Thanks Ryan, actually I quite enjoyed the 2 tracks that are here as samples, particularly the one from Crac! so as you say that seems a good place to start.

 

On the Italian front I'm waiting for my copy of Y's by Il Baleto di Bronzo to arrive in the post. Really looking forward to hearing that one.

 

Ohhh... 'La Mela Di Odessa'... I prefer live version contained in 'Are(A)zione' !

This review has created in me a big problem: How to judge the album in question? Because I like it very much and always had plenty of criticism. I solved in this way:

 

Garofano Rosso by BANCO DEL MUTUO SOCCORSO

I should say also that 'Garofano Rosso' is not a very good album since Francesco Di Giacomo not sing? (or say that this is the biggest flaw of the album?) I think I've realized that too often are not aligned with the majority of other reviewers (or at least I like to seek views not yet seen). Again it is. Frankly 'Garofano Rosso' is a Gianni and Vittorio Nocenzi and Rodolfo Maltese album. It is extremely important. Basically 'Garofano Rosso' is composed from melodies written with melodic moments and moments for tons of arrangements. For me this is, in music, the being of this album. It is true, in other words, who has tried to build a musical discourse different from other times. The power of 'Garofano Rosso' is also in this example: 'Garofano Rosso' (the song) is a mix between Prog and song songwritten style song. In this sense the use of a organ is extreme important for the best result in union with an acoustic guitar extreme POP. Nocenzi's brothers, in fact, write, in some moments a music extremely simple with no use of arrengements. In other parts the arrengements are extreme importants: without tons of arrengements.. No music! In a certain sense 'Garofano Rosso' is an album which should be read in comparison to Goblin's albums and not in comparison with another Banco's albums, also if the distance from Goblin is immense (But in certain moments does not say there is too much difference). 'Garofano Rosso' remain a pure Banco's album. Is the fact that Francesco Di Giacomo is not present that makes it different in the eyes of the listeners, rather than the fact that 'Garofano Rosso' is a soundtrack.

In a more general view 'Garofano Rosso' is also one of the last great Classic Prog album in Prog 'Golden Age'. The spirit of Prog is all here: making music that goes beyond the Rock (in this case joining the Classic music) but that it is Rock. Strange is the fact that 'Garofano Rosso' be more good today that in 1076. Why? First because today 'Garofano Rosso' play as a Classic Music with electric/ electronic instruments. In 1976 'Garofano Rosso', unfortunately, sounded like a useless self indulgent album.

Without reserves I think that this 'Garofano Rosso' is one of the last masterpieces of Prog 'Golden Era'. It is arduous say that this is not true. Unfortunately bother me that many see the absence of Francesco Di Giacomo the best way to say that 'Garofano Rosso' is not a good album, because in truth 'Garofano Rosso' is a magical album.

 

Symphony of Enchanted Lands by RHAPSODY (OF FIRE)

By Mandrakeroot

Probaby this is a good album. Certainly today I do not like 'Symphony Of nchanted Lands ' like in 1998. I mostly find that 'Symphony Of Enchanted Lands' is an excellent album. But I can not understand where nadare wants to shield. In fact 'Symphony Of Enchanted Lands' is a pure melodic Speed metal album with orchestral parts, that transform 'Symphony Of Enchanted Lands' i9n a Prog Metal album. Probably, and proper for this fact, 'Symphony Of Enchanted Lands' is a great Prog metal album. But without be a Prog Metal album.

Certainly is a great heavy album, hard and malleable as Aurisina's marble (location near Trieste, where we can see a Roman quarry, still active!) but apart from this (and although 'Symphony Of Enchanted lands' will listen with great pleasure) it is a heavy album. I must say that the Rhapsody and especially Fabio Lione are not viewed well by Italian fellows for certain attitudes and proclamations. This, unfortunately, has impacted on my mind.

I agree with those who say that songs like 'eternal Sword', 'Wisdom Of The kings', 'Eternal Glory', 'Wings Of Destiny' (great power ballad) or 'Symphony Of Enchanted Lands' are great songs. But these songs are Prog Metal songs without orchestra?

