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ROCK PROGRESSIVO ITALIANO
A Progressive Rock Sub-genre
From Progarchives.com, the ultimate progressive rock music website
Rock Progressivo Italiano definition
aka "RPI""So it's an established fact that in Italy during the period between 1971-1974, a music movement existed where bands would challenge each other to see who could be the most imaginative, who could create the album for the ages. They were all painters and sculptors just as in Renaissance Italy." -Tom Hayes/Gnosis
1. The background
As the 60s drew to an end, Italy experienced a wave of new ideas and ideals which coincided with the new musical era being born. It would not be exaggeration to state that the 70s were a watershed period in the history of the country. Even though the 60s are generally remembered as the years of the 'economic boom', it was only in the following decade that Italy made the long, difficult change from a relatively poor, traditional country into a fully developed Western society. A look at any timeline for 70s Italy will show an incredible concentration of events that changed the fabric of Italian society irrevocably: laws and acts were passed which affected worker's rights, family and divorce law, and women's rights and reproductive health. In a country where the physical presence of the Catholic Church has always been impossible to overlook, not least because of its open intervention in the country's political affairs, the introduction of such radical changes was no small feat.
Most of those changes were made possible by the presence of a strong left-wing component in Italian political life, even if regarded with extreme suspicion by both the Church and Italy's main ally, the United States. Though the existence of a party that openly called itself Communist was not exclusive to Italy, at the time the PCI (Partito Comunista Italiano) was considered more of a danger than, for instance, its French equivalent - mainly due to Italy's strategic position in the Mediterranean area, as well as the party's obvious connection with the Soviet Union. Such a peculiar, potentially explosive situation sadly became a breeding ground for a number of extremist groups, who were responsible for the season of violence and unrest commonly known as the 'Anni di piombo' ('years of lead'), which lasted well into the first half of the Eighties. The number of casualties due to terror acts and rioting was quite high, involving people from all walks of life. However, the defining episode of the decade was the kidnapping and subsequent murder of well-known politician Aldo Moro (a left-leaning Christian Democrat) by the notorious Brigate Rosse ('Red Brigades') in the spring of 1978.
2. The birth of a movement
The turbulent times affected countless musicians looking for something new-some way to parallel the political climate through artistic media. Ranging from highly educated conservatory students to local singer-songwriters, this spirit managed to captivate an entire country within a few short years. Young people were restless, bursting with a burning desire to change the staid, suffocating atmosphere of Italian society starting with one of its symbols, its venerable musical tradition. Most musicians had more or less strong left-wing leanings (the prime example being Area), while the few examples of openly right-wing bands never managed to break out of obscurity, or gain more than a strictly cult following.
Without a strong rock tradition in the 60s Italy had mainly produced beat bands of varying quality, as well as singers well-versed in the long-standing canzone tradition of the country. As the tidal wave of counter-culture swept in, it brought revolution not only in the form of progressive rock, but also differing forms of heavier, continental rock which was establishing itself around the same time. Psychedelic influences and the incorporation of classical music may have been the same stepping stones used by most other progressive scenes around the globe during the same period, but even at this embryonic stage there was a whiff of something else in the air. In the late 60s when the beat scene was already heading towards a decline, a number of bands formed, some of them releasing singles (or even albums) that bridged the gap between beat, conventional Italian easy listening music (musica leggera), and the new ideas coming from Great Britain - among them, New Trolls, Le Orme, Panna Fredda, I Quelli (later to become Premiata Forneria Marconi), Il Mucchio, and Fabio Celi e gli Infermieri.
"We wanted to put some improvisations between the singing parts and we had to make up our minds about the style to follow... After having been to the Isle of Wight festival, it was clear to all of us that we couldn't keep on playing the usual songs with verses and refrains." -Toni Pagliuca, Le Orme
3. The golden years
The beginning of the new decade saw the rise of a countless number of bands and artists, some of whom would go on to become successful acts. PFM, Banco del Mutuo Soccorso, Osanna, Il Balletto di Bronzo, Quella Vecchia Locanda belong to this group, with all but the latter being still active at the time of writing. Some others only managed to release one album (or even just a handful of singles) before they disbanded. The prog-rock bug became so widespread in Italy that some experts say every artist and band in Italy produced at least one progressive album during this time. A number of well-known mainstream artists started their career with a prog album, like singer-songwriters Riccardo Cocciante (with Mu) and Ivano Fossati (with the first Delirium album, Dolce acqua). Or, like Lucio Battisti or Fabrizio De André, they released strongly prog-influenced albums when the movement was at its height.
