CALLIOPE

This is CALLIOPE's third album and my least favourite of those three.Quite a change here as they've become more pastoral and added a female singer.It's hard to tell if it's the same band actually.The album opens and closes with two epics with four short tracks in between. "The End Of May" opens with atmosphere until synths and drums arrive 1 1/2 minutes in.The tempo picks up then mellotron rolls in as it settles again.It kicks in again quickly.Nice guitar before 5 minutes.Vocals and mellotron follow.More prominant guitar after 7 1/2 minutes then the synths start to lead the way.It settles before 12 minutes.Flute and piano a minute later.Vocals are back 15 minutes in. "The Birth Of The Moon" again opens with atmosphere as vocals join in.A change 1 1/2 minutes in.Violin,drums and vocals before 3 minutes.Mellotron follows and the bass becomes prominant.Violin again late. "En Haute De Crete(Swiss Traditional)" features flute and acoustic guitar early.Bass,drums,violin and mellotron all eventually join in. "The Fair Plait" sounds almost like a jig with vocals. "The Time Are You" is mainly vocals and violin. "The Vision Of The Sweet Rain" is led by violin and drums early.Piano takes over 1 1/2 minutes in.Flute joins in then drums.Violin is back and a full sound 3 1/2 minute in.Vocals come in as it settles a minute later with piano and flute.Themes are repeated.I like the flute after 15 minutes. A good album but a far cry from their debut.

3.5 stars. I'm of the opinion that CALLIOPE's best album was their debut and that each proceeding record was not as good as the one before.I know quite a few people who like this one better than the debut but i'm not one of them.On the Gnosis site they suggest this one is more contemporary sounding,more modern if you will.And i agree.I prefer the more vintage sounding debut. "La Prova" opens hard and fast with organ(then keyboards) and drums standing out.Vocals before a minute then the organ becomes prominant.The guitar before 2 minutes and later at 4 minutes sounds great.Nice bass before 5 1/2 minutes. "Sarajevo" opens with drums and organ then the tempo picks up.Vocals after a minute as it settles some.The organ and drums continue to impress.The tempo continues to shift.I like the instrumental section 5 1/2 minutes in. "Margiherita A Rodi" opens with the guitar and mellotron standing out.Reserved vocals a minute in.It settles 2 1/2 minutes in.The mellotron is back.Guitar before 4 1/2 minutes starts to solo tastefully.Vocals and piano a minute later.Guitar and mellotron end it.Good song. "Terra Di Nessuno" is not very melodic early on as keyboards and vocals stand out.It settles before 2 1/2 minutes then kicks in again.I like the organ/drum section after 4 1/2 minutes.Vocals eventually join in. "Senza Pretese" is a short acoustic guitar piece. "Windsor" sounds amazing early with all that atmosphere.Guitar then organ join in.The tempo picks up before 1 1/2 minutes with drums leading.It settles with vocals after 3 minutes.Picks back up after 7 minutes followed by a guitar solo. "L'attesa" is mellow to start but it turns powerful with organ and drums.It blends into "Il Ritorno" but it changes to a bombastic soundscape which i'm not fond of.Much better when it settles before 2 1/2 minutes. So a good album for sure that just fails to captivate me like the debut does.

This is obviously a very good album which truly belongs to the beautiful Italian Symphonic Prog (or ISP).

Each aspect is featured here: superb and bombastic keys, but not only during the great "La Terra Dei Grandi Occhi". It also offers wonderful aspects of the genre that most of us love.

The complexity of the track, the mellotron combination, the wild rhythm and the fantastic vocal part throughout the song is rather encouraging. One of the highlight with no doubt. A great piece of music: eclectic, symphonic. Splendid after all.

"Genesis" is of course present during each corner of this mighty track, but I have to reckon that a great Italian feel can be felt as soon as the vocals enter the scene.

Wonderful. Splendid. Fantastic. Brilliant. This song is just MAGICAL. Do listen to it to figure out. The highlight of course.

The influence of the band we all love (and which I have already mentioned the name before) is present within each second of "Non Ci Credo Piu". Wonderful keyboards, huge rhythm, fine vocals. Is there anything more you need ? Maybe some Banks oriented keys? You also get them, don't be afraid. Even during the catchy and short instrumental "Lunario".

