I POOH

Ever have one of those groups that you like but you feel funny admitting to others that you like? So I'm going to be a "tough guy" and say that I grew up loving Metallica's "Master of Puppets" or Black Sabbath's "Paranoid" and "Guns and roses" and many other hard/heavy albums. And of course, Zarathustra, Jumbo, Balletto Di Bronzo, Semiramis, etc...

And then I'm going to be the "mellowing out" 50+ year old guy that I am and also say that I like "I, Pooh's" albums from "Opera Prima" thru "Boomerang" and consider them to be some of the finest mellow/melodic albums ever created.

I respect the "low ratings" this band gets here in progarchives. I, however, am writing that off as "low ratings due to non-progressive material" rather than "just bad music". Seriously, these albums are everybit as melodic as the Beatles in their 1967-1970 era. I'm going on a limb to say they're just as good.

Pooh's trademark tends to be lush vocal harmonies, melodic buildups with key changes as well as dramatic orchestrations (sometimes just with a mellotron).

This album was their answer to a low-selling (but yet excellent) album a few months earlier. Although I agree the songs on this album are mainly of a pop nature, these are some very good songs if you're a fan of the poppier tunes from New Trolls in their 3-"Concerto Grosso"-albums.

"Corri Corri" starts the album out in a melancholic-way with accoustics and a chorus that sounds like CSN/Beatles. The album pretty much maintains that feel all the way thru. Really the only track I skip is the "Wild Track" which tends to be a hint at some sort of country-twang. As the previous poster of this review mentions, "Quinta Stagione" is probably the best from a progressive standpoint even if it is instrumental.

"Cara Bellissima" has an opening piano riff / accoustic orchestra (that repeats itself thruout) and melody that just takes me back to my childhood days. It's "so gorgeous 70's". Great tune even if others may fall asleep to it.

I can't get past how emotional the closing title track is for me. It triggers the childhood memories with my family. I can't place why. It just does. It almost reminds me of the main theme of "Edward Scissorhands" done by Danny Elfman. The wordless/vocals humming along with the orchestration (this could be a mellotron) is some of the best I've ever heard. This could be the answer to "Good Night" which closed out the Beatles - white album. However, this particular/song/melody is infinitely better to my ears. Put it this way, if I died and immediately heard this song. I would know, without a doubt, that the angels of heaven are calling me. The song is that good.

However I will caution others. If you don't like soft/mellow romantic italian-rock, run as far away as you can from this album and ignore everything I said.

I, Pooh's albums from their "Opera prima" thru "Boomerang" period contain some of the best melodies that may have ever come out of Italy. But please do listen with an open-mind and wipe out all of your contexts to the other heavier progressive albums from Italy.

I have to be in the mood to listen to this band. When I'm stressed and/or need to wind down after a long day, this stuff is perfect.

I put this rating here but I honestly feel Pooh's low ratings on this site may be because they're not progressive enough for progressive-ears. I won't dispute that. But I will stand tall and pat and say these melodies are everybit as good as songs like "The long and winding road", "Let it be", "Across the Universe", "Golden Slumbers", "Because", etc.. by the Beatles. And yeah, those were not progressive either.

Give Pooh a try. Check out youtube, there's a bunch of their songs to freely sample. I have not reviewed Alessandra but check out the title track. Perfect for a romantic dinner with your significant other.

I, Pooh, you Pooh, we all Pooh, long live the Pooh!

Shouldn't care much about this Italian act, cause their material was largely Pop-oriented.Haven't sinked deep into their music, but reputedly several albums of them had proggy leanings with ''Un po' del nostro tempo migliore'' being the most progressive one.Hailing from Bologna and starting around 1966, they recorded mostly for the Vedette and CBS labels.Roby Facchinetti (vocals, keyboards), Mario Goretti (guitar), Mauro Bertoli (guitar), Riccardo Fogli (bass, vocals) and Valerio Negrini (drums) was the original crew, Bertoli left in 1968 and the following year Goretti was replaced by Dodi Battaglia.In 1971 Stefano D'Orazio became the drummer of the band with Negrini remaininig the main lyricist.Fogli left in 1973 to pursue a personal career and he was replaced by ex-Capsicum Red Red Canzian.''Un po' del nostro tempo migliore'' was released in 1975.