During the peak years of the RPI movement in the early 70s, countless bands showcased their talent in the many pop festivals organized throughout Italy. The festivals were often free of charge and boasted a level artistic freedom and competition seldom seen in popular music. Fans witnessed bands rise from obscurity to compete on the same stage as the heavy hitters. This musical competition created something of an upward spiral; everyone tried to outdo each other, producing unique sounds and incorporating disparate influences into their music. The variety of the music went through the roof, with every band sharing the same aspirations, though seldom the same sound. It must also be made clear that despite the beliefs of those who write off Italian prog as simply a British counterfeit, many of these bands were creating music that was phenomenally original, experimental, free-spirited, and creatively successful. While bands from abroad helped influence and inspire Italian bands, Italy's young bands quickly took the ball and ran with it. It is ludicrous to suggest the scene a mere imitation. The upward spiral also meant an over saturated market, in which many bands only managed to put out one or two releases with minimal budget and intense recording. Some of the best, most genuine and treasured albums of Rock Progressivo Italiano can be found in this group: Semiramis' "Dedicato a Frazz", Pholas Dactylus' "Concerto delle menti", Raccomandata Ricevuta di Ritorno's "Per un mondo di cristallo", Museo Rosenbach's "Zarathustra", and Balletto di Bronzo's "Ys" to name just a few.
"We had to tackle this tradition, we had to fight against the conventions and refuse to be integrated. The New Sounds hadn't arrived yet, there was no music for the young people, there was nothing, you had to invent and build up your space. Perhaps this was the mainspring that unchained such a creative strength." -Gianni Leone
With time some of the biggest bands achieved international success, with PFM as the best-known example. Lyricist Peter Sinfield, known from his work with giants like King Crimson and ELP, even wrote for the band, while Peter Hammill provided English lyrics for Le Orme's "Felona e Sorona". Ironically this success often meant a detour from the roots of the RPI sounds, making these albums more aligned to the British scene than the bulk of the artists and albums in the archives. Look beneath the surface in order to discover hidden (or not so hidden) gems. While the oft-mentioned big 3 of Italian prog (PFM, Banco, and Le Orme) are conveniently considered the peak by those casually mentioning this scene, RPI enthusiasts know the river runs so much deeper, and many of our personal favourites are found outside of these popular groups. Those who search beyond the surface will discover that the most daring and provocative works were often made by more obscure groups who released one fantastic album and then vanished into thin air. This common syndrome of Italian "one-shot" bands became the bane of many RPI fans.
Since so many different musicians experimented with the progressive format, you will also find a broad musical scope within RPI, something which has kept the subgenre fresh and vital over time. Examples include Franco Battiato (still a very successful artist in Italy), Picchio dal Pozzo, Opus Avantra, Stormy Six and Area, who each in their own individual way, show a more cosmopolitan flavour and range of influences than most other acts.
After its explosive development in the early 70s, the movement followed the same path as other progressive musical movements around the world as the 80s approached. Some influential artists continued to release new albums though never with the same success as in the halcyon days. Others changed with the times and became highly successful mainstream artists both in Italy and internationally. As elsewhere in the prog universe the quantity and quality of RPI began to dry up a bit in the late 70s and early 80s, although there were some quality releases from that period. These titles tended to be more melodic and less brashly avant-garde than the classic period but were respectable nonetheless. To name but a few there were Locanda Delle Fate, Stefano Testa, Pierpaolo Bibbo, and L'Estate de San Martino. Area, Stormy Six, and PFM had a good title or two left in them as well.