As I have said, this album is an excellent piece of music. The band is skilled, their song writing is great, and when you listen to "Pensieri Affascinanti" it is pure delight. A Crimson frenzy combined with some more accessible parts. Another great song and a definite highlight as well.

Needless to say that if you ever had your thoughts into the wonderful ISP, this album should please your heart and bottom. At least, I feel so. During the melodic (but still upbeat) "Passi Dentro Il Tempo" some excellent keyboard layer is added to this catchy song. Another fine moment of this offering. But there are plenty .

This album is real good.

When "Avalon" is being played, one can only be submerged by the music: huge bass, splendid keyboards again and quite well achieved vocals. Hey man! This must be heaven, or almost?

A brief "au revoir" with the mellotronesque and well titled "Mellotronmania" closes this very good work. For stars with ease. An delightful debut.

This is the fourth album from this Italian band. A band who tries to emulate the best music from the Italian Progressive Rock scene.

Calliope does symphonic prog. They are also reputed to be pretty similar to Le Orme and PFM. Their sound is too neo-prog to be compared to those two Italian giants, in my view. I would compare them to the likes of The Nightwatch/The Watch, Pendragon, Arena and Marillion (the Fish era). In other words; they can be put in the Genesis/Yes symphonic prog mould. Calliope has included moog on a couple of tracks. But this is not a retro band by any means. The sound is excellent, btw. The same can be said about the vocals and their musical skills.

My main gripe is the lack of any really good songs here. This album is a pleasure to listen to, so don't get me wrong. But Calliope does not come across with their own identity and their songs are a bit bland. Despite of that, this is a good symphonic prog album with a neo- prog soundscape. I cannot fault it, but I cannot fully endorse it either. Hence....

3 stars

CALLIOPE are a five piece band from Italy who really pay their respects to the golden era of RPI with their vintage keyboards(moog,hammond,mellotron) and strong Italian vocals.This is their debut which was released in 1992.This is the only album i have by this band but i'm so impressed.I'm really surprised this record isn't rated higher than it is. What caught my attention right away with the title track "La Terra Dei Grandi Occhi" was how fast the keyboardist is! As tszirmay points out this guy plays at the speed of light.What's more impressive to me though is the mellotron that floods in when it settles down.Vocals join in and they sound really good.Great section! The synths then guitar really rip it up as the mellotron continues.Amazing! Bass comes in prominantly.It settles again before 6 1/2 minutes and vocals return.Mellotron follows. "Non Si Credo Piu" is led by organ and drums as bass and guitar help out.Vocals a minute in.The organ and bass really standout.Synths come in then it settles but not for long.Great tune. "Lunario" offers a variety of keyboard sounds and check out the tasteful guitar 3 minutes in.Nice instrumental. "Pensieri Affascinanti" is a feel good song to me.The vocals and organ sound great while the guitar and relentless bass all add to this wonderful sound.Nice guitar work after 3 minutes.Mellotron follows.It calms right down 4 1/2 minutes in with organ,mellotron,bass and drums.Vocals join in.Kicks in before 7 minutes.Vocal melodies end it. "Passi Dentro Il Tempo" opens with 1 1/2 minutes of fantasic instrumental sounds before the vocals come in.Another feel good song.The guitar lights it up 3 minutes in. "Avalon" sounds so good when the strong vocals arrive followed by a river of mellotron.The bass and organ shine as well on this powerful track. "L'anima Del Cielo" opens with guitar,bass and drums.Cool sound.Organ joins in with vocals.It turns powerful then settles back as the contrasts continue.What a great sound 6 minutes in,especially the vocals and organ. "Mellotronmania" is simply that,lots of mellotron and other vintage keyboard sounds. The mellotron,hammond and vocals alone cry out for 4 stars.