In conclusion I think that 'Symphony Of Enchanted Lands' be a good/ great album. But do not hold the weight of years.

Felona E Sorona by LE ORME

By Gatot

 

This is a masterpiece Italian progressive rock album by Le Orme (one of three progressive acts from Italy with other acts were Banco & PFM). The music is original in style even though there are styles that remind me to bands like The Nice, ELP, Refugee, Genesis and Yes. The key elements of the composition comprising keyboard as major act while bass guitar is also quite dominant, followed with drums. They wrote the music with tight composition, dynamic time signatures, quite complex yet the melody has been maintained catchy and there are heavy influences of classical music.

Melodic Symphonic Prog, in Dark Mood ..

The album opener, “Sospesi Nell Íncredibile (In between)” (8:43), is an inspiring and challenging to observe. It starts with ambient yet energetic organ work in symphonic style reminiscent of ELP or the Nice or Refugee followed with drumming in dynamic way plus bass guitar work. The first 2 minutes plus, the music deals with acrobatic nature of organ work until at approx minute 2:25 when the vocal enters in dark mood. The organ follows the music at background. In the middle of the track there is stunning organ work augmented by tight bass lines …and later, the drumming enters dynamically and combined together they make great progressive sound. It’s one of my favorite tracks.

“Felona” (1:58) is basically an acoustic guitar, accompanying vocal, while the next track “La Solitudine Di Chi Protegge Il Mondo (The maker)” (1:57) which has catchy melody demonstrated by vocal, backed up beautifully by piano touches in classical music style. The organ solo at the end of the track is really a great embarkation point to higher energy track “L'Equilbrio (Web of time)” (3:47) which flows brilliantly at the end of previous track, seamlessly. This is another great composition as the music style changes from one segment to another. The keyboard work at approx minute 0:38 demonstrates symphonic nature of the song. And the bass guitar plays dynamically here. The keyboard work at minutes 1:22 is quite similar with Genesis “The Fountain of Salmacis”. Influenced? It might be … as “The Fountain of Salmacis” is from “Nursery Cryme” album released in 1971. But overall, this track is superb!

“Sorona” (2:28) is a very melodic and nice song in acoustic version, no drumming, with dark mood. I like the way how simple keyboard work augmented by simple guitar fills provides great foundation for “melodic” vocal to enter the music. It’s so sad in nuance, dark, but it’s truly a nice melodic vocal line. Especially, because it’s said in Italian language and I think Italian is the best language for progressive music. It’s better than English, really. Just compare this track with ELP’s “The Sage”… I think you will honestly say that “Sorona” is much better. Don’t believe with me? Try it now!

“Sorona” flows wonderfully to next track “Attesa Inerte (The plan)” (3:25) which starts ambient with great symphonic multi-layered keyboard sound augmented by nice bass guitar work. At 0:48 the music changes the style and .. oh my God! The vocal line enters brilliantly here, in similar vein like “Sorona”. Again, the use of Italian language has made the song sounds so solid. The music turns to ELP-like with its keyboard-driven work. The song moves seamlessly to “Ritratto Di Un Mattino (The Balance)” (3:29) which the first half is an acoustic keyboard work and the later half comprises drums and other instruments.

“All Ínfuori Del Tempo (Return to naught)” (4:08) sounds like different style than the previous tracks even though still in the corridor of Italian typical prog. It uses acoustic guitar and vocal in straight forward composition. Full music only appears at the end of the track. The album concludes with “Ritorno Al Nulla” (3:34) through the sound of long sustain keyboard followed with brilliant organ work and drumming that reminds me to The Nice or Refugee. This last track is a nice instrumental.

Overall, what can I say about this masterpiece work with killing melody in almost all individual track? Considering the year of release, you might compare this album with Genesis “Selling England By The Pound” or ELP “Brain Salad Surgery” and this album is at par excellent with those two legendary albums. I consider the music of this album is a melodic symphonic prog with dark mood. Keep on proggin’ ..!

