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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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MELOSCervello |
SEI LACRIME D'AMBRANotaBene |
PROFONDO ROSSO O.S.T.Goblin |
VOCIBasso, Luciano |
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Latest Rock Progressivo Italiano Music Reviews
Cervello Rock Progressivo Italiano
Review by seventhsojourn
I have to admit that this album confounds me. It has the reputation of being one of the
essentials of the RPI canon, but try as I might I just can't get into it. I can appreciate that
Melos is a bold and challenging work; it's certainly brimming with complex musical
strands, but it's just a bit too ''difficult'' for my taste. I'm not saying that I only like simple
song structures, but the music here is constantly changing which makes it quite confusing;
or should that be confused? It's like musical sleepwalking; there is certainly variety, but
themes appear then disappear with little thematic development and variation. The band
appears to have used a cut and paste approach, with no apparent link to different parts
within songs.The other side to this argument is that Melos is a genuinely singular work. Paragraphs of sound are built from short phrases and it all seems very spontaneous, as if the band were in stream-of-consciousness mode. As I alluded to above, song structures are very loose and the music is characterized by a marked volatility of mood. Broadly speaking, most of the tracks move from mellow and acoustic to harsh and aggressive. For example, the opening section of Euterpe has recorders and acoustic guitar, while the closing part features the electric commotion of squeaking sax and piercing guitar. Instruments are used imaginatively to create a unique sound world, with winds and vibes employed to compensate for the absence of keyboards. Galassia features what sounds like a Mellotron but is in fact an electric saxophone, whereas Scinsione (T.R.M.) features some odd guitar that sound like sci-fi effects. Variety of timbre and texture are important components of the album's sound-scape as vibes and pure toned flutes and recorders alternate with the electric instruments. Vocals range from ritual incantation and treated voice on the otherworldly sounding Canto Del Capro to light and lyrical on Trittico, which in my opinion has the most aesthetically pleasing melody on the album.
For anyone building a comprehensive RPI collection, this is an essential addition to that collection. However I would personally only rate this album as, at best, good i.e. 3 stars. Benchmark albums are Osanna's Palepoli and Il Balletto Di Bronzo's Ys; I would place Melos between these two in terms of both quality and accessibility, with my recommendation going to Palepoli. Another album that I would recommend is Biglietto Per l'inferno, which has a stronger sense of melody than Melos. One final thought on the album sleeve of Melos. The album is seemingly a concept album based on Greek mythology, although the front cover features a picture of a tin of tomatoes being opened. Stranger yet are the peas on the back cover photo. Can anyone explain that please?
Nuova Era Rock Progressivo Italiano
Review by
Ivan_Melgar_M
Special Collaborator Symphonic Prog Specialist
Nobody denies that Italian Symphonic as a genre reached the peak in the early/mid 70's,
bands as BANCO DEL MUTUO SOCCORSO, PFM or LE ORME are only the tip of the
iceberg, because almost any album of those days presents us an impeccable style, great
musicianship and that unique characteristic that made of this country the second home of
Progressive Rock.It's also truth that in the 80's, 90's and even 00's we can find great Italian bands, but the case of NUOVA ERA is unmatched, they present us an immaculate 70's sound in the late 80's/early 90's, but without sounding derivative at all, their approach is simply unparalleled but at the same time familiar enough for the Prog Fan used to the early Italian sound, and one of the few bands that is able to resist any comparison with the early 70's monsters.
"Il Passo del Soldato" (The March of the Soldier) is the last release by this fantastic band and a concept album about all the stages of a war, which starts with the declaration and ends with an epitaph as usual in every conflict.
Even when NUOVA ERA suffered the loss of Alex Camaiti (guitars and vocals) who left the band, they manage to release an impressive album without guitar and recruiting Claudio Guerrini, who does an absolutely dramatic vocal work with his impressive voice that allows him to sing comfortably the lowest ranges and reach the most acute ones without any problem.
