NEW TROLLS

The opener "Dies Irae" starts with the violin in the foreground, then the rhythm section and the other instruments come in blending baroque music and rock while the lyrics try to convey a message of hope. The beauty of life remains, even in misfortune, and you have to look inside yourself to discover that there's world in a grain of sand and to find the eternity in an hour... A kind of hymn to life!

The long, complex "Oggi non sono spento" (Today I'm not off) begins by a long instrumental section in a jazz rock vein with Latin rock elements. You can hear a dynamic rhythm section, suggestive organ waves and an electric guitar solo that could recall Santana until the pace slackens and melodic vocals invite you to reflect about the mysterious adventure of life and urge to enjoy the day keeping the flames of your inner fire always burning...

"Cambiamenti" begins in rockier way, then the rhythm calms down and there's a softer section where melancholic soaring vocals on an acoustic guitar arpeggio express a love for life that is stronger than regrets and disappointments. Every rose has its thorns, lies or unfaithful relationships are just thorns that can't erase the beauty of life... Then the rhythm rises again for the finale where the lyrics invite you to get up and fight to change the world and make it better.

The short, dreamy instrumental "Trullo Lungo" closes the first part of the album with a good display of keyboards in the forefront. The title refers to a picturesque village in Apulia where the band found a moment of relax and inspiration documented by some pictures that you can find in the booklet...

The second part of the album opens with the brilliant "Cherubino", a lively piece about a kind of psychedelic, beautiful dream where the borders between heaven and hell get blurred, sacred and profane meet each other and the cherub who stands the guard to the tree of life lower his sword and let your soul fly free, in harmony with the universe...

Next comes the gorgeous instrumental "Opera Suite", a challenging piece that blends with freshness and gusto some classical influences with the powerful energy of a rock band. Here the musicians are able to express in an effective way all their pleasure to play together...

"Io..." (I...) is a melodic ballad about time passing by. The music and words conjure up the image of a peaceful landscape at dawn and try to express the desire of a better world where men respect each other and the environment, a world with a soul that can make the dreams come true. Life is short, so "carpe diem" and try to not waste your time...

The beautiful instrumental "Ostinato" closes the album with a perfect exercise of style, blending again in an impeccable way classical forms and rock rhythms. The title refers to a musical term defining "a short repeating element, usually only a bar or two long, though the term may also be applied to such longer repetitions as occur in a chaconne or passacaglia..." (quote from the New Penguin Dictionary of Music). Anyway, this is an ostinato "sui genris" and there's no room for boredom, it's really a gran finale!

On the whole, a very good album!

All songs flow from one to the next as we journey through the eyes of the poet narrator (De Andre) to create a single seamless work as he crosses the world with eyes and ears open to everyone he encounters-mostly the poor and downtrodden, but each with their own story. Opener Ho Veduto (I saw) is one of the stronger songs-bolstered by solid horns-and is a vague take on horn driven US rock of the early era like Electric Flag and Chicago. Third song Signore Io Sono Irish (still in their live setlist from time to time to this day) is a sad lament for a man who lacks his own bicycle. Moody Blues vibes flow from the end of Signore Io Sono Irish into Suzy Forrester, a song that would have sat comfortably on any early album by the Arthur Lee led Love. Al Bar Dell'Angolo has a cool distinctive horn riff and counterpoint vocals-catchy. Side one is over too soon.

Side two opens with the jaunty Duemila, a song where the band shows hints of what is to come musically. Already Di Palo is a force to be reckoned with vocally, and he and De Scalzi show strong compositional skills. The song breaks down before building to a fantasy orchestral ending. As before this is the bridge to our next stop on the poet's journey, Tu Ricordi Joe? (please refer to the great translations by Andrea in the first review of this album). Padre O'Brien and Tom Flaherty are plaintive and orchestrated, with some flickers of the NT sound to come. We finally arrive at the end, Andro Ancora, a revisiting of the opening song Ho Veduto. The listener gets reminded of the themes uniting the album, and also reminded that this was the best song on the album. And with that, we are done in a scant 27 minutes, a short even for the era album.

Overall, this isn't a collection of songs like the self titled follow up, but a single cohesive work, a tour through the world and an observation on really varied examples of the human condition. Great use of horns throughout. Easily identifiable as a 60's product, this is valuable as a single work, the first rock opera in Italy, and barring Days of Future Passed, one of the first concept albums in all of rock. DeAndre would show up later in 1980 in collaboration with PFM, so some may not be aware of his dabbling in Italian proto prog back in 1968.

Three stars for RPI fans, and for its importance in Italian rock history in being more of a complete work of art than just a pop album. For prog fans, unless you are into really early roots of prog, you might be disappointed.

