DELIRIUM

It was 1972. My mother was watching the San Remo festival. Then I saw those hippie guys singing a song called Jesahel. Even if I was still only 12 years old (my serirous musical interest didn´t really start until I was 14) I was quite impressed by what I heard and saw (they didn´t win, but their brilliant performance made quite a stir). Some 40 years later I was in a friend´s house when I found this CD with an impressive cover. I decided to borrow it, without even listening a single note and the fact that I had never heard of the band. Well, with a cover like that I could guess it might be good. At least it would bring memories of the pop art of the period, which was quite common.

I was quite surprised that this is the band that made Jesahel (included here as a bonus track). Having found the name of the group and title of the song it was easy to look for their San Remo stunning performance on the YouTube (Gosh, don´t we all LOVE YouTube?). But back to the album: Dolce Acqua was their debut LP. After several spins I should say this CD is very, very good. Not perfect, not a masterpiece, but really good and quite promising. There are two real flaws: first, their songwriting was not fully developed at the time. All songs are nice and melodic, but a few tunes could benefit from a little more work. Nothing is bad, though. Overall the acoustic and pastoral songs are quite inspired and convincing. Second, and the main problem here, although Dolce Acqua is quite veried, the fourth track is a straight jazz number that has nothing to do with the rest of the album. Even if not a bad song per se, it completely ruins the flow and balance of the record. If you hear this CD and thinks that there is something wrong, try to listen to tit skipping that track. It´ll make much more sense. I discovered that myself after several sessions. A real shame.

Otherwise, I loved Dolce Acqua. Ivano Fossati has a great voice and his flute playing is amazing. The band is tight and accomplished. The production is ok for the time, and the remastering made it sound even better. There are some real strong material here like Ipocresia - Veritá, the title track and the opener Paura. And, of course their biggest hit, Jesahel, but it was not on the original LP. A very nice surprise.

Final rating: difficult album to rate. I guess 3,5 stars is quite fitting: a few excellent songs among other that are just good ones. Promising album from a promising band. I´m looking forward to hear its follow up.

Another entry into the category of albums overshadowed by their own artwork - there are plenty of those - this 1971 effort from the Italian outfit Delirium is one of those frustrating albums that features plenty of pretty moments yet just doesn't ever really get going. Italian albums, especially middling one's like 'Dolce Aqua', are always going to have it difficult simply by dint of being from Italy. Up against some formidable local opposition, the Italian prog scene of the 1970's was amongst the most diverse, featuring some of the genre's true greats in the shape of such luminaries as Le Orme, PFM, Maxophone and Banco Del Mutuo Soccorso and their subsequent albums which have proved amongst their most popular created, if not commercially speaking then certainly critically. Taken in context 'Dolce Aqua' seems pretty average; taken out of context, it's actually a pretty decent album, featuring a flute-laced sound, classical textures and some attractive harmonies. However, the pace is slow, bordering on the soporific, certain tracks seem to wander aimlessly, as if the musicians are unsure of what to do next, and the album on the whole seemingly owes a great deal of debt to both Jethro Tull and Van Der Graaf Generator, only lacking the fiery invention of the latter and the inventive genre- blending of the former. Opener 'Preludio' does exude a certain playfulness, and the group sport a refined jazz touch on the piano-led 'To Satchmo', yet there's nothing here that hasn't been done before, and done slightly better. All told then this is a pretty decent affair, yet when compared to the competition the word ordinary quickly springs to mind. Great front cover though. STEFAN TURNER, STOKE NEWINGTON, 2012

DELIRIUM is from the first generation of progressive rock bands hailing from Italy, initially making a name for itself as a gentle, folk-inspired band with acoustic guitars, harmony vocals and gentle backing by piano and Mellotron being its musical weapons of choice. While popular at the time, its initial line-up wasn't the most stable, and by 1975 Delirium folded. But after a 28-year-long hiatus the musicians decided to have another go. "Il Viaggio Continua" documents this second lease of life enjoyed by this semi-legendary Italian band.

"Il Viaggio Continua: La Storia 1970-2010" is in many ways a highly impressive production, the total experience clocking in at just over 4 hours or so. That's a lot of material for such a production, giving excellent value for money. And while the main event covered for me is a bit of an uneven ride, the vast extent of additional material and the fact that this most likely will be the only DVD ever made by this band, makes it easy to recommend this production to any existing fan of Delirium. Those unfamiliar with this act might want to check out their classic 70's recordings and their 2009 comeback album prior to this one however, unless they have a particular interest in concert movies, that is.