This album by I Pooh sounds like a typical Orchestral Pop affair from the early-70's, I think it's often mistaken as a Prog Rock album, because it sounds no cheesy at all plus it was a bit more guitar-oriented than most albums of the style, avoiding the dives into syrupy melodies and hillarious vocal arrangements.Instead the material here is extremely polished and refined with light Classical influnces, well-performed orchestrations, decent guitar and keyboard work and some soft, progressive sensibilties.But this also remains vastly a more Pop-oriented album with lack of trully devastating instrumental passages, being strongly vocal-based and centering the whole concept around melodious themes and variations.Orchestral moves and Soft Rock moments are the leading styles, the band did a great job on both acoustic and electric moments (the combination of which recalls a bit of RICARDO ZAPPA's works) and the music flows nice and easy.At the end of the album it is placed their most ambitious attempt, the 11-min. ''Il tempo, una donna, la citta'', a good effort on Orchestral Rock with sentimental and romantic vocals, pronounced electric guitars, dominant piano themes and grandiose string arrangements.Sweet, emotional and well-crafted stuff.

I Pooh have sold over 100 milion records throughout their career, marking them as one of the top Italian Pop bands.They perform regularly nowadays with drummer Steve Ferrone having replaced Stefano D'Orazio since 2009.

Accesible Orchestral/Pop/Prog.With a strongly Classical background and the secure case of melodic vocal- and musical themes they went for another hit in their career.Will be appreciated by fans of Italian Music and gentle semi-Prog Rock...2.5 stars.

Whenever you classify a band in the "Prog Related" label, disappointment is just round the corner. Most bands in this group paid just a couple of visits to the prog world, preferably in the 1970s when the sound was challenging and (let's admit it) fashionable. This also happened for Pooh, a band whose members has always had a considerable technical training (axeman Dodi Battaglia, in particular) and a certain taste for epic rock which would turn up for their whole carreer. Nevertheless, it must be remembered that Pooh are fundamentally a POP band, whose main focus has always been love and its several features. Their 1972 "Alessandra" is by no means a prog album, but it is an exceptionally good pop one, filled with some of the most compelling love songs I've ever listened to. Therefore, the best way to enjoy it is to forget complex arrangements, virtuosism and soli, and just focus on the beauty of the melodies the band can create. It is true that no instruments or voices really prevail, but this is the basis for the band's most cohesive team work, an album which sounds incredibly more mature than its predecessor (Opera Prima). The band is able to write lushious, moving adult oriented melodies ("La nostra età è difficile", "Signora", "Cosa si può dire di te", "Quando una lei se ne va"), with a good use of chord shifts and helped by intelligent orchestral interventions. Three out of four members of the band sing, often harmonizing, offering a polished, fully enjoyable vocal performance (to be honest, some falsetto background vocals haven't aged that good...). Songs like "Noi due nel mondo e nell'anima" and the romantic title track are real jems, well structured, deeply felt. Last, but not least, Valerio Negrini's lyrics are really interesting. Even if the album is entirely composed of love songs, love is seen under several standpoints, from teenage love to betrayal, from an unexpected pregnancy to the difficulties of coming of age, without sounding dull or trite. Therefore, this love-song album is there for full enjoyment, assumed you are ready to give up any prog expectations. I did, and these notes will never leave their intimate place in my heart.

This compilation is importanto for the presence of "I cinque orsacchiotti", the only track where you hear the voices of all components of the original formation of the band, previously unreleased. For the rest, "Buonanotte Penny" is a simple compilation of Beat and POP songs. Not bad but wthout music for progsters or Prog music. But "Resto con lei", "C'è l'amore negli occhi tuoi", "Il buio mi fa paura", "otto rampe di scale" and "Vulcano spento" are good Beat POP songs, with good feelings.

so, in definitive, if you are completionist this compilation is good. Vice versa is not your type of release.

And so, here we are with probably the least interesting (in fact it is the least rock) album released by Pooh in the seventies. The bassist was then Riccardo Fogli who was replaced (after its release) by Red Canzian from RPI band CAPSICUM RED. Riccardo Fogli made a moderately successfull solo career in pop music and even made a very rare prog album in 1979... titled MATTEO.

As I said to you in the past reviews, this is not bad music. It is just melodic italian pop. Maybe too soft and romantic. Not bad, though.

ALESSANDRA was dedicated to Roby Facchinetti's daughter; it was exactly what the record company wanted from them: music for female target, lyrics on romantic feelings and teenage loves.

It was not a case the album sold very well, even better than the previous OPERA PRIMA. At the cost to deprive music of almost any individuality, though. No soli, nor virtuosism, at all. Full and accurate symphonic orchestral arrengements are the key... even drums are slightly subdued.

