ANGELO BRANDUARDI

Sneaky guy.

This album is a coop between Angelo and an acoustic music ensemble called Chominciamento Di Gioia. Impressed ? Neither am I. The music is pop like folk music. It is not as commercial as The Corrs though. The music here is based on Angelo's excellent voice and on acoustic instruments. I cannot spot a single electric instrument here.

The folk music here is almost exclusive Celtic and Northern European based. The music varies between tender ballads (hear the Italian housewives hearts shatter) and pretty fast songs with violin. Some of the music is also pretty theatrical with over the top musical arrangements. Thankfully, I do not speak Italian so I am "missing" the lyrics here.

The much covered Scarborough Fair his is the best song on this album by far, together with the German song Loibere Risen. The rest of this album is pretty decent, bordering to dire when Angelo goes hellbent for the heart strings. This is not an album I am enjoying.

2 stars

La Luna comes across as a nice mix of Italian prog and Italian pop. The type of music that melts the hearts of women and secures the reproduction of Italian citizens. In other words, the music is romantic throughout. I would not call the music simple though. It is true that it is mostly based around Angelo's voice and some minimalistic instrumentations. Mostly Angelo's own instruments; guitars, percussion and violin. But the arrangements are pretty sophisticated and so is the songs too.

For me, this album showcases what sets Rock Progressivo Italiano apart from the rest of the prog scene. The folk music based romantic music and the excellent vocals which is more an instrument than communication (I do not understand a word Italian). This music communicates Italy through and through more than glossy magazines from the local travel agents does. I have to admit visiting Italy is not on the list of my wish-list. But this album has changed my mind. Italy, be prepared.

The quality of this music is in other words great. Yes, it sailing very close to be melodramatic drivel. The two outstanding songs here are Gli Alberi Sono Alti and the next song Notturno. Both of them are two of the best Italian songs I have ever heard in my life. And I am not a beginner when it comes to Italian prog. Those two songs are alone worth the price of this album. A couple of songs are merely good, but does not devalue this album. So what we have here is a well hidden, but shining jewel in the Rock Progressivo Italiano genre.

4.5 stars

The style of soft folk rock a la RPI is already intact at this early date, but too many of the mellow songs are a bit too sleepy and even sappy without a strong melody to save them, a tendency he overcame in subsequent albums. In particular "La favola degli aironi", "Canzone per Sarah" and "L'uomo e la nuvola" all fail to impress apart from the man's dreamy voice. The album peaks just after the halfway point with the three best tracks being the lively "La serie dei numeri", the Andean influenced "Il dono del cervo", and the suite "Il Funerale" which begins with reflective harp, guitar and fiddle before segueing into an equally melancholy celtic song that shows where Branduardi would focus in years to come. It's pretty much worth the price of the disk on its own. The rest of the tracks lie in between the weaker tunes and the highlights in quality.

This might be the best place to start if you are committed to discovering ANGELO BRANDUARDI chronologically, but not if you want to hear his most accomplished work. Still, highlights are frequent enough to qualify "Alla Fiera dell'Est" as a good album from a great performer.

The album opens with arguably its best track, the lively Latin spiced title cut with Branduardi's voice and violin taking hold of a delightful melody flawlessly arranged. From there it is barely a step down to the magical balladry of "Se tu sei cielo", the Battiato-like "La Strega", the timeless lullabye-styled tune conveyed by "La Raccolta", and the airily bouncy "Colori".

The only truly weak spot is the ineffectual pop of "Il Gufo E Il Pavone", although the traditionally celtic "Donna Ti Voglio Cantare" does not add a whole lot to either the disk or the legacy, and "Il Signore Di Baux" is a bit too soundtrack-y, the warmth of Branduardi's strings overruled by a military rigidity. The closing cut is a bit drawn out but does conclude with sweet acoustic guitar re-iteration of the main theme.

All in all, another top shelf contribution by this Italian talent, awaiting discovery by those not bound to peer pressure in prog folk and RPI circles and beyond.

While the album is generally placid, there are some uptempo tracks, with the 7 minute opener being the most impressive of these, replete with a bagpipe fashioned segment alternating with a decidedly celtic melody in the verse. It brings to mind Quebecois music of that era, such as LE REVE DU DIABLE, and also venerable Brits the ALBION BAND and even the Breton ensemble TRI YANN, but this is a lot more measured and subtle. Both "Il poeta di corte" and the title cut are lively ditties that graft stereotypical Italian music onto Branduardi's own branches, and evoke STEFANO TESTA's most impressive one-off. "La Sposa Rubata" and "Il Poeta di Corte" are slower pieces that might have a less patient listener hitting the next button, but they are worth the effort. Even the closing piece with its by then decade-old pyschedelic flourishes is enhanced by his own poignant violin, other strings and a traditional styled tune.