— First review of this album —

1999 versions of old evergreens: Hmmm... S**t! Damned POP or lounge music... This is in my mind these new versions. That keep the umbilical cord with the 70's, although it seems to listen to 10cc. And the new songs? A mix between Magna Carta and 10cc but without the magic of Magna Carta or 10cc. And in fact for me the magic and feelings it is better to be sought elsewhere. Because the soul wanders aimlessly!

Good is the cover. Good is the booklet. Good is the label spirit. But for me these are not Delirium. This is another band. Probably with Delirium name.

A mix between old and new songs. Not good because all songs are POP. The old songs cause arrangements and sound. Revival? Hmmm... Difficult to judge an album like that, because the music offered is quite anonymous. Also with regard to the old songs. It would be good to understand the reason for this choice. I do not understand and I do not agree. I listen to this CD in the car, because otherwise I can not hear him, is so far from what I expect from Delirium.

In a good substance "Jesahel" is a CD without good sensations, for me. But not bad, at all. Only too POP.

— First review of this album —

Interesting compilation with good songs in the vein of Folk/ Jazz/ RPI/ POP. the albums are another story than singles, because the singles present POP/ Jazzy/ Folk songs not proper Prog. In this sense this compilation is a good purchase. But if you think that Delirium is a full Prog band you are not in the spirit of this compilation. Well... In 70's Delirium is a band in pure spirit of 70's and singles are good if 70's Rock please you.

Certainly compilation as this are good. This is not an exception. Good to rediscover the production of songs for singles by Delirium.

There are some live albums I find difficult to describe in words. This is one of them.

This live album is based on all their studio albums, bar the 2009 album, as far as I gather. So far, the facts. This live album is my first serious attempt to get under the skin of Delirium's music.

Delirium is a band I believe falls down on the more commercially melodic side of the RPI scene. They had massive success in the 1970s with their hit song Jesahel. A song that made them to multi million seller band. Delirium is back together again and that's for the joy of performing music (and with a lot of pressure from Massimo in Black Widow Records.......... keep up this good work, Massimo). And their joy of music and life shines through at this album. It is a very lively live album.

The music on this album is a mix of commercial music (the hit Jesahel), more heavy intricate RPI and a lot of jazzier & folksy RPI. In short, more or less the ABC of the RPI scene........ and this band. The band is big fans of Jethro Tull (and Jethro Tull may be big fans of Delirium too) and the result is a good Jethro Tull medley. Joe Cocker...... eeehhh.... The Beatles also gets his/their tribute with a version of With A Little Help From My Friends. A song played to death by now, but Delirium does a very good version of it here.

My gripe with this live album is simply the quality of the material. This album have some great songs, but also some pretty average stuff. Simply speaking; this album is too variable and full of deep rivers and some pretty high mountains. I tend to loose my interest at times. But this is still a very good live album and it is recommended.

3.5 stars

Delerium are another instrumental RPI band that feature rather well played instrumentation and inspirational jazz fusion nuances. I was quite impressed with the style the band explores.

The music is literally delirious, with fractured rhythms and sporadic drum metrical patterns. Villagio features crazy flute that would blow Ian Anderson off his one leg. There are wild time sig swings and a crawling bassline. This is very solid symphonic prog and that flute by Grice is incredible. He seems to be the anchor of the band with all his instrumental prowess enhancing the sound at every occasion.

Gioia, Disordine, Risentimento is a lengthy jamming track with strong Focus like la de da vocals. It is humourous though not a highlight for me. It settles into a nice restrained ambience complete with breathing and flute blasts. It is notable that it was recorded in a pub and even features the crowd joining in. La Mia Pazzia has actual vocals so it stands out but is still no highlight, it kind of works as a single with a pop oriented accessible sound.

Culto Disarmonico is the highlight of the album with brilliant drumming and awesome sax to carry it along. The melody is infectious and the ultra cool sax is simply astonishing, played like Jackson of VDGG.

So my opinion is Lo Scemo E Il Villaggio is worth getting for RPI connoisseurs. Not everything works but there is enough on this to justify tracking it down. 3.5 wonderful stars.

Ultimate DVD collection of an RPI legend

It is not often that we younger generation RPI aficionados get the opportunity to see one of the classic-era bands perform live, or even enjoy them on DVD in our living rooms. Most of us were either too young or living many miles away from the great Italian rock festivals of the early 1970s. The rebirth of the RPI movement in the last decade has been extraordinary with Italian bands finding out they have new fans all over the world. Their numbers may be small in relative terms but their passion has buoyed not only a bunch of fantastic new bands, but also many of the legendary groups as well. Several of the classic-era RPI bands have reformed and released fantastic new material or live performance: PFM, Latte Miele, RRR, Procession, Balletto di Bronzo to name just a few, and now, Delirium.