So, you may ask, is in there any good thing? Well, there is always something good if you search for it.

This is the first time Pooh used moog synthesizer. You can hear it in two tracks: NOI DUE NEL MONDO E NELL'ANIMA ("Both we in the world and in the soul") and in MIO PADRE, UNA SERA ("My father, an evening").

The former is an all time classic (you can't help but love it): wonderful lyrics on how infinite and undeciphrable is pure love for a fantastic melancholic music... moog is sparse, shy and a bit clumsy, but it makes a very good effect combined with symphonic orchestra.

The same goes for the above mentioned letter track, but less good and memorable.

On about the closer: this time I can't be so happy... it was then (1972) the longest number of the band (6:51 mns), but no prog at all. It's a delicate pop sad ballad... good melody, rich and somptuous symphonic arrengements (even bells) but not as memorable as other closers the band accustomed us to.

1,5 stars rounded up thanks to NOI DUE NEL MONDO E NELL'ANIMA (this song really deserves to be listened to and appreciated).

Pooh are quickly sliding towards pure light italian pop (the album sold very well, almost six hundred thousands copies in Italy at the time). Other reviewers say that Viva follows the mood of the previous album Boomerang. Well, I'm not so sure... no, in fact, they're different. After all, you know ... I heard the disco-like opener IO SONO VIVO... eh e heh eh, what the hell I was supposed to say?

There's less variety in the music and a massive use of late seventies/earl eighties keyboards. Drums are a bit subdued. On the other hand (I mean positive thing) electric guitar has a more prominent role and is played very well especially in the - guess which... - the closer track.

So let me uncover (only) the best from this record. Yes, there is still something worth to be listened to.

TUTTO ADESSO has a catchy electric guitar riff but nothing more for a progger.

RUBIAMO UN'ISOLA is better: it has a delicate folk start (and chorus) with mandolin and acoustic guitar.

What else, you may ask... nothing. But, fortunately, again the listener can wait for the last track. This time we are lucky enough to have a couple of nice shots! (we have deserved it after such a boredom... ehe heh ).

First the excellent L'ULTIMA NOTTE DI CACCIA (The Last Night of Hunting): the song tells the story of Powah, a 20 years old warrior from the Charavatana tribe (Ontario), fallen in love with a white girl. Pooh learnt it from a native american teacher during a visit to a reserve in Ontario, while touring north America in 1977.

Lyrics are wonderful 'cause it's the young warrior himself who tells the story. Each phrase a scene, each word a symbol ("...heart of war always watchful, heart of oak in the wind / moon of june that burns wood, for a woman and a dream..." and "... she said she will come, tongue of snake she has not...").

Musically the song is based on a three voices chorus and vibrant arrangement (excellent the nervous electric guitar ... but flat keys). A classic for Pooh.

The closer is a totally instrumental track that (as the previous one) has nothing in common with the rest of the album. Excellent electric guitar, the best number of Dodi Battaglia in this record for sure and inspired theatrical keyboards for a sort of full symphonic epilogue (it was used live as an overture... I recommend you to search on youtube).

In conclusion: two excellent tracks and nothing more than good melodic italian pop. But those two tracks deserve to be heard.

Well, well, well, this is probably the most beautiful Pooh's record.

In fact it was the least successfull of all their 70s productions. Almost nobody remebers nowadays a single track of it. In fact no hits were then picked off it.

The best thing is that the full orchestral arrangements are finally equaled by the typical sympho-rock instruments: mellotron, clavinet, minimoog, harpsichord and celesta.

Warning: don't assume that the band changed their mood (I won't be responsible for such a mistake... I won't give you compensation...); the band only went further, from the starting point album Parsifal. So, what we have here is still melodic and soft sympho-prog. Don't expect surprises... after all this is not the place where exigent prog lovers' ears have to search for. I'd say that Pooh play a "home-is-where-the-heart-is" pop-rock. That's it.

But now, I have to be honest with you all: the music of this band has become more serious, deep, extended. In other words: the apex of Pooh's sympho-pop with more than a simple prog touch... without a doubt.

It's not a case that the album opens with the sweet notes of PRELUDIO like in every respectable classic opera.

It's not a case that some expert reviewer has already pointed out some Puccini's hints in keyboardist Roby Facchinetti.

Wonderful opener, by the way, powerful and sweet orchestral movement with slight crescendo and drumming in the second part.