2.75 stars

Although many will point you to their debut album collaboration with Fabrizio deAndre as the early one to get, this album will satisfy the prog fan a little more tangibly, as the elements of what became their distinctive sound are scattered heavily throughout: self written and self played material with strong melodies, excellent harmonies, searing guitar work, strident and powerful hard rock lead vocals that would make you turn your head in a crowded bar to say 'what was that?'. Arrangements start to get more complex and hints of what is to come from this band are becoming more evident.

From the opening song Una Miniera, a string driven ballad that hints at symphonic prog to come from more familiar Italian bands, (about a 1956 mining disaster in Belgium that killed 130 Italian miners) there is a strong melodic core to their work. Melancholic in the vein of some early Procol Harum, but not overwrought. The strings abate for a quick three second rock finale. Second song Cosa Pensiamo dell'Amore buzzes along in a lurching rhythm that is one of the stronger proto prog songs here-space is given for organ, drums bass and guitar to get playful before we are ushered out with a coda tribute to A Whiter Shade of Pale. Lei Mi Diceva starts off like a manic Monkees riff before quickly settling into a hybrid early Uriah Heep/Aphrodites Child bubbling bass propelled burst-nimbly played. Bassist Giorgio D'Adamo is a monster on much of the album. The much maligned Quella Musica follows, a syrupy ballad that most would pass by quickly until....halfway through the song it stops and transitions to a wordless vocal jam reminiscent of 1967-68 Beatles, complete with burning extended guitar solo and a some barely audible yelling and histrionic vocals just underneath the main vocal, subliminally setting an air of barely controlled chaos--urging the proceedings forward, nearly imperceptible, but it puts this into 'truly an anthem' category. Very subtle but effective trick. Great song in the long run with a fascinating brittle drum sound throughout the beginning. More early Deep Purple circa 1968 comes in on the raucous Corro Da Te, the B side of the single Una Nuvola Bianco. Hendrix influenced in elements. Side one comes to an end with their debut single, Sensazioni, that despite its 1967 trappings is powerful and very catchy. Odd that one of the better songs on the album is from that far back. Elements of Gloria by Them launch the song along until a Gentle Giant a capella section drops in out of nowhere. The song goes back to its theme and jams until the too soon ending. Overall, side one holds together pretty well and is much better than one would expect for a collection of late 60's singles.

The sounds of a forgotten dripping cavern being pried open starts side two: a little bit of Beck's Bolero and later Yardbirds powers the sound of the side opener, the aforementioned Una Novola Bianca where the band is sounding increasingly assured of what they can do in a studio and how they can write an arrangement that starts to deviate from the traditional pop song. Song two also opens with a trippy soundscape before Annalisa takes off in a crashing dizzying climb before the song gives way to an acoustic guitar driven power ballad, a radio friendly unit shifter that just can't help dipping back into some more prog sounding areas. Dances nicely between proto prog and pop within the same song comfortably. The same can't be said for Un'Ora, one of the throw aways on here-an overwrought string powered sappy ballad designed to please the suits at the label. Io Che Ho Te is more in a Beatle-ish vein with faux mellotron from the strings and winds but is another one that is a disposable string driven ballad. Visioni brings us back with heavy organ and psych guitar leading to another one of the catchier songs on this album-you will find yourself singing along with this one rather quickly. Very psychedelic pop sounding but a great song. This leads to the finale, the even catchier Davanti Agli Occhi Miei leads the call with a dervish guitar riff and vocal response that should have been a huge hit across Europe-this one you definitely will be singing in your head in traffic. Not prog but just a great rock anthem.

HInts of Vanilla Fudge, Deep Purple, early Traffic, late Yardbirds and some 1967-1968 Pink Floyd are in here-so do not expect a full on prog experience, this is the sound of a band in transition from formulaic pop to some more adventurous territory.

In the end, this is marred by only two clunkers on side two. Valuable as a window into the power of quickly evolving Italian pop scene, and for people who are really into New Trolls. For fans of RPI that have a soft spot for that late 60's early 70's transition from psych to prog sound. For more traditional RPI and prog fans, this is probably non essential. Me? Loved it from front to back. Was lucky to recently run into original first pressings from Italy of this and the first album on Cetra for semi reasonable prices-antique treasures!

3.25 stars for RPI fans. 2.5 stars for proto prog heads.

The album opens with promising short instrumental 'Paganini', then comes 'Per ogni lacrima' (For every tear), a piece about the healing power of friendship and love that starts with a sparkling, classical inspired, organ passage. Unfortunately, after a minute the music veers to AOR and could remind of New Trolls' albums like Aldebaran rather than Ut.

'La luce di Vermeer' (Vermeer's light) combines melodic vocal parts and bolder instrumental passages. It's a good piece where the lyrics invite you to look in a different way at people who serve time in prison because not all of them took deliberately the career of evil but some where just doomed by an ill fate and a difficult social condition. Even those branded with the sign of Cain should deserve another chance and bit of respect...