4. Musical features of RPI
Italian symphonic prog is notable for the prominence of classical influences, often providing the driving force behind the music. The new listener will discover that this particular branch of RPI feels more like classical music in a rock setting as opposed to occasional classical influences on top of the rock format. Furthermore, the rich, diverse musical traditions of Italy permeate the albums, creating a strong national and even regional character. The "textbook" RPI groups can usually be identified by a pervasive sense of romantic melancholy and earthy flair, sometimes enhanced by baroque elements, sometimes by more ethnic ones. Other distinctive features include overt opera and operetta influences, wild and uncontrolled storytelling, and as a general rule, bold and highly emotional vocals. There is extroverted, operatic gallantry and panache or mellow balladry; exciting use of all sorts of keyboards, with sounds heard nowhere else but in this particular scene; exotic instruments such as aggeggi, ottavino, mandoloncello, clavicembalo- names that tickle the imagination and leave their distinct mark on the music. There is a uniquely magical marriage of the traditional to the modern, of the warm to the wild. The combination of flute, piano and violin is often encountered, and the interplay between the first two instruments in particular supplies the subgenre with a fair share of its identity and flavour.
Though the symphonic element is indeed the most common in RPI, the genre would be better characterized as eclectic. Jazz-fusion, folk, hard rock riffing à la Jethro Tull, Deep Purple and Led Zeppelin, intense drama a la Van der Graaf Generator (whose albums were revered in Italy), singer-songwriter, proto-metal, blues, avant tendencies, pop, psych, dark/occult, electronic-the list goes on. Even more amazing, these differences in style can often be found to varying degrees on one album, and still feel natural in the distinct stylistic framework mentioned above.
No overview of RPI would be complete without mentioning the use of the Italian language, by many considered one of the most musical languages in the world. It could be safely stated that the use of Italian is inherent to the soul of RPI, a critical component to the full appreciation of the subgenre. In fact, even if some key RPI albums were translated into English in an attempt to gain international recognition, most of them fail to impress. They feel as if one of the basic ingredients of what makes RPI such a successful concoction is missing. While most serious RPI fans consider Italian vocals essential to their listening experience, it is fair to say that some believe English lyrics are not so detrimental-even if in most cases the odd phrasing, incorrect emphasis, and heavy Italian accent of the singers detract significantly from an authentic overall effect. While some prog fans can find the gregarious Italian vocal style challenging at first, newbies are encouraged to simply stick with it for a while. With only a modest effort any RPI newbie will soon find they cannot imagine this music without traditional Italian vocals-they truly are the icing on the cake.
One common misconception that must be addressed is the belief that any prog band from Italy is an RPI band. There are bands from Italy more appropriate for other genres. As an example, a pure and obvious post-rock band who just happen to be from Rome are going to be in the post-rock sub, not RPI. A pure jazz-fusion band with no RPI characteristics to their sound could be easily placed in the Jazz/Fusion subgenre. The RPI team will work hard to evaluate bands that fit the characteristics and the feel of the subgenre, and those whose primary sound is more suited for another sub are recommended to them.
"Progressive is basically a blending of three elements: the song, the improvisation inspired by jazz and the composition in classical style. This cocktail is interpreted in different ways in every country: in England, for instance, Celtic, rock and blues influences prevail. In Italy we have to cope with our classical tradition: the melodramma, Respighi, Puccini, Mascagni but also all the contemporary classical composers. It's in this legacy, in my opinion, that the specificity of the Italian Progressive Rock is concealed." -Franco Mussida, PFM
5. RPI in the new century
As recently as the 90s and early 2000s RPI again proved its longevity to the prog community. Scores of the classic albums were re-pressed in Japan, then specialized independent labels such as BTF, Mellow and Black Widow (the latter responsible for rescuing the likes of Jacula and Antonius Rex from oblivion) started to re-issue many of the classic albums. As a consequence RPI has not only reached a new generation of fans, but the increased interest and appreciation have led to new material being released. Artists whose recordings have never been in circulation, bands that are as new to our ears as they are to many of those who were there when it happened, now have a new-found audience creating an ironic worm-hole effect: brand new music straight from prog's golden years.
With the revival clearly under way the 90s produced some stellar Italian albums and the beginning of CD reissue fever. In the 2000s the trend has continued to a much more successful degree. RPI is back and fan interest has exploded for both the classic period and the new bands of today like Il Bacio Della Medusa, Pandora, Coral Caves, J'Accuse, Ubi Major, and the projects of Fabio Zuffanti to name just a few. Italian progressive rock today covers a wide range of styles and influences, but many of the bands ground a portion of their sound in the RPI tradition. Moreover, this first decade of the 21st century has seen a new round of publications (both in print and in electronic format) covering various aspects of Italian prog, as well as the creation of a number of excellent websites dedicated to the subgenre, which are extremely influential as regards the promotion of new bands and artists.