Probably any other band would have terrible problems performing without a guitar, but in this case Walter Pini does such an impressive job with the keyboards that covers any other problem, something impressive when we're talking of a musician who confessed in an interview with "La Caja de Música" not having formal musical education, but who plays piano, Moog, Organ and Mellotron with equal skills.
The album starts with "All'ombra di un Conflitto (La Dichiriazone)" A military march that announces the beginning of a war, in this track Claudio Guerrini takes the lead role proving his skills as vocalist, specially in the sections in which he reaches incredibly high ranges adding pure drama.
While Gianluca Lavacchi keeps the military march mood with his syncopated drumming, Walter Pini does an amazing job with the Hammond and Moog, pure Progressive Rock of the best quality from start to end.
"Lo Spettro dell'Agonia sul Campo (Consternazione)" begins with a lush keyboard solo that reminds me a bit of Jurgen Fritz fron TRIUMVIRAT, but with a delicate feeling that's so unique in Italian bands, until the organ in the vein of PAR LIND appears in the scenario, pure strength, even the vocals are far more aggressive than in the previous track and lead to a passage that reminds me of ELP, a phenomenal performance from start to end.
"La Parata del Simboli (La Truppa)", as the name implies, the song starts with another military march that reminds us of the soldiers going to the front, but a dramatic keyboard adds the sense of nostalgia and feat that arises in the middle of the sense of patriotism, again NUOVA ERA hits the nail precisely in the head transmitting several feelings in an instrumental.
"Il Passo del Soldato (Verso la Battaglia)" is a 12 minutes epic that's opened with a delightful piano solo, that leads after a couple of minutes to an "Emersonian" section with reminiscences of "Pictures at a Exhibition" but with much more feeling and passion than the excellent British band, if Italians are strong in something is precisely in powerful emotions, and this is where NUOVA ERA makes the difference.
But this is only the beginning, after several frenetic passages with radical changes and notable performance the grand finale reaches with absolute naturally, nothing is forced, nothing is out of place, everything is just perfect, something only the great musicians achieve.
"Armicrazia (I Pensieri di Cecchino)" is one of the most mysterious and striking pieces of music, the band manages to present us several passages all "in crescendo" as leading to an explosion that never reaches, creating a perfect sense of transit from one section to another, The vocal part is simply breathtaking. One of the most complex but at the same time emotional tracks I ever listened.
"L'armistizio (Le Decisioni del Generalli)" After an aggressive and almost brutal organ intro a soft piano performance clearly reflects a cease of hostilities as in armistice, but at the end the opening is repeated as to reflect that this is only temporal.
Again Claudio Guerrini gives us a superb rendition capable to move the less sensible listener, just brilliant.
"Riflessi di Pace (Ottre il Fronte)" is a softer track that gives us a sensation of hope, as if peace was reaching at last, the incredibly beautiful organ and vocals are perfectly supported by the rhythm section that maintains a military mood in the background, another overwhelming song, this time with Pini playing in the style of Rick Wakeman.
The album ends with "Epitaffio (La morale)" and "Nuova Era Atto Secondo", two tracks that I comment together because they seem to summarize the whole album and both present us absolutely amazing Mellotron and organ performances, "Il Passo del Soldato" ends as strong as it started.
The rating is no problem for me, anything bellow 5 stars would be unfair, a perfect masterpiece for any Progressive Rock listener, absolutely essential.
Osanna Rock Progressivo Italiano
Review by
Kazuhiro
Prog Reviewer Prog Reviewer
The flow that progressive various bands in Italy were gradually becoming main currents the
1970's will have been a situation to face it from time as the dawn to the time of
development indeed. It is also true that the band that had drawn the flow of psychedelic and
Beat Rock that was the main current till then was advancing attended with a conversion of
directionality and a technical improvement. Various bands are the movements that original pursuit and the ability of the performance pursue. And, the digestion of the part where the culture and other music were good might have been given. The work of the band in various Italy that was able to listen from a board in the 1970's might have invented a lot of masterpieces. And, the contribution to the chart was an indeed splendid situation. However, middle in the 70's might have been time when directionality had been converted through necessity for the activity of a lot of bands that joined the mainstream.
