MIA

The Argentinian ensemble MIA (an abbreviation of Musicos Independientes Asociados ? not to be confused with "Missing in Action") was a project based around composer and keyboardist Lito Vitale, which had its main activity between 1974 and 1980. Friends and acquaintances came and went in the different versions of this ongoing project until it fell apart in 1980, although new material was made under that moniker for a few more years. "Archivos MIA: 1974 ? '85" chronicles the musical history and heritage of this project on two discs, containing quite a lot of material I surmise is previously unreleased.

"Archivos MIA" comes across as a production seeking to satisfy two different audiences. Those unfamiliar with this ensemble will receive a good overview of the scope of their repertoire on the first of these CDs, while existing fans most likely will find the second one most intriguing due to the unreleased material and the bonus video footage that makes up this CD. And while the musical contents as such do leave a bit to be desired in order for this production to warrant a general recommendation, there are quite a few reasons for existing fans to take note of this production, if they haven't already done so that is.

This one smell better than it tastes.

This album has got a very high rating so I purchased it. I also happens to like the South American scene a lot. But what I found was a rather dysfunctional album.

This album has it's base in some ELP like structures. Then it branches out in all direction. That includes jazz, eclectic, prog folk and most things under this sun. Yes, even Zeuhl gets a honorary membership on this album. I like thinking outside the box. That is in fact what the term "progressive rock" means. But I am not sure if everything on Cornonstipicum is as clever as the tin says it is. The smell is better than the taste.

I got the 59 minutes version and it seems like some bonus songs has been added. The last half of this album has pieces of music which simply does not work. For example the extensive use of acoustic guitars does not work at all and the album dies an undignified death during the final half. But the first half an hour is great. Great, but not superb. The title track is almost superb though. The rest of the album is a bit too dysfunctional for my liking. I cannot say this is an album I feel is as good as it's reputation. But it is still a good album which I am sure will bring joy to many homes during the next hundred years.

3 stars

3.5 stars actually!

A strange story around M.I.A. (Musicos Indepedientes Asociados),who wasn't exactly a band but sort of a gathering of indepedent musicians in order to create progressive music with a symphonic nature.Reportedly behind this association were two of these musicians' parents.One of them,Lito Vitale was just 15 years in 1975,while his sister Liliana played various instruments. Their first album was pressed in 1976 with the title ''Transparencias''.

In this album melodic classical-oriented rock music comes in touch with light fusion and traditional folk with a beautiful result.Lito and Liliana Vitale are responsible for most of the drums,flutes,keyboard and vocal work on this album and it is really amazing how a 15-years old boy can produce such great music.The two opening tracks combine energetic almost fusion interplays between keys,bass and drums with symphonic rock,recalling FOCUS or even TRACE at their best.''Imagen II'' is actually a succesful excerpt of Bach's Prelude No.1,while the following is ''Contrapunto ritmico'' is a rather weak introduction to individual bass lines and drum solos with just a few of symphonic rock music.Towards the end,Side B of the original LP is exclusively dominated by the 20-min. self-titled opus.A really nice track with tons of alternating melodic keys (organ,piano and synths),heavy folk elements through some lovely both flute and acoustic guitar passages and ethereal vocal chords by Liliana Vitale.The songs starts and flows really promising,but at the end it gets a little bit flat.The CD re-issue of Belle Antique in 1994 contains four extra live tracks in a much more improvisational mood with massive complex themes and limited harmonies,yet these tracks show how talented this band was.

A gathering of trully talented musicians can result a very nice album and this is the case here.MIA's debut could easily be loved by both fans of symphonic rock and classic music.Recommended.

Absolutely amazing. MIA in live works that show to the world how good this band are. Voices, piano, in a very good arrangements made this live work one of the best of Argentina Progressive Rock that I realy apreciate. Some tracks are in another MIA cds like Cornonstipicum and Transparências but not all tracks in this 3 LP It's shame that Argentina don't edit this LP's in a double CD and I don't lost my hope to do this work in cd. A female voice very atractive in some parts and a good atmosfere in most parts made this album a masterpiece of Argentina Progressive rock. The one who assisted these concerts was privileged by an excellent work. Please, edit in cd Conciertos, because who now MIA works, are follin in love with this band and desperate to find his works.