The commercial success of RPI has always been modest compared to the big bands from other countries. However, the quality of the music past and present, from its unique compositions to fiercely independent spirit, has earned the RPI subgenre some of prog's most loyal followers.
By:
Raffaella Berry
Michael Berry
Ryan Olsen
Jim Russell
Linus Wikström
Todd Dudley
For the Mick.
29 July 2009
Additional information:
Italian Prog - http://www.italianprog.com
Andrea Parentin's history of RPI (essential reading)
http://www.progarchives.com/forum/forum_posts.asp?TID=33377&FID=58&PN=3
Andrea Parentin's contemporary Italian prog (newer bands)
http://www.progarchives.com/forum/forum_posts.asp?TID=62150&FID=58
Arlequins - http://www.arlequins.com
Movimenti Prog - http://www.movimentiprog.net
Centro Studi per il Progressive Italiano - http://www.centrostudiprogitaliano.it
Jim's Italian Prog Space - http://www.myspace.com/italianprog
Mats Italian Prog Site - http://www.italianprogrock.com/index.php
Where to buy Italian prog
Syn-phonic - http://www.synphonic.8m.com/index.htm
Doug Larson - http://www.hicom.net/~dlarson/
Kinesis - http://www.kinesiscd.com/index.html
Wayside - http://www.waysidemusic.com/
Mellow Records - http://www.mellowrecords.com
BTF - http://www.btf.it
Black Widow Records - http://www.blackwidow.it
Rock Progressivo Italiano Top Albums
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Rock Progressivo Italiano overlooked and obscure gems albums
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TERRA IN BOCCAGiganti, I |
BUON VECCHIO CHARLIEBuon Vecchio Charlie |
MITOPOIESICoral Caves |
CONCERTO DELLE MENTIPholas Dactylus |
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Latest Rock Progressivo Italiano Music Reviews
Biglietto Per L'Inferno Rock Progressivo Italiano
Review by
Nightfly
Prog Reviewer
Il Tempo Della Semina is the second album from seventies Italian prog rockers Biglietto
Per L'inferno. It's failure to be completed and released at the time was to shortly lead to the
band splitting up and it didn't see the light of day until 1992 unfortunately. Not surprisingly
it's a bit rough round the edges. After their classic debut Il Tempo Della Semina is a bit of a disappointment but still contains some fine moments. Biglietto Per L'inferno occupy the heavier end of the RPI spectrum though less so here in comparison to their debut. While echoes of their debut are present there are less symphonic leanings and the sound is more varied. Clearly the band didn't want to produce part two of their debut and have made obvious effort to move forward and try something different. The result is an overall less cohesive and inspired effort though. Particularly noticeable is vocalist Claudio Canali's singing style which has changed I have to admit, not for the better. It's less refined lacking the more histrionic moments on their debut, having a rawer sound.
The title and opening track is excellent however, if not reaching the heights of their first album then not far off. Over the course of 10 minutes the music constantly shifts on this largely instrumental piece with only a short spoken word vocal part. Pleasing dual keyboard work against powerful guitar and a dynamic rhythm section and flute adding the icing on the cake, an instrument semingly prevalent in much Italian prog.
Mente Sola - Mente shows a few cracks appearing and is the least satisfying moment here as a horn honks against a background of all sorts of strange sounds until a synth takes over. Thankfully it's short lived at less than 3 minutes.
Viva Lotta Pensa is much better seeing the band back in symphonic vein on this keyboard dominated piece. L'arte Sublime Di Un Giusto Regnare has a Jethro Tull vibe and Solo Ma Vivo sees them fitting in a number of moods and changes on a relatively short song. Finally another longish song to close, La Canzone Del Padre doesn't work as well as Il Tempo..... but is still worthwhile, once again going through many changes.
So Il Tempo Della Semina while not being in the same league as their excellent debut still has enough of interest to make it a worthwhile purchase for RPI lovers though not essential listening by any means.