Osanna also had already established the existence as a band that always delivered originality and artistry. The perfection of the music character constructed with "Palepoli" still excites the listener and the fan as one of the masterpieces. The development of the expression with the enchantment part expressed in "Palepoli" and native might be very complete even if it considers it from an artistic viewpoint.
It is a content in "Landscape Of Life" announced in 1974 felt that an extension of width as the band and an original part are enough though music is constructed in shape to hide a native part a little. And, the situation for the activity of the band in Italy is gradually revolutionized in 1974 this.
"Landscape Of Life" is virtual the last album for Osanna at that time. The directionality of a band at that time might have requested the place of development and the activity of music further if it thought in the region of the guess. Of course, this is not true limited to Osanna. The crisis of oil that takes a hit worldwide is said that Italy of this time also attacked it. Various bands and label might have declined. Dissolution of band. Or, the citizenship of the band moves to acquisition in the sphere in English. These movements showed active movement centering on PFM. Advancement to another country by the band might have changed the market of the music of Italy a little.
It is said that Osanna that announced "Landscape Of Life" had not already carried out the function as the band. Each member dismantles it for the place of the following activity and the place of the creation. The situation of this division is a well-known fact for the fan. Opening of music character by "Uno" to which Danilo Rustici is related. And, the Rustici brother moves the place of the activity to Britain with Elio d 'Anna. The flow leads to the formation of "Nova". Massimo Guarino and Lino Vairetti have the flow that moves to "Citta Frontale". They might have been exactly aiming at the pursuit of the music character further in each standpoint. The advancement of creativity and the construction of the idea might have been cultivated enough of course.
Danilo Rustici turns back to Naples at once after it participates in the first album of "Nova". It might have been thought that the place concerning the creation of the standpoint cultivated in Naples and the music character was in the home country as a result if it guessed. Each member will begin to move to the reorganization of Osanna before long. Construction and idea of flow from "Uno" to "Nova" and new music character. And, it is partial of uniting the music character from "Citta Frontale". It is an age of 1978 and a refined part in those situations. And, the music character that each member cultivated is remarkably expressed in the content of "Suddance".
Reorganized Osanna announced this "Suddance" in 1978. Album..player..participate.It is a person that participated in the recording instead who is called Benni Caiazzo. The performance of Benni Caiazzo listens to the sound with gloss that indeed catches the age compared with the construction of the aggressive, good melody that Elio d 'Anna has. And, the participation of Antonio Spagnolo that seems that it is networks of Corrado Rustici it might be a point that should make a special mention for this album. Flow of dismantlement and restructuring exactly. And, the music caught in the music character that each member cultivated as a part where the age united completely is opened.
"Ce Vulesse" starts by the progress of complete Chord. Anacatesthesia and transparent feeling. And, the sound in which elements of a few Fusion/Crossover are taken is constructed. The flow from native till then is completely refined and expressed. The age might have exactly supported it. Sound of Rhodes that produces Groove. Sound of guitar that produces atmosphere by effect of Chorus. Complex melody and rhythm that develops one after another. Theme with tension. Development advanced as the element of Jazz Rock is taken might be splendid. The tune is completely refined.
"'A Zingara" starts by a beautiful guitar and piano arpeggio. The melody of complete expression of feelings and the song produces the highest ballade. The point that should make a special mention might be height of power of expression by the song of Lino Vairetti. It puts on the melody of Lino Variretti earnestly sung and the obbligati of the piano and the keyboard shines. Contribution with percussion instrument. Flow of piano freely expressed. It listens to an overwhelming expression as a ballade that doesn't stay in a simple composition. It is their eminent exactly ballade.
"'O Napulitano" starts by the melody of the guitar and Sax with a transparent feeling. The rhythm of six rhythms is reminiscent of the flow of the waltz. Groove and the transparent feeling that the band makes in union might be splendid. Their cultures and the cultivated music characters are reflected well in the age. Melody of song and transparent feeling of guitar. And, Chord that goes up in the sky progresses. The sense of relief rises. The obbligati of the guitar and the keyboard contributes to the tune while continuing Groove. Composition completely calculated while following idea to listen by "Landscape Of Life". The part where good development of Solo and Fusion by Rhodes was taken has succeeded splendidly.