MIA were a Symphonic band from Argentina and this particular record from them is usually pointed out as their best. It certainly is their most progressive album, in fact I would describe it as having abundant mood and tempo shifts throughout, they rarely stay in one place long. No lyrics although there are plenty of vocal melodies (wordless melodies) both male and female.

"La Coronacion Del Farre" builds to a dramatic sound before it settles with flute. Keys come in and then bass. It kicks in before 4 minutes. "Imagen III" is led by piano as female vocal melodies join in briefly. Sounds like accordion but it's brief too. Other sounds continue to come and go. "Crifana Y Tamilstenes" is uptempo with both male and female vocal melodies. Some nice bass too. It settles after 2 1/2 minutes as acoustic guitar and synths take over. It picks back up after 5 minutes with deep bass and keyboards. "Las Persianas No" features keys, drums and vocal melodies. "Piedras De Color" features piano melodies throughout.

"Cornonstipicum" is the excellent side long final track at 17 1/2 minutes. It has some nice drum work early then piano takes over. A lone vocal melody after 2 minutes before it kicks back in with some dissonance. Nice. Guitar 4 minutes followed by organ as the tempo picks up. Good section. It settles 7 1/2 minutes in with gentle guitar and flute. Piano and vocal melodies after 10 1/2 minutes as it continues to be laid back. That is until after 13 minutes when it kicks back in.

This is highly rated by most but I have to agree with sean trane and tszirmay in giving this 3.5 stars. It's impressive and very proggy but I just don't like it enough to offer up the fourth star.

M.I.A. was the first band in the Argentinean rock circle to pursue an integrally independent procedure for the dissemination of their musical art among potential audiences eager to hear and enjoy an eclectic, experimental approach to rock music, i.e., what we usually label as progressive rock. Released in 1976 in a homemade album package, "Transparencias" is this ensemble's first statement, and the only one with the two keyboardsmen Lito Vitale and Juan del Barrio sharing and/or alternating role on the keys and drum kit. While not as perfectly crafted as the band' third effort "Cornonstipicum" (their ultimate masterpiece), "Tranparencias" manages to convey a very inventive and amazingly colorful mixture of art-rock sources: symphonic, Cantebury-related jazz-prog, pastoral, sheer classicism Baroque-style, fusion and symphonic-friendly psychedelic rock. It is a pity that at this early point of M.I.A.'s career, the ensemble's musical vision is not as fluidly amalgamated as on the aforesaid third album, since the album's repertoire in itself is heavily benefited from the combination of Vitale and Del Barrio's writing talents (let alone their refined performing skills, which serve as leading forces for the tracks' instrumental developments). 'Reencontrando el Camino' is a lovely yet arguably too short introduction to the dynamics of symphonic melodic drive merged with Cantebury dynamics: the opening motif, reprised at the end, is very joyful, while the interlude brings an effective aura of contemplative serenity. 'El Casamiento de Alicia' bears a similar formal structure, but it is more properly expanded (lasting almost 7 ½ minutes), in this way developing a more epic feel than on the opener. Here is the first appearance of the ARP Odyssey synthesizer in the album: being as young as he was back then, it is unbelievable how well Vitale could find and handle this instrument's potential to provide a magical sound that somehow stands between Emerson's prototypical Moog excursions and Gowan's soaring solos in the Gilgamesh albums. This is what a keyboard-based power trio is all about in a prog rock context - through their evident influence, these guys nailed it instantly! The interlude, based on a quotation of one of the most popular sections from Elgar's "Pomp and Circumstance", brings a schematic moment of sonic repose among the muscular vibe provided by the main motif. This one might be the album's highlight, but again, there is much more to enjoy as the album goes on. 'Imagen II' is a delicate instrumental with a Baroque foundation - after all, this is a pastoral translation partially inspired by the original ceremonious spirit of Bach's Prelude No. 1. Daniel Curto's classical guitar and Liliana Vitale's chanting/recorder duties manage to handle the tranquil mood very efficiently. 'Contrapunto Rítmico' is the most openly jazz-oriented piece in the album, including bass and drum solos strategically located in the flow of the jamming procedure. The namesake track is a 20 minute epic that occupies the vinyl's B-side. It is constructed in a symphonic space-rock mould, giving preferential room to the expansion of ethereal motifs and introspective developments (a standard traced by Pink Floyd from their "Meddle" days). The two keyboardists are cleverly joined in a fluid alternation with Nono Belvis' acoustic guitar, while Liliana goes wandering around with her chanting (she plays drums on this on, too). Some bass and percussion ornaments add bits of controlled tension before a certain chorale section and recorder lines bring back the dreamy atmosphere. At first listen this epic may sound like a not-so-ordained collage of various melodic ideas, and the impression of being a bit flawed doesn't really disappear with further listens. But what further listens can create is the awareness of a tight harmonizing sense that leads the epic's delivery and prevails through its variations. Passing the 12 ½ minute mark, a rock section emerges on a taciturn tempo, very Floydian indeed. Belvis' guitar lead is properly constructed, powerful enough to bring a moment of emotional enhancement, yet not overblown with exaggerated flourishes as to kill the epic's overall spirit. You can tell that there is much technical skill there, joined with a sense of texture and atmosphere. Once the drumming stops, the guitar becomes more relaxed, yet retaining the conquered center stage. For a minute, the rockier motif remerges with a final lead guitar expansion, before the last passage brings a dreamy combination of organ, piano and female chanting. This climax is clearly the moment for which the first 12 minutes of languid introspection had been working on. The CD edition includes some Vitale piano pieces plus a power-trio track, all of thm recorded live: great bonuses, indeed. "Tranparencias" is an excellent starting point for one of the most creative bands of 70s Latin American prog rock. M.I.A. - all collectors, note down this name on a preferential spot on your lists.