Goblin Rock Progressivo Italiano
Review by Diego I
Roller has many cryptic sounds that remind me of those old bands where they played with
great organs, like the style of jazz from New Orleans, not musically similar... For the
description of this album i want to be as objective as possible, if that exists ... I think generally
has a sound very slow, sometimes boring would say, there perfection in the execution of the
instruments, everything is correctly written, played, but for me, are somewhat lacking viscera or
emotion or feeling; Roller ( the track) is the demostration of this, with Aquaman, things improve
a little bit, but return in every bad way to the same, and unfortunately the title of the song seems
frankly ridiculous, plucked guitars and synths that seem to go in a zig-zag line is proposed on
this water man ... The album in general is not very far from that. Finally I would just like to add that it seems that I effort to hate this record, but the truth is not so, just think it's bad.
Coral Caves Rock Progressivo Italiano
Review by
Tarcisio Moura
Prog Reviewer
3,5 stars, really. This symphonic band from Palermo started with an excellent debut CD, quite varied
and full of promises. The first track, Mitopoiesi is pure 70´s prog rock, with powerful guitars and
keyboards. Vocals are only average, but work well once you get used to it. The electrifying start
does not sustain muck, thought. The second track, Sorridi, is much slower and probably the weakest
in the whole CD, a bad sign. But - fortunaltly - the remaining songs are quite good, being very
progressive and less aggressive than the first one. The instrumentation is superb, those guys can really play just about anything. And that´s the album´s only real flaw: they lack a strong musical direction. it is not like those CDs that seem like each track was played by a different group, but it is close. The second part of the album has a more coherent collection of tracks than the first. And they really know how to write fine tunes. Their music is very italian, and yet they don´t really sound like any other itailian band I know. The resulting workc is quite melodic, full of passion, elaborated and very well done, with no fillers.Production is also top notch.
In all I found this CD to be very pleasant and surely those guys are talented enough to leave their mark on the italian prog scene. They just have to hone a little their obvious songwriting skills and ajust the vocal lines a bit more.. I´m looking forward to hear their next work. A band to watch for.
Dalton Rock Progressivo Italiano
Review by
sinkadotentree
Prog Reviewer
I became interested in this album after seeing it listed in a "Top 20" list on some Italian site.
According to the liner notes: "DALTON,from the Lombard region(near Milan),was formed
during the late 1960's and even once included Mauro Pagani on flute(after which he joined the
more well known PFM).As usual for the time,DALTON played beat music and formally
released a single in that style.They then disappeared without a trace until 1972 when original
keyboardist Temi Reduzzi reformed the band.Though,unusual for the time,they maintained
their UK sounding beat group name." This their first album was released in 1973.They even
won the gold prize at Zurich's Pop Festival the same year.Though mellotron is listed here as
an instrument Andy at PlanetMellotron insists that they only used string-synths.
"Idea D'infinito" opens with synths until the flute takes over followed by a full sound.Vocals
before 1 1/2 minutes and they're very expressive in the Italian tradition.String-synths later and
some good guitar 3 1/2 minutes in.Organ late. "Stageone Che Muore" opens with lots of flute
as well as prominant bass,organ and vocals.Guitar after a minute. The tempo picks up after 3
minutes with flute and drums out front.It settles a minute later. "Cara Emily" opens with
harpsichord as fragile vocals with acoustic guitar and piano follow.String-synths also join in
then drums and bass as it gets fuller.A calm after 4 minutes with flute to end it. "Riflessione"
starts with some aggressive guitar then drums and bass kick in.Organ 1 1/2 minutes in and
flute follows.This is all about the guitar though. "Un Bambino,Un Uomo,Un Vecchio" features
keyboards and flute as vocals come in.Harpsichord 2 minutes in. "Diminsione Lavoro" opens
with a drum solo as the organ comes ripping in.A calm then piano and flute lead. Drums and
guitar after 1 1/2 minutes as the tempo picks up.Vocals too. Organ before 3 minutes.A calm
follows then the guitar starts to light it up with the organ trying to keep up.Nice. Synths end it.
This wouldn't be in my top 20 Italian albums but it's worth the 4 stars and a worthy addition to
my collection.
Buon Vecchio Charlie Rock Progressivo Italiano
Review by
Ivan_Melgar_M
Special Collaborator Symphonic Prog Specialist
Hard to find, but worth the effortEdward Burke said "Those who don't know history are destined to repeat it", but we don't understand this message, people try to find new and original stuff in contemporary artists, but refuse to take a look to the past and research the unknown bands who made music so original that would make some self proclaimed innovators sound like copyists just because they never discovered this hidden gems.