"Suddance" shifts to the part of the dash feeling attended with the guitar that runs in piano Chord and the space that produces a complete anacatesthesia. It advances attended with good development of Jazz/Fusion. Sound of keyboard and guitar that creates space. It is a tune with a considerably technical element. Melody of guitar that puts on rhythm of 16 notes and flits. Repeated piano transparent feeling. The tune continues the form of almost technical Jazz Rock. However, the idea and the originality of Osanna might be included as a result as for the general feel.
"Chiuso Qui" starts by Sax completely refined and piano melody. The construction of perfect expression of feelings that bases their ages is splendid. Part of ensemble of band in close relation to part where complete melody is sung. Height of power of expression of keyboard and guitar that expresses sensual melody. Part of obbligati of Solo of Bass in close relation to space that flows slowly and Sax. The tune increases the dash feeling in the part of Solo of the guitar. The part of the unison that each member draws out in union will call impression. It consistently has the flow with a good Sax and piano that continues atmosphere, too.
"Saraceno" makes the part of the connection act in the flow of this album. Melody of glossy, acoustic guitar. The sound of the decoration with a transparent feeling shines. One space and space might be produced. The sound of the keyboard is also effective.
The melody with a progressive sound in Solo of glossy Sax twines round "Naples In The World". The music character of Area and Colosseum 2 will be reminiscent. The sound of the song and Rhodes with a bright melody in the rhythm to emphasize Groove twines well. The development of a few Funk and Fusion expands width as an impression of the album. The tune willingly receives the end while intermittently constructing the melody.
It is exactly an album in each member's technology that completely unites the idea and the age. The flow constructed as the taste of Jazz Rock/Fusion twining round the whole might be splendid. The listener feels the sound in 1978. And, I will feel the sky in Naples.
Osanna Rock Progressivo Italiano
Review by
Kazuhiro
Prog Reviewer Prog Reviewer
The existence of Osanna and the construction of the music character might be bands as
the existence of one of progressive bands of active Italy that should be exactly represented
from the beginning of the especially 70's. And, the music character that they offered the
listener with this album and the developing flow would be the reformations and be the
legends that an indeed progressive band had done. Wind instrument player's Elio d 'Anna is recollected , saying that "It was the greatest time" for the situation of the band that was becoming a main current in Italy at that time. Existence of active Danilo Rustici in band that is called Citta Frontale. And, it is said that active two person Elio d 'Anna in the group that is called Showmen formed this band. And, it is said that this flow was connected with Osanna as a target of the band that pursues complete originality for the situation of the music of Italy at that time.
Part of Beat Rock that exists as flow of music at that time and part of psychedelic. And, the existence of progressive band activity in Britain and a variety of might be gradually derivative to Italy with some respects. Progressive part that Osanna had taken in flow of the situation. The activity that an avant-garde element and the item etc. of the composite art also had taken along with it will have been exactly a creation for them. Appearance as the pursuit of a cultural, of Naples in addition to the pursuit of an exactly progressive music character artistry, and high music was gradually reflected in the activity.
As for the debut album announced in 1971, the element and the power of expression to get on one main current might have been established to some degree. It goes as at that time live of them of a lot of parties concerned. Or, it is said that there were beginning in the stage and originality of clothes. Or, the band that performs to Festival that was called "Le Nudo" for avant-garde Rock and Jazz of Italy establishes existence further in "Milano Calibro 9".
It was likely to have been able ..one-top.. to face it as a situation of Prog Rock of Italy exactly at time when this "Palepoli" was announced. And, there is a theory said that it spent the period of production for about one year as a flow that gives the formation of originality and a complete main current in the situation. All grand plans kneaded with their diversified elements might have been consolidated in this album. Appearance of "Palepoli" said that it was constructed by ancient Greece. Construction on which it worked with an exactly new vitality and romance will have been one top for them.