Delirium are considered by many to be one of the premier classic RPI bands, if perhaps a bit less known to international audiences than PFM/Banco. They released a solid trio of albums back in the classic era, then came storming back with one of the most astonishing comebacks by a classic group, 2009's gem "Il Nome del Vento." Now in 2010 the prog wizards at Black Widow Records have issued the definitive video archive of Delirium. You get a whopping 3 hours of Delirium video consisting of rare archival footage from the 70s and recent live concert performances and interviews.

So let's get right to the prime feature: a complete Delirium concert retrospective filmed live at the Politeama Theater in Genoa, February 2010. You'll enjoy the show in a classy venue packed to the back with appreciative Italian rock fans. (I wish I could have been there!) The band includes founders Ettore Vigo on the keys and Pino Di Santo on drums and vocals. Frontman Martin Grice joined around 1972 I believe, and newer members include guitarist/vocalist Roberto Solinas and bassist Fabio Chighini. Later in the show the band are joined by a string quartet, featuring the beautiful and talented Chiara Giacobbe, Diana Tizzoni, Simona Merlano, and Daniela Caschetto. These are the same four ladies who added so much to the knockout "Il Nome del Vento" album last year.

From the opening introduction you can tell this will be a special evening, as the band begins with simple atmospherics to the stage's dry ice and soft blue lighting. The stage, lighting, and venue project a classy simplicity that doesn't try to dazzle, but rather allows the show to be about the players, as it should be. It is well shot with several different stationary and roaming cameras giving you "on the stage" intimate access. The sound quality is likewise professional and decent, though not without some issues. There are times when the bottom end is not where I would like it to be, as I really like to have the bass way up front with a lot of punch. I also noticed a few feedback/noise problems here and there, but they quickly stop. And frankly whatever sound issues were present are insignificant compared to my enthusiasm for the show.

What strikes one watching Delirium is how much love these guys still have for the music and for playing together. That's not something you can fake. These guys are having a great time and their enthusiasm draws you in. Sometimes you can see them look at each other and you know they realize just how special and rare it is that they are able to express their collective history on stage together, when so many of their peers from Italy's progressive past made one album together and vanished into thin air. I was really quite moved to be a part of this show from my living room, quite grateful for the chance. Call it corny or not, but I'm not ashamed to admit that moments of this show moved me very close to tears, not of sadness, but of joy and sentimental connection to the "soul" of the group and music. I may not have witnessed the first go-around of Delirium, but I can appreciate this rebirth just as if I had. Like I said, a musician can't fake what it takes to connect with listeners in this way.

It's hard to say who Delirium in 2010 "sounds like" because they are their own blend of melodic Italian rock/pop/folk, progressive rock, and jazz-rock. I will say there are times on the jazzier material that they remind me of Supertramp with the piano and saxophone combinations. At other times when the refined and melodic symphonic prog comes to the front I think of the Moody Blues. They can also remind me a little bit of Procol Harum for their tasteful instrumental arrangements and spectrum of musical/emotional colors. Mostly they are just great Italian prog but on the accessible side. While Delirium compositions can have complexity and elegance, they never (or rarely) get into the avant garde or weird/harsh areas. They love to keep the crowd engaged with good melodies and never get too far into the indulgent. Even the solos are directly engaging and aimed more at emotions than technical flash.

Typical moments in the show will find Ettore either bathing the more laid-back stuff in beautiful atmospherics, or spicing the jazzy stuff up with his piano runs. He is the quiet wizard sitting in the shadows looking very serious. Meanwhile Martin holds center court just blazing on his sax or flute, he's a formidable player on both and doesn't need to stand on one leg, though he does some Tull stuff! His saxophone solos during numerous tracks were a real highlight of the show for me. Roberto is a versatile guitarist who plays some lovely delicate acoustic, but can just tear up the electric leads as well-he's got some really fiery solos. The rhythm section is also strong, Fabio is the relative youngster on stage and brings much energy to the bass jamming. Pino is not only solid on the kit but seems to be master of ceremonies as well, often addressing the crowd from his perch, and even walking up to the front of the stage to converse with them more directly. I wish I could understand his longer comments, I have a feeling he was sharing some special memories with them. In the interviews Ettore notes that the "newer" members Roberto and Fabio have made a subtle but definite impression on the Delirium sound, providing extra edge, energy, and occasionally even a bit of funk.