The prelude carries the listener to CREDO ("I believe"), an exciting piece that alternates strong orchestral sound (with also some absolutely good ahhhh ahhhh choruses) with a more rythmic part (mid-paced: excellent bass). Powerful vocals by Roby Facchinetti himself.

Una Storia che Fa Ridere ("a story that makes laugh") is somehow a step below ... so let me jump to the fourth track: OCEANO.

Wonderful. One of the highlights of the entire album. A solitary man sailing far from home, has to face (and taste) what real infinite seascapes mean... this one has a strong prog structure with orchestral shifting moods and uptempos. Harpsichord appears for the first time ever. A shady number with wonderful touches of electrig guitar here and there by Dodi Battaglia and a shocking (typically orchestral) outro... Wow!!

The next one FANTASIA is a gentle melody with acoustic guitar... good but nothing spectacular... let's jump again.

What follows is still another gem: MEDITERRANEO, the second and last instrumental track of the album, as the opener. Completely different though. Folk structure: acoustic guitar and mandolin plus delicate xylophone (and some low fleeting orchestral movements). Simple melody but superb delicate performance. It tastes really of mediterranean sea,oregano and small islands. Bells also in the final part. To be heard!

Now it's the time of ELEONORA, MIA MADRE, the first track penned (and sung) by drummer Stefano D'Orazio. Someone described it as "a decadent melodic portait"... it certainly would have pleased big shots of the end of the XIX century ... (Oscar Wilde, fort instance). Wonderful the two parts' interchange (song and classical sad ballad...). Somehow obsessive and delicate at the very same time!

The album still stands high with the track named 1966: emotional, aching ... by many considered the best one ... who can say... it features tasteful sparse moog, mellotron and wonderful guitar solos. Romantic in its essence... amazing harpsichord in the final part!

ORIENT EXPRESS is a nice tune but nothing special... it remebers me of LATTE E MIELE's Passio Secundum Mattheum... but probably it remains the least interesting. Another sweet and delicate melody, though... (good enough for another romantic dinner ...).

IL TEMPO, UNA DONNA, LA CITTA' ... that's the longest (over 10 mns) and proggiest track... for the nth time... it's the album's closer (as usual in most part of the Pooh's discography).

An epic number, as expressive as the Parsifal song of the previous record. Less joyful, though... darker somehow... wonderful flutes emerge from the orchestral sweet chaos... and then, after over two minutes of mysterious intro... the song begins.

A similar outro (other 2 minutes) closes the album after enigmatic and poetic lyrics: "the air closes to silence, then a cloud of dust is raised around us. I close my eyes, then I open them and...".

What is in the middle you ask... I say a wonderful masterwork, in my humble opinion: electric, acoustic and classic guitars, flutes, moog, strings, gong... great vocals sung by three of the band's members.

A simple phrase to describe the song: "iniquitous as only time can be" (as they sing in the track). Surely, a great satisfying experience. Thanks God, Pooh did it!

Today I also closed my eyes, opened and ...

In 1978 Pooh went further into the "realm" of successful soft (pop) rock. In fact this album reached the nth gold status.

The sound is less fresh than the previous classic ROTOLANDO, RESPIRANDO, but, somehow, more dense thanks to the use of oberheim synthesizer, mellotron and other sympho stuff. Still as accurate and refined (probably more refined).

As I said before (it's not new) many could find too mellow or boring Pooh's music. In fact they are a band you love or hate... I'm afraid there's no middle way.

As usual I'll put in a list the most interesting tracks, from a prog (related) point of view:

First of all the big hit of the summer of '78: CERCAMI, an easy listening rock number with really catchy rythm, lucky 4 voices chorus, "biting" electric guitar, oberheim synth, sparse steinway piano. Not bad but probably a little predictable.

Way more interesting the following LA LEGGENDA DI MAUTOA (which tells the story of an aborigen living in a solitary island in the middle of the ocean): it has a nice, sad epic sound (that remembers me some spaghetti-western of the seventies), some serious orchestral timpani and oohhh deep choruses. Very good but probably a little repetitive.

QUADERNO DI DONNA has an excellent and sparkling intro (which emerges now and then all along the piece... wow). It is certainly a more varied piece with some shifting moods worthy of mention.

The closer IL RAGAZZO DEL CIELO (LINDBERGH) is (another time) the gem of the album. The song is about the transatlantic flight that Charles Lindberg made in 1927 all alone, from New York to France.