This first album fom MIA isn't as good as i've been told about. The first track is wonderfull beautiful piano piece really progressive and inspired. Some rythmical small weaknesses can be noticed there but it's really interesting.

The disapointment comes with the second piece : a poor melodic composition with recurrences from the canterbury scene, the bass and drums section is there not enough precise and it sounds weak. There are still good moments even if they are rarely devellopped. In a further piece, there is a really bad bass solo. Be carefull fans of Gentle Giant and RTF like jazz rock, this album contain good compositionnal ideas but stay too weak in terms of interpretation. Better give a trry to their third album which is a masterpiece.

Anyway this album has an historical interest and can underline MIA's evolution.

The second part of the record contains a huge piano concerto which evolves between jazz and classical music. This part is really interesting, and sometimes outstanding. The record ends with a pure RTF like piece with Camelian kitch interlude. If you compile the first piece from Trasnpariencias and the piano concerto, you definitely have somethin proggy to listen!

3 stars for a beggining. Check theirt third album!

Another masterpiece of MIA. The original music, when it allied to the virtuosity of the musicians, they do an excellent album not to lose. The cd presents like bonus tracks, some musics that belong to the album Conciertos. without these bonus tracks, the cd would have a little time, and is very difficul is comercialization. For me, the original album don't need bónus tracks because they are excellent, but that is a excellent gift because I can't find in market Conciertos selling. Thank you MIA for another masterpiece. Highly recomended.

Probably the most weak album of this group It is not so inspired like the first one, where he presents any melodic imbalances that make it not much bored, but it still contains many interesting moments. The musician presents some breaks that are unnecessary, losing so quality. However, I think that it is possible to hear from time to time.

MIA there is for me one of the groups that better executes progressive rock in Argentina. This very melodious album, it has a peculiarity what I very much appreciate. It is not commercial and it is necessary to hear very often to try to discern the musical message what he presents. This album never becomes bored, on the contrary of that what they are heard sometimes and are put in order forever. I recommend to the one who managing to find, because certainly it will be going to get rich musically, the collection of progressive rock of a truthful appraiser. Such as the classic music, which has a more commercial slope, the obscurity is not audivel for all, you punish them to me for someone that understand the musical wealth what these works present. IT them MIA, they are original and his music is to be always appreciated, specially this album. He is one of mine when they were preferred of my collection. Thak you MIA