As for "Oro Caldo", a mysterious rhythm twines round an enchantment melody with the song. The melody with the flute and the percussion instrument explodes completely attended with the rhythm of the shuffle. The flow that constructs complete ensemble while reminiscent of a ceremonial part and a religious part might be splendid. And, the band constructs the anacatesthesia. And, opening feelings rules the whole. Construction of sound with Sax and Mellotron. Anacatesthesia of guitar. Part of complete flood of six notes with flute and guitar. It might be a tune with a complete composition.
The band does the melody with expression of feelings to "Stanza Citta" in complete shape. The sound of an intense guitar appears from the progress of Chord that runs about the space. The melody of the guitar is complete. The expression of feelings that the band constructs in union is exactly music for them in complete. Melody of song and Sax launched attended with heavy Riff. Contribution of keyboard and flute that creates one space. Acoustic part. Or, the height of the perfection of the melody that multiuses seven rhythms. A flow of the tune with a complete composition and an enchantment element might be perfect.
"Animale Senza Respiro" starts attended with the melody that there are complete originality and a tension in the rhythm of 3-4-3-7. Continuousness of tension that appears intermittently. The tune progresses attended with expression of feelings. The perfection of a grand melody and the song is complete. Progressive element that develops one after another and avant-garde flow. Construction of sound of guitar and Sax. Steady rhythm. Sound of band from which it gets on rhythm of shuffle. Continuation of transparent feeling and anacatesthesia. Development advanced as feelings are opened might be splendid. A heavy rhythm and the melody will be able to be called one established music that exactly contains originality.
Album surely counted as the top in their works. And, it is an album that always shows a sense of existence as an album that should catch as a masterpiece in the history of the band in Italy.
Goblin Rock Progressivo Italiano
Review by Rune2000
La Via Della Droga a.k.a. The Heroin Busters is an Italian crime thriller from 1977
directed by Enzo G. Castellari who most of us know as the director of The Inglorious Bastards
from 1978. This is also one of the few movies that Goblin wrote music for despite it not being a
horror movie.This complete version of the soundtrack was released by Cinevox towards the end of the 90's when demand for Goblin's material was bigger than ever among fans of giallo films. This was of course was unfair to the fans of movies like Suspiria and Profondo Rosso since this soundtrack has very little in common with those classical scores. If anything the soundtrack reminds me more of the 70's television police dramas and although Goblin does a nice job here the result isn't that impressive.
I would actually like to state that La Via Della Droga would appeal more to fans of progressive rock than then horror soundtrack fans because of Sequences 3, 8, 9, 10, 11 and 13 which are quite funky and sometimes cross over to the Jazz Rock/Fusion territory. The main title theme is very pleasant with it's playful melody played on the guitar while Sequence 2 is the closest Goblin gets to sounding like the band we all know.
Despite some nice material and occasional hints of progressive rock I just can't bring myself to awarding this soundtrack anything but an average rating. La Via Della Droga is a good but non-essential reminder of Goblins great material from the 70's.
**** star songs: La Via Della Droga - Seq. 1 - Main Titles (2:09) La Via Della Droga - Seq. 2 (2:03) La Via Della Droga - Seq. 3 (2:06) La Via Della Droga - Seq. 5 (4:39) La Via Della Droga - Seq. 8 (1:44) La Via Della Droga - Seq. 9 (2:30) La Via Della Droga - Seq. 10 (3:16) La Via Della Droga - Seq. 11 (1:36) La Via Della Droga - Seq. 13 - Finale (6:34)
*** star songs: La Via Della Droga - Seq. 4 (2:25) La Via Della Droga - Seq. 6 (2:53) La Via Della Droga - Seq. 7 (1:08) La Via Della Droga - Seq. 12 (2:21)
Goblin Rock Progressivo Italiano
Review by Rune2000
La Chiesa was a 1989 movie directed by Michele Soavi who was a protégé of Dario Argento.
Argento was highly involved in the project by filling in the producer and the scriptwriting duties.