It opens with atmospheric and windy keys with soft one-voice melody that suddenly is broken by the typical Pooh's 4-voices chorus. The second half is more rythmic and tasteful with excellent sympho riffs (keys, tataa tataa choruses and cool electric guitar, all wisely blended). It is as epic sounding as La Leggenda di Mautoa but more suprising, this time.

A closer like this does help the (fanatic prog) listener to wake up after having attended to such a soft music. It also helps him to be reconciled with himself (for the album's purchase) and with his ears (for all this boring torment... eh e heh).

All in all, BOOMERANG, only at first glance less appealing than the previous work, features, at least, other three or four interesting and honourable numbers that can easily please fans of softer side of prog.

And so here I am with this memorable italian record dedicated to the wagneriam knight Parsifal.

Riccardo Fogli out and Red Canzian in (former member of Capsicum Red): the classic line up started off.

First of all, I have to warn you: this is not a true prog rock work since the Pooh are not a prog rock band. They simply were child of their time and used some of the prog elements then in vogue to build up more "serious" songs.

Their canons still remain soft pop music but this time we have more: at least, an excellent opener and a superb closer. We have symphonic pop not far from what Barclay James Harvest were doing at the time.

L'ANNO, IL POSTO, L'ORA (6:47) is about the moment when a plane pilot realizes an upcoming crashing to the ground. Full orchestration, delicate vocals, shady symphonic atmosphere and mid-paced time.

PARSIFAL (the closer) is probably (indeed certainly) the most proggy track of the band and is divided in two parts: the first one sung and the second completely instrumental and fully symphonic arranged (the total leght is about 10 minutes).

There is wonderful electric guitar's playing (and vocals) by Dodi, moog by Roby, low choruses, harp, violins, flutes, cellos, brass... the second part is so rich that every time I listen to it I always think of Verdi's Aida as the proper comparison! A must! For me a 5 stars rating song.

Of the remaining tracks, none reaches these levels. Many listeners tell the other songs are pure pop songs based on melody and nothing memorable.

I think they're wrong 'cause there's still another classic: INFINITI NOI, a symphonic crescendo based on piano and strings that starts off as languid romantic song. The main problem is that many of you don't understand italian lyrics but I really ... I feel shivers on my spine...

To be mentioned also LA LOCANDA and LEI E LEI which is about sapphic love (very good melody). All in all, each song became a classic in Italy but there's a low prog quotient.

Probably the album won't be everybody's cup of tea; probably it would appeal only to fans of softer side of prog; probably it is not Pooh's best and more proggy effort (UN PO' DEL NOSTRO TEMPO MIGLIORE should be the choice then - ask the Mick...).

Sure that the closer deserves its own special place on this site. It's a monument for any good RPI lover.

3.5 stars as a final rating (but the album contains some memorable stuff).

I hope to read more comments and reviews.

Rotolando Respirando IS the Pooh's album of the late seventies.

Orchestra is now gone and the 4 members play all the instruments. They focus on piano a la Supertramp (a little bit). The music is still italian pop but less mellow than usual, less predictable; more sparkling and fresh. Obviously, they did not change the direction and so it is still (as always) an album of romantic italian pop. But since it was 1977 we can find interesting things to listen to.

The album sold out very well thanks also to the world hit DAMMI SOLO UN MINUTO which is one of their most famous track from their entire catalogue: a nice electric guitar riff by Dodi Battaglia opens and fades out giving gran piano the main scene. The chorus is energetic and has an excellent melody.

What about the other tracks... well, I'd start with the closer ANCORA TRA UN ANNO which takes off with the opening theme of the album and expands it in a spacey atmosphere... this will be their the closer of all the concerts (as Cherio was for Jethro Tull). Excellent. The song was also a real goodbye of the band to their italian fans before the 1978 world tour. To be heard.

The title track is probably the most exciting song of the album and is based upon the biting riff of Dodi Battaglia on electric guitar. Yes, it could be certainly aprreciated by fan of Supertramp.

The fourth track that deserves special mention is IL SUO TEMPO E NOI, a wonderful folky tender jewel about a son who is about to born and the hopes of his parents. Very calm with catchy violin, acoustic guitar, piano and delicate vocals by the bass player RED CANZIAN (former member of RPI band CAPSICUM RED). It gives shiver on your spine (but you have also to know italian and understand the lyrics).

In conclusion: despite its pop structure, there's high quality all along the whole record. There are also, at least, three or four numbers that could be of a certain interest. It is enough (IMHO) for a full 3 stars rating.