This is the case of BUON VECCHIO CHARLIE, a pre PFM Italian band who released a fantastic self titled album in 1972 (recorded in 1971) with probably the most original adaptation of a classic. As a fact, I heard at least 5 or 6 versions of "In the Hall of the Mountain King" from the "Peer Gynt Suite" released years after by iconic Prog bands, but none of them so delicate and original as the one from this forgotten gem.
Last week I found this LP gathering dust in a box inside my deposit and decided to give them a chance, and what a surprise, whoever believes that PFM or Banco del Mutuo Soccorso were the pioneers of Italian Symphonic are wrong, this modest band, was there when the genre was in diapers.
Unlike most Italian bands who followed, BUON VECCHIO CHARLIE don't limit themselves to beautiful melodies and ´pristine Symphonic songs, they dared to be different, yes, they take "In The Hall of the Mountain King" as the cornerstone of their album as many Symphonic groups did later, but they add so many different elements that would be hard to catalogue them in a determined genre.
The beautiful lyric sections morph in a matter of seconds to Jazzy passages, acoustic tracks and even rock hard when it's required, the distorted guitars go hand by hand with sweet clear acoustic guitar tunes, the pastoral flute coexists perfectly with the tortured Hammond organ and the jazzy Sax. This may sound as a mess, but the arrangements are so strong and crafted with such good taste, that one blends with the other, no matter how contradictory their nature may seem.
And if this wasn't enough, the beautiful lyrics in Italian, sung by the beautiful voice of Richard Benson with Sandro Centofanti making incredibly beautiful backing vocals, there's not a single unnecessary or missing elements, everything fits perfectly as a 10,000 pieces puzzle.
Making a song by song review, may spoil the adventure of discovering the original proposal of BUON VECCHIO CHARLIE, but I recommend to listen the 15 minutes epic "All'Uomo Che Raccoglie I Cartoni" with special care, a Progressive Rock masterpiece that proves this band was capable of great things.
And if you are lucky to find the CD (As I did yesterday in a rarities store for 20 bucks) you may listen the Medieval and "Troubadouresque" "Il Guardiano Della Valle" with a new and clear sound..
No questions, this is a transcendental and essential masterpiece of Progressive Rock that deserves no less than 5 stars.
Le Orme Rock Progressivo Italiano
Review by
kenethlevine
Special Collaborator Prog-Folk Team
After the commercial departure of "Smogmagica", one might have expected LE ORME to poppify itself
even more as the middle of the decade past. Instead what they produced with the help of new
guitarist Germano Serafin is a superb rock album informed by 1960s enthusiasm and 70s sophistication, with progressive
overtones. The rhythm section and Serafin are so formidable that "Verita Nascoste" should have been
required listening for the "masters" of prog in 1976, most of whom had long since abandoned any pretense of caring for their rock
roots.
For those who felt betrayed by "Toni Pagliuca" on "Smogmagica", rest assured he is back and an equal partner. In particular his synthesizer work sizzles on vibrant cuts like Regina al Troubadour", and the closer "Il gradino più stretto del cielo" before the equally exultant guitars lead the way out. The organ is more ubiquitous but employed chiefly for colour. Among the more commercial cuts that shine, "Radiofelicita" is as good as it gets, which is to say excellent, particularly in the vocal department, and the tubular bells of Michi Dei Rossi tap out a deceptively simple tune. Again the synth passages are wonderful. Some dissonance in the form of other voices and an oddly sped up ending demonstrate the group's continued wish to experiment even in a more conventional setting.
The title cut is the most mellow, and tugs at the strings be they orchestral or cardiac. Again Tagliapietra is at his best, and this might be the album that showcases his strengths better than any, but that is generally true for the whole group on "Verita Nascoste". The two opening tracks are also strong, with plenty of imaginative shifts in service of a loosely unified whole, and rich acoustic dimensions. Only "Vedi Amsterdam..." and "I Salmoni" lack originality and verve, sounding somewhat strident and more like a group following a trend than setting one.
I have made few comparisons to anyone in this review, because the energy level on "Verita Nascoste" is beyond what one might expect from a pre-punk mid 70s product, but also far superior to what followed in the punk and new wave genres. Still, I hear in the more aggressive passages some of the angst of the best rock groups from the turn of the 70s, such as THE CLASH. I shudder to place too much emphasis on this, because those groups were shackled by the 3 minute tune and plowed a singular furrow, albeit well. LE ORME set the pace using a multidimensional strategy, and that's the hidden truth as I see it.