To make things even more exciting two of Argento's collaborators Goblin and Keith Emerson were
brought in to write some original music for the movie.I'm not sure what motivation lay behind this idea and my original thought was that such a collaboration would never work out, but that was exactly what made me interested in exploring this material. After listening to the album it's obvious that I was somewhat misled by my original assumption since Goblin and Keith Emerson don't actually collaborate on the album. Instead they have composed and performed their compositions individually where Keith Emerson is responsible for tracks number 1,3,5,9 and 10 while Goblin perform tracks number 2,4,6,11,12,13. So what happened to tracks 7 and 8, you might ask? Well those tracks feel completely out of place since Go To Hell by Zooming On The Zoo is a typical 80's dance tune and yes... it even evolves a rap. As for The Wire Blaze by Definitive Gaze it basically sounds like a bad copy of Morrissey which, once again, has no place on this soundtrack.
Keith Emerson's compositions weren't really as interesting as I have hoped for and with the exception of the main theme make the music here feel quite dull. That is unless you're into Emerson's classical music arrangement. Goblin's music, on the other hand, keeps this whole soundtrack afloat and although it feels as though they didn't have the complete artistic freedom here they still managed to do a decent job on all their compositions.
This album is too much of a mixed bag to receive anything higher than collectors/fans only rating from me. I wish that Cinevox could re-release Goblins material just like they did on Phenomena - The Complete Soundtrack and compile it all on one album.
**** star songs: The Church (Main Theme) (3:58) La Chiesa (5:23) Possessione (3:17) Lotte (3:03) La Chiesa (Suite) (4:05) Suspence Chiesa 1 (3:44)
*** star songs: Prelude 24 (From Well Tempered Clavier) (2:23) The Possession (2:25) The Wire Blaze (3:40) The Church Revisited (4:25) The Church (Single Mix Bonus Track) (3:53) Suspence Chiesa 2 (7:05)
** star songs: Go To Hell (3:40)
Mario Cottarelli Rock Progressivo Italiano
Review by
Finnforest
Special Collaborator Honorary Collaborator / RPI Specialist
Keyboard ecstasy born 30 years later! Some good things are worth waiting for....even decades for! Mario Cottarelli is a composer and multi-instrumentalist born in Cremona Italy in 1956. A professional keyboardist, guitarist, and drummer, Cottarelli created several progressive compositions in the mid 1970s but was unable to get an album recorded in that period. After finishing his studies he went on to other endeavors but always longed to get back to the siren of progressive rock, and finally in 2005 he went for it. Using some of his original compositions from the mid '70s, Mario rearranged the tracks and recorded them all on his own. The result is the Cd "Prodigiosa macchina", published by New Lm Records in November 2007.
This is a truly wonderful album that is sure to please aficionados of RPI, symphonic, and all keyboard fanatics of any stripe. Mario is a keyboards whiz. I just envision banks of different keys in his jamming room, but I'm no expert on hardware, maybe they all emanate from one machine. He is a master of atmospheres and weaves three long, whirlwind tracks which breeze from one melodious meadow to the next. The first track is a 22 minute monster with no filler! While his influences are noted as the Italian and English prog masters (Jethro Tull, Genesis, Gentle Giant, Pfm, Banco del mutuo soccorso, Le Orme, Mike Oldfield) I also believe I can discern just a hint of Yes in a couple of places where the driving percussion and strong keys reminded me of some of the more fusioney era Yes tracks (ie sections of Relayer and Topographic). But I think mostly this is an album for modern keyboard lovers, for those who love Toto Torquati, Rustichelli Bordini, Beppe Crovella's Tower, but with a more updated sound than the classic works. He just runs passionately through long sweeping instrumental sections with total freedom of sound and pace, augmenting some sections with warm, personal Italian language vocals. Mario plays everything on the album but unlike some solo instrumentalist projects this one sounds full and satisfying: he's a quite capable drummer and guitarist, although the guitar is dwarfed by the keyboard presence here, it's a second fiddle mostly but you won't mind. Occasional electric leads double behind the melodies. The drumming is varied and interesting to my ear, always moving the music briskly. But most important is the quality of what he plays on the keys and I found myself reveling in his choices of notes, chords, progression. I didn't expect to enjoy it initially because I typically like albums with at least some dark vibe whereas this one is almost completely upbeat and sunny. But win me over it did. While I don't understand the lyrics the music's mood is majestic, soaring, very open in terms of space. For being mostly digital it is not cold, nor lifeless. There are one or two sections where a bit of world music feel a la Oldfield will creep in, but for me it never strays too far from glorious Italian prog sensibility. The beginning of track 3 even offers a bit of psych/space flavor, a very cool intro. My only criticism is that it could have used some of those surefire RPI charms for more variety of sound, like more strings, operatic chorus, maybe more piano or flute. But it's a very minor quibble---Mario's debut is a fantastic project and I'm so happy these songs from the 70s have found life in the 2000s. I hope we hear from Mario again with another RPI project. I think about what it must have been like for him to hear these songs from his youth coming to life all these years later, for him to be breathing life into them. He must be proud and yes, I'm gushing a bit. I love this classy album.
