good example of this, and is probably one of my favorites. This is easily the most energizing track on the record.

'Dolcissima Maria' is a very gentle, down-tempo track with a beautiful atmosphere of acoustic guitar and vocals. There are still some catchy melodies to be heard here, especially when played by the flute near the end.

The album ends on a slightly jazzy note with the great 'Via Lumiere.' Consequently, this is also one of their more complex tracks, with a few time and tempo changes occurring throughout. The first half is King Crimson-inspired experimentalism, while the second half is the pure symphonic beauty they're known for.

Overall, while I wouldn't say this album reaches the same level as the previous two, it still has plenty of musical merits, and is hardly worse. Despite the rather lacking 'Is My Face On Straight' I still believe this deserves a solid five stars for being the last great PFM effort.

9/10

The album opens with the aptly titled 'Introduzione' and 'Impressioni De Settembre.' The latter has some amazing dynamic sound changes throughout and has a gorgeous melody played by a plethora of different instruments.

'E'Festa' is a harder-rocking song with an undeniable energy and happy atmosphere. The heavier parts with the crunchy guitar are mixed flawlessly with the gentler flute and mellotron parts.

'Dove? Quando' has two parts, the first part is down-tempo, tranquil, and flows beautifully with flute and acoustic guitar. The second part is jazzier with keyboards taking a more dominant role.

'La Carozza Di Hans' features some absolutely brilliant acoustic guitar work, as well as some serene vocals.

The album concludes with 'Grazie Davvero,' which has a slight Beatles inflection in the beginning. There is a nice brass section throughout, which is always welcome.

Overall, Storia Un Di Minuto is a cornerstone of Italin and prog music alike. My only problem with this album is that it's too short! Literally, that's it.

10/10

'Appena Un Poco' kicks off the album with an extended mellotron passage similar to Watcher of the Skies by Genesis. The rest of the song is classic PFM with a tight interweaving of bass, guitar, and gentle Italian vocals, especially at around four and a half minutes where the band slowly builds-up a very exquisite sounding melody.

'Generale!' is a fast, hectic, hard-rocking piece with great interplay between guitar and piano, which is only interrupted briefly for a short drum roll, flute, and keyboard interlude.

The title track, in its rather short five minute duration hits you with great melody after another. The synth is put to great use here, especially the solo at around four minutes, which has a phenomenal build-up right before it.

The first two minutes of 'Il Banchetto' are easy-going with acoustic guitar, piano and vocals. What occurs after though is perhaps one of the bands greatest moments; A beautiful atmosphere of soaring synth to create a serene two minutes before being interrupted with a crazy Gentle Giant-esque section. Some piano work and a reprise of the beginning serve out the rest of the song.

The ending song, 'Geranio' has an upbeat and happy vibe throughout. The piano work is the highlight here, especially in the waltz-like middle and in the final two minutes. Simply put this is one of the best prog albums in any language, but again, is too short. Nevertheless, this is certainly top ten material for me.

10/10

Premiata Forneria Marconi were always a daring band with ever-changing styles throughout their career and the new album is just another proof.Vocals are totally abandoned and ''Stati di immaginazione'' comes as an all instrumental effort of modern Progressive Rock with evident references to the 70's past of the group.Early KING CRIMSON were always a huge influence for the Italian legends, but this time the guitar work and atmospheres have more in common with the Discipline-era of their British mentors.Mussida evokes the sharp, diverse and highly atmospheric style of ROBERT FRIPP from these days, but ''Stati di immaginazione'' is way beyond this.It is full of strong violin drives, complex interplays, romantic Classical piano lines in the vein of LE ORME and jazzy textures right out of the late-70's part of the band's history.LE ORME even come in mind on the careful and elaborate use of synthesizers every now and then, creating light symphonic soundscapes along with the soft pianos.Even more suprising Premiata Forneria Marconi seemed to now what was going on in the prog world around the time of the album's release, as plenty of their ideas have a slight Post Rock approach, produced by Mussida's guitars.The album comes along with a DVD presentation of the 8 tracks with the use of interesting photos/images/cartoons.

Not in the same league as the band's earlier masterpieces, but this is definitely an album to play several times.A mix of modern Symphonic Rock with Jazz, Classical Music, Post Rock and Retro Prog, nicely blended and often quite impressive.Strongly recommended...3.5 stars.