Quella Vecchia Locanda Rock Progressivo Italiano
Review by gottagetintogetout
I have been interested in Italian Prog recently, and so I decided to try out the band Quella
Vecchia Locanda. While there seems to be no end of Italian Progressive Rock bands, this
one stood out to me because of "IL TEMPO DELLO GIOIA's enchanting album cover. The
artwork, which takes up the cover and the back of the album, reminded me a lot like Roger
Dean's classic album art we all know and love. Fortunately, the music inside the jacket is
just as mystifying and beautiful, and I'll be reviewing it today.The album opens up with "Villa Doria Pamphili." The track captivated immediately, with dreamy soundscapes made by the piano, violin, and acoustic guitar. I knew right away that I had made a good purchase. The vocals come in at about 2 minutes, and the lyrics are about a natural park. The music really matches the idea of being in a park, beautiful and tranquil.
Then there is the instrumental "A Forma Di." The heavy use of an orchestra, flute, and piano make this one sound like classical music, only shorter. This track is also very beautiful, but a little more stern.
Next comes the title track "Il Tempo Della Gioia." This one is a bit more rock-oriented than the other two, and more daring. This track really impressed me by showing that Quella Vecchia Locanda could also be aggressive. Fans of King Crimson should dig this track.
After that, there's "Un Giormo, Un Amico." This track is pretty challenging, but is the challenge well worth it? I say yes. There is some great instrumentation here, and the vocals are confrontational.
Finally, we have "E'Accudato Una Notte." It begins very dark, opening up with a choir. Then it becomes more somber, full of woodwind and guitar. Like all the other tracks, it's classical influence is apparent. I really like the finale, and I feel that it's a great way to end the album.
I really enjoyed IL TEMPO DELA GIOIA, and plan to check out Quella Vecchia Locanda's other album soon. This is a must-have if you like Italian Prog, and you should still check it out if you like Symphonic Prog with some more challenging elements. My only real complaint is that it's too short.
4 Stars- Excellent addition to any prog rock music collection.
Le Orme Rock Progressivo Italiano
Review by
kenethlevine
Special Collaborator Prog-Folk Team
A second major departure for LE ORME in as many albums, "Smogmagica" sees the addition of a full
time, if temporary, guitarist Tolo Marton, who not only provides the group with its first guitar
oriented album, but also with vocals here and there to offset those of Mr Tagliapietra. For many,
merely introducing guitar as a major instrument to the Le Orme sound constituted blasphemy of the
highest order, but add in the clear influence of America and the Los Angeles recoding environs and
you can pretty much write this one off in the eyes of the prog public both then and now.
Yet this is a vast improvement over the vapid "Contrappunti". It is true that some vestiges of the dead end compositions of that album remain, particularly in the dreary "Laserium Floyd", possibly engendered by the popular laser light shows that made planetariums the cool places for teenagers during the mid 70s. And the closer "Laurel Canyon" is an ersatz mid 70s blues-rock instrumental reminiscent of FLEETWOOD MAC in all the wrong ways. But "Los Angeles" breathes a firestorm of new life into a group seeking a credible new sound, a workable mix of Marton's licks and the old Le Orme sound circa Uomo. "Amico di Ieri" and "Immensa distesa" are both gorgeous wistful ballads also very much in the prior style.
A decidedly pop prog vein is mined in two quirky songs, "Ora o mai più" and "Amanti Di Città", which sound ahead of their time, reminding me of some of FRANCO BATTIATO's 80s work. Granted, this might not be the fodder for progarchives listeners, but they nonetheless exhibit a good deal more imagination than most of their English progenitors at this stage, not to mention rather catchy melodies.
For those who enjoy successful transitions to a more accessible style by prog bands, "Smogmagica" remains a breath of fresh air to this day.
Le Orme Rock Progressivo Italiano
Review by
kenethlevine
Special Collaborator Prog-Folk Team
After two sweepingly lyrical and melodic exercises in the bombast, LE ORME shifted direction rather
dramatically. "Contrappunti" holds mere remnants of the elements that helped forge two early 70s
classics. The playing remains impressive but mostly for its own sake, while the voice of Aldo
Tagliapietra takes a back seat to the increasingly ELP and Yes-ish keyboard marathons unfeelingly
juxtaposed with eerie organ passages that sound like soundtracks to B grade Italian horror flicks.