Calliope is "in Greek mythology, the Muse of epic poetry, one of the nine Muses believed to inspire and nurture the arts". It is coincidently also "an organ that generates sound by the release of steam or compressed air through pipes, with tunes often played mechanically, as on a player piano. Calliopes are usually found in fairgrounds or circuses." In our particular case, Calliope was definitely a new ISP band in constant progression, evolving from the jubilant "ripping" excesses of their first albums towards a more thoughtful approach, simply by having the 2 core members (drummer Gianni Catalano and keysman Rinaldo Doro) invite some fresh blood into the fray. No one more so than the splendid vocalist Annalisa Gastaldo , ably assisted by new fretman Aldo Mari , bassist Lele Tosches and second keyboardist Enrico Perrucci. This double ivory arsenal certainly can remind one of Greenslade but the mood is completely different, way more pastoral, medieval-tinged and dreamy. The disc kicks off with a 16 minute epic, "Terra di Maggio", a valiant prog delight , loaded to the gills with various ARP, Moog, Roland and Akai synths, organs, pianos and mellotrons. I am disappointed that the bass (a huge up- front feature with the previous band incarnations) is deeply buried in the mix but that is just me whining about my fave groove conductor not getting enough of a spotlight. Nevertheless, this colossal piece gets a real ride, up, down and sideways, flowing with tortuous fluidity, best exemplified with a fanfare outro that is sheer pleasure, as the choir mellotrons growl in the background. "La Nascita della Luna" is almost "cathedralesque", an echoing plaintive lament that evokes a simple fragility, a guest violin (Andrea Sibilio) gently guiding the way, where Annalisa gets to stretch out her considerable vocal skills with washes of numerous keyboards coloring the atmosphere. Definitely the serene facet of Italian prog, with massive doses of emotion, restraint and melody! Next up is the masterful traditional/renaissance classical piece , a Helvetic (Swiss) piece , "En Haute de Crete" , with choir-trons wooing intensely the fluid synth flute lead on, a touch of violin spark to add even more grandiose effect, gliding into almost vintage Oldfieldian territory. This is a highlight track that is way too short but devastatingly adroit. "La Bionda Treccia" continues on the road of reworking medieval themes, with an overtly Middle Age feel that is hard to resist, Calliope morphing into expert modern troubadours. Annalisa's speed reading is certainly a highlight. "Il Tempo Sei Tu" prefers a return to the dreamier vanguards of their style, with soaring violin (what a sound!) and a mesmerizing vocal that floats with a grandeur that perniciously abducts the senses. The finale is another gigantic four part suite, "La Visione della Dolce Pioggia", which ultimately defines the musical conscience of this band, where the classical meets the Renaissance while injecting a modern technical instrumental touch. In this, the blessed union of violin and the arsenal of keyboards provide indescribable emotions, sweeping themes with strong impressions, deft playing and a true desire to propel the listener into a distant realm. The main theme is repeated often with utter conviction and gives way to a serene introspection. The more rambunctious sections seem to push the whole piece forward, including some interesting guitar-synthesizer incursions, with great consequence. While not a masterpiece by any stretch, this album is a dedicated companion and a more than worthwhile listen. 4 Clowning Jesters.

Hahaha ! Everytime I listen to the opening title track of this debut album, I cannot help giggling to myself uncontrollably! It sort of reminds me the rather puerile debates about who was the "fastest" guitarist, Alvin Lee, Carlos Santana in the 70s and later between Vai and Satriani, pfff! As if speed mattered! Here, Rinaldo Doro does a Mach 5 velocity synth solo that verges on the near ridiculous, making Wakeman, Emerson and Nolan look like lethargic snails. The fact that this epic track also has some slithering bass lines, cascading mellotron washes, furious drumming and some lovely vocals only adds to the thrill. Truth is I am a big bass guitar fetishist (as some may know by now) and I simply find myself enthralled when the propulsive technique punches ferociously as Enzo Martin does on the entire album. "Non Ci Credo Piu" is a typical ISP track with passionate Italian language vocals, great keyboard playing but literally highlighted by those incredible bass runs. The simmering guitar solo is no "shab" job either! "Lunario" offers immediate respite from the instrumental pyrotechnics as it waltzes unashamed, with a more grandiose slant, thick arrangements verging on more conventional folk themes, with a slick variety of ivories in the arsenal , all mastered by the nimble fingers of Rinaldo! A muted axe solo from Mario Guadagnin leaves a pleasant afterglow. "Pensieri Affascinanti" is another lengthy marathon where singer Massimo Berruti gets to expand gently on the flowing theme, liberating the superlative Hammond M3 organ work and the multifarious guitar explorations that rule the show, proving clearly that these lads can play with the best of them. The finale is grand pomposity incarnate, thick slabs of arrogant symphonic pretense, with lightning hyper-soloing. Bless 'em for they have sinned! Oddly, "Passi Dentro il Tempo" is nothing special, aside from a hunting guitar rampage that elevates the passion. We finally get some release from all the haste with "Avalon", a breezy little affair, with twanging 12 string acoustic, rotund bass, torrents of mellotron, all held together by a plaintive vocal. "L'Anima del Cielo" sends a more atmospheric message, a dreamy concoction with luxuriant keyboards, fluid guitar and that confounded up-front bass guitar! As usual with ISP, the drumming is superb, courtesy of Gianni Catalano. The brief "Mellotronmania" speaks for itself, putting an indelible symphonic stamp on the deal. Yeah, this is 70s style prog made in 1992 but there is certainly nothing wrong with that , it was a golden era in Italy and a huge standard for the future of Prog. The famed Beppe Crovella of Arti+ Mestieri fame produces this record, adding some musical audacity to the proceedings.This is not a masterpiece but rather a good enjoyable recording by above par musicians. Love that bass though! 4 Big Eyes