All of the guys sing, and while none have the obvious bold roar of someone like Banco's Francesco DiGiacomo, they harmonize together as well as anyone. There are some really beautiful harmonies, especially the parts around the time that the string quartet takes the stage. At this point we get into some material from Il Nome and the strings become a great counter for extended solos by Roberto and Martin, just lovely moments ensue. Their opening of "L'acquario delle stele" is so nice. By this time the band have really hit their stride and deliver moments of great beauty, power, poignancy, and RPI bliss. The latest album told the story of a man shipwrecked on an island, looking inward and trying to deal with the wealth of thoughts and feelings he is alone with. The latter moments will revisit their debut "Dolce Acqua" with its sweet folky charm, and their big SanRemo song "Jesahel" before concluding "With a Little Help from My Friends."

And that was just the concert. We also get seven or eight vintage clips from Italian television in the early 1970s. These are high quality historical videos from their big single "Canto di Osanna" in 1971 to the lovely "Jill" in 1975. The footage of the SamRemo festival of 1972 is also wonderful to be able to see. Beyond these there are several live bonus tracks from other recent shows, backstage interviews, a photo gallery, and even a second disc: a complete CD version of the concert for playing in your car or elsewhere when you can't watch the DVD. The interviews are subtitled in English which is great for us non-Italians. This is a band as vital today as in their glorious past, and they very much wish to play their music in America. If the organizers of the revered Northeast prog festivals are wise, they will get Delirium there in 2011 and include far more Italian acts than they currently do. Italy is one of the world's leaders in great progressive music.

This is my 800th review for ProgArchives, and I wanted to dedicate it to the gentlemen of Delirium to thank them for a career of making great music. Also to my old friend Raff, whom if I recall correctly once told me "Dolce Acqua" was a monumental musical moment in her life as a young girl. If you find and read this Raffa, you really need to watch this concert, I think you would just adore it. 4 solid stars: "Excellent"

1. Intro (1:23)
has a pastoral beginning with a flute, organ, and vocal soon joining in to introduce one of the repeated themes of the album. 9/10

2. "Il Nome del Vento" (6:01)
begins with a classical strings piece before it is joined by drums and oboe. Another one of the album's repeated themes is established before a vocal section begins. Very straightforward pop music except for the occasional brief codas/interludes using classical instruments. The choral background vocals sound much like AYREON's female dominated vocals from "Isis and Osiris." The song has a very nicely balanced blend of rock, pop, and classical. I especially like the operatic soprano floating above the other vocals and instruments in the background of the last two minutes. 8/10

3. "Verso il Naufragio" (6:35)
is an instrumental that begins with some ominously held low synth chord over which a sax makes a brief intro, yields to mellotron, then comes back as the lead melody maker until 1:25 when piano and mellotron take over in a much more classical jazz theme. 2:15 sees the sax and electric guitar take over dual recitation of another main theme. 3:00 sees the entrance of some truly prog rock musical sounds and structures: minimoog solo followed by thumping guitar/bass chords. 4:30 sees the full band/orchestra return to the second main theme before giving way to a more subdued organ, sax, and jazzy cymbol section--very reminiscent of HENRY MANCINI's "Pink Panther Theme."

4. "L'Acquario delle Stelle" (6:15)
begins with a child-like/lullaby-like sequence of electric piano arpeggios over which some mediaeval flute/woodwinids play some very mediaeval-sounding themes. Very pretty--and even moreso when the strings and mellotron join in at the 1:30 mark. 2:30 sees solo piano and male voice using a very familiar melody (from "Il ome"). 3:35 adds orchestration and some very nice TODD RUNDGREN-like electric guitar soloing ini the background. 4:10 hammond organ, piano and full prog band takeover in a very pleasing section for its harmonic and chord structures. Vocal rejoins till 5:45 when spoken voice lets us slide into a soft outro section with strings, mellotron and nature sounds. 9/10

5. "Luci Lontane" (4:14)
chirping birds and spacious piano chords begin this song before plaintive voice and jazzy soprano sax sing over strings orchestra. As emotional as 's voice becomes, he actually loses some of his strength and pitch control. 2:20 sees a transition into a very straightforward jazz-with-orchestration section over which the soprano sax solos. This then shifts at the 2:55 mark as some electric guitar power chords join in to accompany a more urgent sounding, if brief, vocal section. The power sounds very quickly disappear to leave the listener with a kind of slowed down mélange of the first and second sections. 6/10