I do not stand in the way of a group's attempts at evolution, and would gladly applaud when the
results take on human form.
While "Uomo di Pezza" and "Felona e Serona" were more composition than song oriented, with occasional and generally appropriate unstructured romps, "Contrappunti" fails at both levels, and exposes Le Orme's considerable deficiencies in the songwriting department at this point in their history. Sure, "Frutto Acerbo" has the trademark sweet melodies, and "La fabbricante d'angeli" uses synths to approximate flutes, and is fairly similar to the "Felona" style until it teeters off the precipice in the final minute, an anti climax if there ever was one. The longest track "Maggio" alternately sparkles and stagnates, as the experimental ambient sounds that plague the album opener, "Aliante", and "Notturno" restore the malaise.
Perhaps I am just not a sufficiently discerning listener, but "Contrappunti" lives up to its name a bit too much, shifting indelicately about when I wish it wouldn't, and holding still far too long when I wish it would break out. I think I'll punt this one to the sidelines.
Laser Rock Progressivo Italiano
Review by
Finnforest
Special Collaborator Honorary Collaborator / RPI Specialist
A minor gem which I personally loved Laser is an obscure 5-piece from Rome who released one album in the heart of the classic period and then vanished (the old familiar RPI tale, sadly). They are not a crucial RPI band by any means, neither historically groundbreaking nor close to the best the genre has to offer. And yet they are not without their charms. Like so many RPI bands of this era they had very little studio time and no promotional support. This along with the personal issues of some band members led them to split up shortly after the album's release. The original vinyl pressing of a few hundred copies made this album highly sought after by Italian rock collectors and its rarity made it a minor legend. Thankfully the Mellow Records reissue allows us modern day fans to hear the album without too much time and expense.
The album (translates to "Life on Earth") was a concept work about the evolution of life on the planet. Their sound was mainly a medium to hard rock mixed with progressive rock, blues-rock, and psych-pop. Short, often basic, yet addicting tracks in the 3-5 minute range left time for only minimal improvisation. And yet while far from the best RPI titles it is not without many charming qualities and I've seen it judged far too harshly in certain blogs and reviews. There are very nice melodies and many catchy moments, some decent playing, and plenty of that Italian rock spirit. Scented Gardens notes "The main attractions here are some superb psychedelic fuzz guitar parts, recalling American underground heavy psychedelia of the late sixties." Laser has been noted to sound like Ricordi D'Infanzia and I would add they remind me a little bit of The Doors live on a rough night. The songs are not complex by prog standards and yet they are embellished nicely with a prominent keys, good rowdy lead guitar, solid drumming and boisterous, often over-the-top vocals. I believe there are two singers, one who reminds me of Jumbo's vocalist and the other like the high-pitched dude in New Trolls. "Dove Andremo" has an explosive section of dual guitars over building organ and dramatic vocal---cool heavy/psych vibe! Or take the trippy guitar intro to "Eri Importante" which almost sounds like an acid-blues set The Dead might have launched into around 1970. More than once they sounded influenced by the hippie blues of the west coast, think Big Brother or Canned Heat, but with Italian vocals and organ! Yes they sound a bit unpolished in places but I can almost guarantee you they had about 8 hours to record this. They probably warmed up and tore through their set live in the studio, or almost live. The lyrics are purportedly pretty cheesy but that's never a concern for me. Production issues and occasional mistakes aside Laser is a fun band. They're like a jammin' local garage band who decided to try a high-minded "proggy" album to fit in with what was happening around them. And those influences mixed with the slightly raw sound and economical melodies really work for me.
While I recognize this title is strictly for RPI fans with an already deep collection of the essential titles, I have to award 3 stars anyway, and frankly I like it better than that myself. I found Laser to be a personable and spirited little band. They're a bit rough around the edges but in this case it only made them more endearing. If you're going for the deep collection you may wish to take a chance on Laser.
Rock Progressivo Italiano bands/artists list
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Finnforest (James Russell)
Honorary Collaborator / RPI Specialist
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jimmy_row (Ryan)
Italian Prog Team
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Italian Prog Team
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Rock Progressivo Italiano!
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