Quality and profound caring are graciously offered on this 70s release that is recommended to fans of classy soft folk rock and/or RPI aficionados.

"La Luna (The Moon)", the title track, is a relxing song lead by soft percussions (bodhran?) classical guitar, flute and various acoustic string instruments. Angelo's voice is soft and whispered. Think to a full moon in a clear night and enjoy it.

"Tanti Anni Fa (Many years ago)" Is driven mainly by bass and light drums. The guitar is played in a folky style: not properly a finger picking because Angelo is a classical player. Another relaxing song with interesting passages.

"Donna Mia (Oh my Woman)" starts with a mellow piano intro, immediately followed by the voice that sings on high notes. Maybe a bit too mellow; just a short love song.

"Gli Alberi sono alti (Trees they do grow high)" is a traditional British song about a young princess constrained to marry a young boy. She betrays and has a son, then her husband dies in a war (at least this is what I remember of the lyrics). Angelo added an intro of classical guitar, that's almost the only instrument helped by just some harmonica. A jump to the 15th century. I'm quite sure that versions of this song exist played by Pentangle, Clannad and Greenoch Duo.

"Notturno" is probably progressive as we intend it. The initial part is slow and dark. Lyrics speak about animals, plants and Earth itself sleeping. This is followed by a 12-strings guitar, violin and later drums and bass. Now the lyrics speak of dreams. The coda is instrumental and goes back to the initial theme. Prog lovers will likely appreciate this as the best album's song.

"Rifluisce il fiume (The river flows)" has a south-american mood, maybe because of mandolin and cuatro, even if the melodic line is similar to Notturno. Reference: Los Jaivas

"Confessioni di un Malandrino" should have an entire review. It's the translation of a poetry from the Russian poet Esenin. A legend says that Esenin wrote it with his own blood the day he committed suicide. If you pay attention to the lyrics it's not hard to believe even if I don't know if it's true or not. It's a so intense poetry that I remember Angelo playing it in concert in 1977, alone on the stage with his guitar only and the head covered by his long hair. When he finished playing, he raised his head and his eyes were full of tears! Find a good translation. The music is pure classical guitar incredily appropriate to the lyrics. An absolute masterpiece.

"Primavera (Spring)" is a counterpart to the previous song: a jazzy piece in Canterbury style. If it wasn't for the voice, it could have found room on "In the land of Grey and Pink".

"La Danza (The Dance)" Is a closure song. Back to the spirit of the first two album's songs, it starts with a slow classical guitar, followed by a sitar. Good for meditation.

To be noticed: all the songs of this albums were reprinted later with the addition of "Gulliver" on "Gulliver, la Luna E Altri Disegni".

This album can't be classified into a sub-genre even if the most appropriate is probably prog-folk. Not all the prog fans will appreciate it, probably, but this is the album that introduced me to the world of classical guitar and helped me to appreciate non-rock music.

4.5 stars, but "Confessioni" is one of my all time favourites and after 35 years, I still play it sometimes at home for myself on my guitar.

Angelo Branduardi is sure similar to Blackmore Night but it is another thing. Branmduardi, in fact, is more Rock that Folk but at the same time is more Folk. this fact is observable in this live album (with 3 new studio song) called 'Senza Spina' (eng: 'Without Plug'). This album present the concert of December 1986 in 'Olympia Theatre' in Paris, preceded by 3 new studio tracks. This album is al an umplugged live, because the 1986 tour was a pure unplugged tour.

The 3 new songs are 100% Angelo Branduardi style songs. I prefer the pure Folk Rock 'Il Denaro Dei Nani' (eng: 'Dwarfs' Momey'), a pure minstrel song in Rock field. Good is the use of orchestra.

The live recordings are good if you love Folk (but also if you love RPI these songs are good). Certainly Branduardi is Branduardi. If this fact is obvious... I think that this is a pure news because you think that because this is one of the first unplugged much of the magic is lost. but, instead, the magic is all present... And it is always great.

