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Piero Ezio e Tino biography
PIERO EZIO E TINO are an RPI band that released a sole album `Mi Chiamo Piero (My Name Is Piero)' in 1972 that has since become a highly sought-after Italian prog rarity. The band, all hailing from Voghera, consisted of the core trio of Piero CAIRO (keyboards, vocals), Ezio CRISTIANI (vocals, guitar, flute) and Tino NEGRI (vocals, bass), helped by Roberto FERRACIN (organ) and Sergio CHIESA (drums), with the album totally composed by CAIRO. He would go on to have a later career in the disco field.

Although often pop-based and still containing leftover elements of the Italian Beat era, the album displays great ambition, subtle yet intricate playing and constant experimentation, with a real desire to achieve something exciting and new. Even the more straightforward parts are filled with ambitious instrumentation, varied vocals and boundary-crossing daring. The frequent use of flute, keyboards and orchestral arrangements align it with the earliest releases from defining acts such as PREMIATA FORNERIA MARCONI, while the raspy vocals sometimes remind of DELIRIUM. Highly recommended, an album and band worth rediscovering.

Bio - Michael H (Aussie Byrd Brother)

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2.95 | 11 ratings
Mi Chiamo Piero

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 Mi Chiamo Piero by PIERO EZIO E TINO album cover Studio Album, 1972
2.95 | 11 ratings

Mi Chiamo Piero
Piero Ezio e Tino Rock Progressivo Italiano

Review by apps79
Special Collaborator Honorary Collaborator

2 stars This was an Italiian trio, formed by musicians from Voghera, namely Piero Cairo (keyboards, vocals), Ezio Cristiani (vocals, guitar, flute) and Tino Negri (vocals, bass).They released a single album in 1972 on Rare Records, a division of the French Barclay, that had an office in Milan.All compositions are written by Cairo and two more persons under the names of G.Bertero and V.Buonassisi, while the sound engineer was Gianluigi Pezzera, who performed later under the Le Groupe X moniker.The album features also guest performances by Roberto Ferracin on organ and Sergio Chiesa on drums.

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 by PIERO EZIO E TINO album cover Studio Album, 1972
2.95 | 11 ratings

Mi Chiamo Piero
Piero Ezio e Tino Rock Progressivo Italiano

Review by coasterzombie

3 stars This trio from Voghera produced one little-known album on the French label Rare before disappearing. Songwriter Piero Cairo would later have a career in the disco era, but this 1972 release is clearly inspired by the progressive rock movement. Assisted by drummer Sergio Chiesa and pianist Roberto Ferracin, Piero Ezio e Tino play cerebral pop with a solemn feel, balanced frequently with psychedelic effects and concise construction. No song on Mi Chiamo Piero is over five minutes, but don't let that fool you...the symphonic RPI sound appears early and often, supplemented by various influences including an almost Mediterranean feel despite the group's landlocked locale. I even hear hints of tropicalia and Brazilian music, but it is impossible to know whether this genre influenced the album. Mi Chiamo Piero is exceedingly obscure and not much else is known about the album, and a CD issue is sorely overdue. The album easily earns three stars, but does not quite impress me enough to command four.

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.

 Mi Chiamo Piero by PIERO EZIO E TINO album cover Studio Album, 1972
2.95 | 11 ratings

Mi Chiamo Piero
Piero Ezio e Tino Rock Progressivo Italiano

Review by Aussie-Byrd-Brother
Special Collaborator Honorary Collaborator

4 stars A truly obscure and lost release by yet another Italian progressive band that issued a single album before vanishing, 1972's `Mi Chiamo Piero (My Name Is Piero)' by the trio PIERO EZIO E TINO is a fascinating blend of inventive pop, experimental instrumentation and charming vocals. Newly rediscovered, although the album constantly sticks to a mature pop format, there seems to be a real cracking inspiration as the players add all sorts of intricate musical ideas rich with subtle complexity.

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.

Thanks to finnforest for the artist addition.

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