This is an excellent disc I recommend with ease to anyone who loves grand music soaked in synthesizers through and through, for keyboard lovers of all ages. The accompanying booklet is only a foldover but does include the lyrics, in Italian. You can download the album on iTunes and other digital stores or you can find the CD on New Lm Record's website www.crotalo.com.
Il Sistema Rock Progressivo Italiano
Review by
psarros
Prog Reviewer
One of the most important bands in Italian rock,not that much because of their music,but
mainly because IL SISTEMA gave later birth to two monster progressive rock bands:Museo
Rosenbach and Celeste.They were found in late-60's in the famous town of Sanremo by
Enzo Merogno (guitar, vocals), Ciro Perrino (drums, percussion, flute, vocals), Floriano
Roggero (organ) and Luciano Cavanna (bass, vocals).They had a very short career lasting
only until 1971,the same year when Leonardo Lagorio (flute, sax, electric piano) joined the
band.During this period IL SISTEMA managed to record some tracks,which were collected
and released by M.M.Music in 1991 as a double LP,while Mellow Records released a CD
package with different tracks a year after (the one presented here).Despite the presence of later MUSEO ROSENBACH Enzo Merogno and Leonardo Lagorio or CELESTE's leader Ciro Perrino,the hero of the band is undoubtfully organist Floriano Roggero.Their sound is actually a unique combination of heavy organ-loaded rock in the vein of DEEP PURPLE, classical prog close to THE NICE,while you should also add some elements later to be heard on MUSEO ROSENBACH's ''Zarathustra''. Unfortunately the production is really bad,reminding me of CORTE DEI MIRACOLI's ''Dimenzione onirica''.About half of the tracks have a classical inspiration with tons of organ and a slow- tempo,supported by heavy bass and some flutes as well,like on ''Una notte sul monte calvo'', an adaption of Mussorgsky's ''A night on a bare mountain''.The other half is actually a combination of dark-sounding proto-progressive rock, containing complex organ parts and obscure structures with hints of MUSEO ROSENBACH and early KING CRIMSON (listen to the distinctive saxes here and there), and soft keyboard/flute-driven themes with a delicate atmosphere.
Actually the album is mostly instrumental and fans of old'n'vintage proto-prog will love this album. It is really a pity that the production is under mediocrity,as all of the compositions are on a good level and some of them could have been really great tracks,if taped in an appropriate and more proffesional way.Nevertheless,IL SISTEMA's early recordings are a great example of good Italian prog and should please fans who are after bands in the vein of THE NICE, BEGGAR'S OPERA, CORTE DEI MIRACOLI, FANTASY or CRESSIDA.A decent release of qualitive late-60's/early-70's progressive rock.