Peace on earth and mercy mild – GW (i-Rock! Music Community)

 

Another one from John as well:

 

PREMIATA FORNERIA MARCONI — Chocolate Kings
Review by sinkadotentree (john davie)
Prog Reviewer

This was a surprise for me mainly because they just sounded different.The romance is all but gone,and in it's place a more symphonic/GENESIS flavour.Even the vocalist reminds me of a cross between Gabriel and Collins. It took a while to get used to this change,but once i did,i have to say i am impressed.It will be another 30 years before we get anything as classic as this. "From Under" opens with outbursts of instrumental sections which are contrasted with calmer passages.Vocals and flute then lead the way until it kicks into gear after 2 minutes.Violin 4 minutes in followed by mellotron and synths before 5 minutes.It picks up again with some nice bass. "Harlequin" features those quivering vocals with bass,acoustic guitar and drums standing out.The tempo picks up 4m minutes in,i like the bass and drums.A calm 7 minutes in as flute and keys take over. "Chocolate Kings" is a bright,uptempo track.The bass is killer! Fun song.Aggressive guitar before 1 1/2 minutes with violin coming in a minute later. "Out On The Roundabout" opens with gentle guitar and a mellow sound before it kicks into gear after 1 1/2 minutes.This contrast continues.Violin 3 minutes in.An uptempo melody of guitar and keys before 5 minutes.Vocals are back a minute later.Liquid keys after 7 minutes as it settles again. "Paper Charms" opens with a slow paced melody of synths,organ and vocals for 3 minutes.Then it becomes faster paced as violin and some active drumming comes in.It settles again with violin leading the way this time after 5 minutes.The contrast continues. I prefer their earlier albums for sure,but this really is worth having.It's also worth 4 stars.

FUCCI, CLAUDIO — Claudio Fucci
Review by Finnforest (James Russell)
Special Collaborator Italian Symphonic Prog Team

— First review of this album —

A rare album of folky, gorgeous, pastoral Italian music

Claudio Fucci is an Italian musician born in 1952 who began writing songs in the 1960s before becoming involved in the 1970s Italian scene. After collaborating with Come Le Foglie and Banco he released this self-titled album in 1974 on the Trident label. Among the musicians on the album is the keyboardist Dario Piana with whom Fucci would work on the Le Mani project which you can also read about on this site. Produced by Fucci’s friend Eugenio Finardi, “Claudio Fucci” is really a sweet little gem of an album. While frankly not as progressive or groundbreaking as other bands on the scene, the album could more accurately be described as somewhat folk-rock with an Italian Symphonic Prog influence, especially on the latter half of the album.

The first three tracks are almost pure unapologetic “singer-songwriter” exquisitely handled with lovely acoustic playing, slide guitar, keyboards, and hand percussions. It is on the 4th track “Viaggia la Speranza” when the ISP/RPI fans will begin to get interested. The 7 minute long piece is tasty right off the bat with an upfront bass guitar and a mysterious vibe, distant piano notes falling in the background, and again some fine acoustic work. Soon the mellotron flows into the song along with backing harmonies and we approach pastoral Ital-prog bliss. Halfway through the electric guitar kicks in with some lead play over the mellotron and classical guitar with an increasingly louder drums and bass. Fucci’s singing voice is certainly not the most powerful in Italian Prog but it is certainly pleasant and works well in the songs. Side 2 splits the difference again with variety. “Loro Sanno Dove” is a gorgeous, sparse number as fragile as something from Joni Mitchell’s early era, while “Notte” features CSN style harmonies over what I believe is a trio of dueling acoustics, quite impressive. It’s hard to convey for me just how pretty some of these sections are, very lovely. On the flip side is the more upbeat “Tutto cio che hai” with great piano work, passionate vocals, soaring melody and some feisty electric solos. The album closes with the haunting “Giusto sig K” beneath more mellotron and an unusual 180 in the song’s final minute where they abandon the track for a little spontaneous improvisation. A fitting closing to this unique little album. I really like this debut and recommend it easily to fans of the lighter, more melodic Italian prog such as Reale Accademia di Musica or Errata Corrige. It is not however an essential title for the adventurous types who are looking for bombast and edge. 7/10

-------------------------------------------------------------------------------------------------------------------------------------------------

 

 

Basically the first two review are great... But Lupo Fiore's review is not the review of L'Uovo Di Colombo's LP!!!