Good album.

This Citta' di Frontiera, the CALLIOPE's second album, was my first CALLIOPE. As generally said, new Italian progressive rock bands should be sometimes influenced by English progressive rock, and I'm afraid CALLIOPE should be...I think my estimation is a little correct. Well, this phenomenon is not so bad. Their album is constructed by lots of naturally heavy rock songs, and the songs sometimes make their rhythm varied UNNATURALLY. I suppose the unnaturally-varied rhythm was done by them for neo-Italian prog style. But I'm sure it's absolutely okay. Because they seems to be very happy to play the music by CALLIOPE's style and their songs are so hard but so pleasant. The instrumentals and vocal are very lively and even charming. Indeed I cannot recommend this album as a typical masterpiece of Italian progressive rock, but can as a straight rock album. Enjoy it!

Another significant Italian band,who raised in late-80's among others.They werre found in Turin in 1989 (there are rumours that they were a find of Beppe Crovella,former member of ''Arti e Mestieri'') by keyboardist Rinaldo Doro.The band recorded a 4-track demo,before they were joined by singer Massimo Berutti.In 1992 their debut ''La terra dei grandi occhi'' was pressed by Vinyl Magic.

Two things are easily noteable while listening to the album:Firstly,this work is heavily influenced by the Italian likes of the 70's,while it also slips into the heavy prog category in places,supported by the intense vocals of Berutti.Secondly,the album is dominated by the lush keyboard sounds of Doro.Synths and modern keyboard sounds are actually very limited and the album is based on the strong use of the Hammond organ,the flights of the moog,the good piano doses and the analog nostalgia of the mellotron.On the other side,the album includes also a lot of rhythmic heavy prog parts and nice grooves with strong guitar riffs and tight bass/drums,always surrounded by the presence of the organ and the mellotron.Speaking of mellotron,check out one of the most nostalgic short-instrumentals ever,the last track entitled ''Mellotronmania'',filled with tons of memories for the old prog followers.Influenced by both the symphonic (PFM,LE ORME) and the heavy (BIGLIETTO PER L'INFERNO,IBIS) prog scene of their country,CALLIOPE offered us a work with cool vintage sounds and tight musicianship.An essential album,especially for lovers of the classic Italian prog movement.

Familiar 70s style prog from this Italian five-piece, a group that is fine with the notion of taking from ELP, Yes, Camel and most major Italian Symph acts of the period without any sense of shame. And why not-- if you're gonna steal, steal from the best. Other than this shortcoming of originality, Calliope is a very decent band with plenty of energy and a proud sense of the past. Rinaldo Doro's Arp, Moog, Hammond, Leslie and GEM come in good use and he cracks alive with Mario Guadagnin's nasty hard metal guitar. 8-minute 'La Prova' is promising but ultimately too long for its own good, 'Sarajevo' is better and more complex. But the commercial aspect of this band peeks its ugly head out frequently, cheapening otherwise perfectly fine prog. Weepy ballad 'Margherita a Rodi' is no fun, 'Terra di Nessuno' is a confusing pop-fusion amalgam I would - save a few moments - really only want to hear in a Milan nightclub, and a solitary nylon string guitar piece finishes the first half soothingly. So goes this mixed bag, unpredictable but not in a good way. When they're good, they're good. When they're not, they kinda stink. 'Windsor' starts on an exciting triplet and revels in sounds of the past but once again is sabotaged by this group's tendencies toward self-destruction, torn between cheesy symph-metal and thoughtful music. Not recommended to anyone in particular, but not bad.