Certainly the French version of 'Ninna nanna' is not magical as Italian version (present only 95% of magic) it is true that 'La Canzone Di Aengus, Il Vagabondo' (eng: ''The Song Of Aengus, The Wanderer' (music by P. Donovan Leich, words by Luisa Zappa Branduardi, adaption by Willian Butler Yeats poetry) is my preferred song for the magic that emanates. Certainly this live section present a good feelings but not totally good magic. In some noments (I can not understand why... Excuse me...) the magic is not present. Sure in 'O Sole Mio' (Neapolitan Music evergreen... I have to translate the title?) the magic is too much.

Difficult to judge this album. I believe that Angelo Branduadi wanted to propose a historic album. With reason. However, while it flows smoothly and lightly, I can not love to 'Unplugged'. Yet I read in 'Senza Spina' an album incapable of disappointing.

Thanks, Angelo for this piece of poetry.

It didn't hurt that my perennial favourite ALAN STIVELL guests on a couple of tracks, the better being "La giostra", where the verdant fields of Brittany and Wales are evoked even before the pipes burst in. In general, this is a soft classical folk album with more than a few soft rock colours and a progressive foundation. Within that seemingly narrow range, Branduardi fans out in all directions like a modest peacock, from the infectious opener "Il Lobro" to the quasi Caribbean title cut to pastoral "Natale" to the Irish Italian marriage of "Profumo D'Arancio". My personal choice is "La Volpe", thanks partly to its sultry rhythms and brass. This is thinking person's music that gently imposes itself. Don't expect an initial outburst of "wow", just a quiet "mmm".

Whether "Cernando L'Oro" is the most representative of Branduardi's work, or the best place to start, I have no idea, but I think it will satisfy those of you with a penchant for mellow Italian soundscapes in search of a heart of gold.

La pulce d'acqua sees Branduardi accompanied by a number of excellent musicians, some playing unusual instruments like the Pan pipes, the bouzouki, and the distinctively-sounding launeddas, the Sardinian bagpipes. This unique instrument, evocative of the Mediterranean island's stark landscape, features prominently in the album's opening track, Ballo in fa diesis minore, inspired by a Baroque dance, where Death speaks and declares itself everyone's lord and master. Il ciliegio is instead based on a famous English folk ballad, The Cherry Tree Carol, also performed by The Pentangle on their Solomon's Seal album (though with a different music - Branduardi's version is definitely more upbeat). The sprightly title-track features a rich orchestral arrangement, as well as the perky sound of the piccolo and other woodwind instruments.

On the whole, the album is consistently well-performed, with all the participating musicians on top form. The majority of the tracks are not particularly experimental, and keep within the song form. However, what I consider to be the highlights of the album are nothing short of stunning. Besides the aforementioned Ballo in fa diesis minore, the haunting ballad La sposa rubata (inspired by an ancient Breton folk song called Satan's Bride, based on the motif of the bride kidnapped by a supernatural being on her wedding day) sees a particularly inspired vocal performance by Branduardi, who also plays the Pan pipes; while album closer La bella dama senza pietà is an authentically progressive offering, dark and sinister with its plodding beat. And no surprise... The song is based on one of the most genuinely disturbing pieces of poetry I know, John Keats' La Belle Dame Sans Merci (of which the song's lyrics are an excellent translation), the story of a knight ensorceled by the titular 'beautiful lady without mercy', and condemned to a lingering life-in-death. The song's haunting beauty is further enhanced by the exotic sound of the sitar, particularly effective in the coda. Branduardi's vocals go from measured, almost whispered, to passionate and emotionally-charged; a grandiose string section completes the picture.

Two extra-musical features of the album also deserve a mention: the beautiful drawings by Mario Convertino (unfortunately, except for the cover, only visible in the vinyl version), and Luisa Zappa Branduardi's wonderful lyrics. Luisa is very gifted with words, and some of her compositions (including the lyrics to this album) have been translated into English by someone well-known to every prog fan, King Crimson and ELP lyricist Pete Sinfield.

This album will definitely appeal to anyone interested in medieval and folk music, even though it is not as dark and experimental as the likes of Comus. Anyway, if you are into Pentangle, Steeleye Span and Fairport Convention, you could do much worse than get to know Angelo Branduardi's fascinating musical world. Probably not easy to get hold of outside Europe (but to be found for very cheap in Italy), La pulce d'acqua makes nevertheless for a very rewarding listen. Four stars from this reviewer.