Goblin Rock Progressivo Italiano
Review by Rune2000
Phenomena is probably the Dario Argento-movie that have benefited the most from it's
Goblinfied soundtrack since the film itself leaves much to be desired.The original soundtrack that was released in 1984 featured a total of five Goblin compositions while the remaining eight tracks were already famous songs by Iron Maiden, Frankie Goes to Hollywood and even Motörhead! That soundtrack really feels like a weird combination and I'm really happy about this 1997 compilation that consists entirely of the original Goblin material. The downside here is that it consists basically of the same five compositions that were featured on the original release plus one bonus track entitled The Monster Child which can barely be called a track. But the fun doesn't end here since each of the five original tracks has at least one alternate counterpart featured here and in some cases like the main title theme gets a whooping total of five different versions of it spread over the album.
The original material is phenomenal (*pun intended*) and should definitely have a place among Goblin's greatest masterpieces. Among these fine tunes is also Jennifer which is my personal favorite. The composition starts like an 80's sounding instrumental ballad but halfway through its running time Jennifer transforms into a wonderful up-tempo theme. The alternate versions of the material sticks, in most cases, relatively close to the originals but there are a few exceptions. The Wind - "Insects" - film version suite 2 is a seven minute version of the original just over a minute long composition. This wasn't a good sign from the get go but things actually get even worse once I experienced this abomination. Let's just say that it involves a lot of high pitch sounds that will make Lou Reed's Metal Machine Music sound like complete masterpiece!
The music on Phenomena - The Complete Soundtrack is not without its flaws where my most prominent concern is the 80's sounding drum sounds, which can of course be easily blamed on Phil Collins for creating such a pointless gimmick as gated drum sound. But ultimately it's every artists own responsibility to enhance their music and not go over board in the production department.
I know that I'm probably being generous for calling this anything else but a collectors/fans only album but I just can't help it since the original material is really great.
***** star songs: Jennifer (3:53)
**** star songs: Phenomena (4:26) The Wind (1:18) Sleepwalking (3:51) Jennifer's Friends (3:29) Phenomena - Film version 1 (1:25) Phenomena - Film version 2 (1:56) Phenomena - Piano solo - film version 3 (1:01) Sleepwalking - Alternate version (3:56) The Wind - Film version suite 1 (2:35) Jennifer's Friends - Alternate version (3:30) Jennifer - End titles (4:51) Phenomena - Video clip version - bonus track 2 (4:08) Phenomena - Alternate version - bonus track 3 (3:09)
*** star songs: The Monster Child - Spfx bonus track 1 (2:07)
** star songs: The Wind - "Insects" - film version suite 2 (6:57)
Premiata Forneria Marconi Rock Progressivo Italiano
Review by
lor68
Prog Reviewer
Such an interesting reissue of some ever-green classic tunes by P.F.M, this time (fortunately)
remastered, cause a typical defect of their old albums was represented by a group of weak
recordings...if I think of their old tapes or vynils I'm not so enthusiastic about it and-moreover-I've always been quite disappointed talking about their old records. But this time the job of the
sound engineer is good, often being able to clean the dirty traces of the original vynils and
making them more brilliant (except on a few circumstances only, which could make you change idea and erase an half star from the evaluation at least). This 2cd anthology is focused on four studio albums and a live record between 1973 and 1977, without regarding of four previously unreleased recordings from their "hot" stage- during the MANTICORE years- indicating a true testament concerning their best music season!! Instead I'm not so glad about a rare B-side of a UK session (becoming a UK single), which has not been improved in comparison to the old tape; nevertheless an immortal track like "Alta Loma 5 to 9" (already being unforgettable inside their live USA) and of course the classic numbers from Chocolate Kings as well, make this
anthology quite essential!! Besides their performance regarding the Electric piano, the violin
and the flute (for instance do you remember the classic piano within "Dove Quando"? Well this
time it's a live version, with a good execution to be remembered..), without forgetting the typical
tone by B. Lanzetti too, not often remarked in the present anthology as a singer, are the best
features here!! At the end, if you consider the support of an excellent musician like Mauro Pagani
(always involved in the music plot), for sure you'll choose the present anthology!!
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Finnforest (James Russell)
Honorary Collaborator / RPI Specialist
Joined date: 2/3/2007 | Posts: 4589 | Last visit: 2/9/2010 5:12:50 PM EST
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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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