PIERO EZIO E TINO

Named ''Carta d'identità n°1: mi chiamo Piero'' (''Identity card: my name is Piero'') and considering Cairo's deep involvement in the compositions, there is a strong possibility the album to have an autobiographical character, divided in 12 short pieces.Soundwise this is somewhere between soft Symphonic Rock and typical period Singer/Songwriter stylings with some Library Music injections.The music is heavily based on keyboards and acoustic instruments, having an slight folky enviroment, flavored by discreet Classical and Fusion influences.Harsichord, piano, organ and synthesizer appear occasionally and co-exist next to the acoustic guitars and flutes to produce soft, emotional music with limited instrumental parts but some very good singing lines.Imagine BLOCCO MENTALE with a less proggy and electric sound to get the picture.The atmosphere is pastoral and sensitive with decent songwriting, while there are a few piano dissonances and weird keyboard experiments (oscillators maybe) to be found.The result is not always convincing, hurt by a questionable recording quality and the secure path of pastoral Prog music with strong Pop colors.

The trio was not short-lived as you would expect, guitarist Graziano Binda refers to a collaboration he had with Piero Ezio e Tino in 1975, so they were around for at least three years.After their demise Cairo pursued a career within the Disco Music circles.

Obscure work of calm, vocal-based Italian Prog, very hard to be found in its original form.Dedicated mainly to fans of under-the-radar Italian releases and worldwide Prog collectors...2.5 stars.

Mi Chiamo Piero wastes no time in declaring its prog tendencies, as the title track weaves through singer-songwriter territory, symphonic bombast and meditative romanticism within its five minutes. What may actually be the best track on the entire album, "Mi Chiamo Piero" sets the tone for its namesake but does not necessarily follow through. "Il Cavallo Cingolato" is far less complex but still extremely energetic, and features Piero Cario's keyboard effects which will appear frequently. "Prima Che Sia Qui La Notte" is a far cry from the previous track, as the upbeat feel is all but gone and a minor key introduction gives way to an anthemic chorus. This is short-lived as the jubilation is again supplanted by contemplative solo acoustic guitar. Ezio Cristiani's guitar also sets the tone for "Orizzonte Che Vai," a short but sweet number that is reminiscent of Mauro Pelosi in its melancholy. "Tutto Passa Tra La Gente" has a breezy feel that never becomes banal despite Piero's crooning vocal performance. The first side ends with "Io Non So Il Tuo Nome," a poppy and somewhat forgettable song that reminds me of Era di Acquario.

The superior "Una Cosa Da Niente" begins side two, and here Piero sounds assertive and passionate in his singing. In fact, the passion he displays sounds almost exactly like Alusa Fallax singer Augusto 'Duty' Cirla, and unusually so. My only quibble with the song is that it ends too soon! "Un Filo D'Erba" has no drums but some percussion and fingerpicked guitar to provide the rhythm, and plenty of keyboard and vocal effects to hold the listener's interest. "Centro Lire Di Musica" is probably the most progressive song on this side, as compressed piano and stately organ are joined by powerful drumming and the forceful voice of Piero. "Rugiada Gelata" continues this sound in a slower and more deliberate way. "Un Uomo Se Ne Va" is somewhat bland by comparison and kind of forgettable. Finally "Ma Lui Non C'Era" is a good conclusion to the album with some lovely keyboard flourishes and an uncharacteristically positive mood. Overall, Mi Chiamo Piero is absolutely listenable and reasonably enjoyable. I can't quite recommend it enough to consider it essential. Until a reissue label takes notice, keep it on the back burner and wait patiently.

The three main members make a big impression on this. In addition to all being outstanding vocalists in the proper charismatic and passionate RPI tradition, Piero Cairo himself creates a very hallucinatory and hazy atmosphere with his glistening keyboards, while Ezio Cristiani and Tino Nergri's guitar, flute and bass make for a deeply psychedelic and dreamy mix. Also, considering they're only credited as extra musicians, Sergio Chiesa's drumming just tears through the arrangements and Roberto Ferracin's organ is pleasingly restrained for greater effect.

Just listen to the variety shown on the opening title track alone - a dazzling near five minute mini- suite of spoken word, background ambient noise, gentle acoustic thoughtfulness and haunted vocals. The rather downbeat piece quietly and constantly builds in tension before launching into a commanding upbeat Hammond organ middle with a strong vocal singing a catchy refrain.

On `Il Cavallo Cingolato', Piero really sounds a lot like the lead singer of RPI band Delirium here, with a gravelly and scratchy voice that's so fascinating to listen to. Beginning with warped electronics, it's a sprightly and upbeat poppy number with swirling Hammond runs and a hugely uplifting chorus that will really make you smile! Great combination of big drumming, loud piano and orchestral grandiosity throughout too.

`Prima Che Sia Qui La Notte' seamlessly weaves around dramatically serious musical themes and driving Italian pop balladry, full of glistening and experimental organ, keyboard effects and a supremely confident lead vocal. `Orizzonte Che Vai' is a delicate and downbeat lullaby with sparse percussion, drifting keys, harpsichord and acoustic guitar. Spacey electronics, wilting flute and warm percussion flirts around the jazzy combo of `Tutto Passa Tra La Gente' and `Io Non So Il Tuo Nome', two impossibly subtle and hugely melodic numbers. The urgent `Una Cosa Da Niente' is filtered with psychedelic quivering keyboards, urgent jazzy piano and forceful drumming, shame about the somewhat abrupt ending just as it could really take off!

The playful `Un Filo D'Erba' has a romantic lead vocal crooning amongst a playful flute/bass/percussion combination, interrupted by some bombastic brass instruments and acoustic guitar bliss. `Cento Lire Di Musica' has dazzling dreamy verses before wild drumming, other-wordly treated vocals and some slightly bent trumpeting give it all a very unsettling and psychedelic edge - a wonderful track! The longer `Rugiada Gelata' is a real mix of styles too - 60's pop orchestration mixed with some very brooding piano and maniacal drumming, treated raspy vocals, harsh electronics and floating trumpet that creates a very disorientating sensation.

`Un Uomo Se He Va' is a gorgeous acoustic guitar and piano ballad with strong pleading vocals, yet there's a very odd fade-out mid song that heads towards a psychedelic turn before seemingly changing it's mind and carrying on where the piece first left off! But the album wraps beautifully on a lovely organ-driven piece `Ma Lui Non C'era'. It's another classy ballad with acoustic guitar and organ one minute, then alternates back and forth with a faster mid-tempo step where the drums build in urgency, the bass bounces around and the acoustic guitar turns wilder. It's a very pleasant and sophisticated way to wrap the album.

Despite several of the songs almost having a reflective and downbeat mood, the instrumentation frequently brings in so many positive and uplifting qualities. The confidence, restraint and talent on display on this album is hugely rewarding, as it bridges between pop, sophisticated adult balladry and light RPI seamlessly.

If you wanted to hear a pop LP, with `Mi Chiamo Piero' you'll find a ground-breaking and inventive album full of depth and musical maturity, but if you were looking for a great Italian prog album, you'll find a release that balances all the experimental touches with a keen melodic sense and memorable hooks.

An album truly in desperate need to a nice reissue, so it can be appreciated, rediscovered and finally given the respect it deserves.

Four stars.