6. "Profeta Senza Profezie" (4:20) jazz piano and soprano sax start out a very jazz-oriented song. Sax continues soloing until the :48 mark when comes in to sing in a range an octave higher than his previous attempts.
1:40 sees a tempo and mood shift--more upeat--while retaining this jazz-feel. Nice acoustic guitar beginning at the 2:10 mark. The jazz chorus is a bit too but is followed by a very familiar tenor sax solo over mellotron and the rest of the acoustic band (It sounds like the end solo to PINK FLOYD's (Welcome to the Machine".) 7/10

7. "Ogni Storia" (5:02)
sees a return to a electric piano child lullaby theme--with crying bambino--which, when taken over by fretless bass and then synthesized keys and sax, sounds a lot like "Inch Worm." A more Canterbury sounding song develops until the vocal(s) begin, when it turns into a much more standard pop-rock song. (I like the "Great Gig in the Sky" female vocal screams beneath the electric guitar solo around the 3:15 mark). The finale ROBIN TROWER guitar solo palying over the rolling bass and blues drumming is a fun touch. 6/10

8. "Note di Tempesta" (4:29)
begins with a nearly "Psycho" AFTER CRYING strings theme before turning into a very straightforward R&B/lounge jazz song--it sounds very much like a song by ANDREW TILLISON/THE TANGENT. Very nice alternating and harmonically layered themes played between sax and guitar and flute & keyboard. EMERSON's "Lucky Man" synth takes over soloing at the 1:40 mark--nice segue. Then a ZAPPA-like guitar solo unfolds before the music sparses and sax and bass take turns soloing until the band returns to a collective recapitulation of some of the main themes from 3:38 till song's end (which actually ends with group laughter). A very interesting song with some very nice structuring/layering. 9/10

9. "Dopo il Vento" (9:40) begins with a wooden flute (shakahachi?) sounding as if we're on a tropical Pacific island. At 1:30 the full band kicks in to play a jazz-rock theme before giving way to a slow synth solo while the background jazz-s along while joined by a strings orchestration. Full blown 'soft' jazz with alto sax soloing begins at the 2:41 mark. At 3:15 a brief repetition of the band's main theme precedes a very nice electric guitar solo over the orchestra-supported soft azz theme. An soft, melodic organ-supported flute section begins at the 4:10 mark and which then precedes the 5:15 beginning of a very pretty vocal and flute section--which is then joined/backed by some wonderfully lush orchestration around the 5:53 mark. Dreamy! Return to the jazzy mode at 6:50--now soloed over by a very IAN ANDERSON-like flute. 7:25 piano solo. We're in the beach-side jazz lounge! A softer JETHRO TULL sound. 8:05 sees the sudden entrance of synthesizer to duel with flute and strings. Electric guitar joins in beautifully at 9:00. Song breaks down very beautifully. Music doesn't get much more beautiful than this! 10/10 


10. "Cuore Sacro" (6:49) begins with IAN ANDERSON's flute playing another familiar theme
which is then taken over by organ and full rock band (is this a rock opera? ANDREW LLOYD WEBER, perhaps?) All clears for a lovely lounge piano solo--repeating themes familiar from the last song in a kind of classical way. At 2:30 a pause precedes the subdued male voice joining the piano for a brief section before the band kicks into a pretty straightforward upbeat rock groove over which guitar, flute, and other woodwinds take turns declaring themselves--all with worthy and beautifully woven/orchestrated melody lines. A crash of a gong at the 5:23 mark ends the momentary harmonic chaos, to allow return of voice, with piano, bass and flute accompaniment. 10/10

11. "L'Aurora Boreale" (6:56) (bonus track) is a soft jazz instrumental which regurgitates in a very pleasant way many of the recurring themes from the album. Nice tenor sax/vocal scatting, acoustic guitar solo, congas, background synth strings, electric piano solo. The drums are mixed more forward while the flutes are presented as if in a distant echo chamber, for some reason--all to great effect. Nice song. Kind of ties everything together in a fresh sounding way. 9/10

Obviously this album is all highlights the further you get into it. Granted, an affinity for the kind of soft-jazz/lounge side of progressive rock is helpful for getting into this album--as well as a tolerance for the lead singer's voice when he tries to reach--both dynamically and in pitch heights. Singing the more subdued, soft melody lines he is wonderful, amazing. Skill and maturity are quite obvious in these songs--especially in terms of composition. They really know how to deliver wonderful themes in layers and harmonically without being overwhelming, chaotic, or discordant. Very beautiful music.

An excellent addition to any prog lovers music collection.