The following 'Oltre il cielo' (Beyond the sky) is just a melodic ballad dealing with the need to overcome the consequences of the traumatic end of a relationship while 'Rispettare può salvare' (Respecting can save) is a reflection about the never ending conflicts in the Middle East and the troubled situation in Palestine. The softer parts evoke a comet over Bethlehem and the hope that sooner or later men will learn the mutual respect and live in peace...

'Do Ut Des' (Give and take) is a beautiful piece, featuring many brilliant classical inspired passages and lyrics inspired by an absolute love for Music. Next comes 'Sarà per noi' (It will be for us) a touching, romantic ballad with beautiful harmony vocals. Then the dreamy 'Siamo ancora qui' (We're still here) tries to express the feelings and the emotion of the musicians on stage, even after many years of career...

The swinging 'Sporca politica' (Dirty politics) is a kind of ranting against the politicians who waste the money collected with taxes in their games of power but in my opinion the committed lyrics and the carefree music are neither here nor there and this is probably the weakest point of the album. The closer 'Can't Go On' could be considered as a bonus track since it's just the English version of 'Oltre il cielo' sung by the special guest Fergie Frederiksen from Toto.

On the whole, in my opinion this is a good AOR album with some hints of prog that should be of interest for fans of bands such as Toto but that is not essential in a prog collection.

With riffs off a Sabbath album splattered across much of the proceedings, you can sense the band is starting to fracture into two distinct factions right in front of your eyes: a heavy rock angle (they are really good at this), and a more introspective classical angle (the Concerto Grosso approach). The ten minute guitar meltdown of C'e Troppa Guerra would not be out of place on the first Wolfmother album (a little known hard rock classic), but at its core oozes complex Black Sabbath. (Electric Wizard fans take note).

That is probably as far as some prog fans will read, but this album is way more complex than a simple 70's metal romp. Acoustic pop friendly songs, frightening orchestrations, classical keyboard exercises, guitars having a conversation (literally talking) in Paulo e Francesca, sprightly Italian folk melodies, slow melancholic symphonic ballads-the differences between keyboardist Maurizio Salvi and guitarist Vittorio De Scalzi could not be more prominently displayed. Somehow it works.

Reference points: Not easy. They are kind of their own self contained beast. Some ELP and Black Sabbath collide, but not necessarily in the same song. Side one is near perfection in Italian rock that appeals to all, not just RPI fans (Nato Adesso being a great example of the synthesis of the two styles) , and side two is the aforementioned guitar meltdown centerpiece.

This was their swan song until the semi successful reunion later on Concerto Grosso 2. NT Atomic System and ? (yes, ?) who turned into Ibis are on the horizon after the split.

For fans leaning towards the heavier side of RPI. But if you are an Italian prog fan and don't have this album, seek it immediately. 4.5 stars

Released in 1971, NEW TROLLS's "Concerto Grosso Per I" is the first album that was made by an Italian band and combined Classical music with Rock music; this is one reason why this album has influenced many artists, especially in Italy...

The opener "Tempo: Alegro" is rather short and features a very TULL-like flute. This song is a rock version for a collection of famous classical motifs.

Next is "Tempo: Adagio". Though the orchestral arrangements are very string-dominant (Other people may like it, but in my case it's a minus), there are great vocals on this one.

Coming right up is "Tempo: Cadenza - Andante Con Moto". The first minute and a half or so is pretty much a violin solo, but then again those strings come (which IMHO is bad). This one is barely a rock song - except the drumming though. Nice harpsichord and vocals over the strings and violin in the second half. Disheartening end with yet again those orchestral strings leading the listener out.

"Tempo Shadows (Per Jimy Hendrix)", yes there is a JIMMY HENDRIX reference here (with a misspell)! a soft but efficient Blues/Psychedelic (?) song that is sometimes influenced by early Jethro Tull (that influence pops up now and then on the album). Actually, this is one of the better moments in the album, but the song doesn't really belong, considering the concept of the album. The guitar solo tribute wraps up the end of that part of the album.

"Nella Sala Vuota: Improvvisazioni Dei New Trolls Registrate In Diretta" opens as a bluesy Hammond solo for the first two minutes. JETHRO TULL influences also come through in the second quarter of the song in the form of a breathy flute. After the break in the middle of the song, the music returns. Nice Hammond work is followed by a loud sound of an electric guitar solo which is then followed by an impressive (and long) drum solo. The drums finally build up the song back to its base, to allow the rest of the band to join in for the end. The musicians' skills are outweighed by the distractions of the engineering limitations of that era.

I like the first half of the album better than the second, though I do think it doesn't compare well with the other Rock Progressivo Italiano legends.

The album sees them shift to a hard rock mode for much of it, with some of it approaching Black Sabbath levels of intensity before elements of soft rock start creeping in for the two closing numbers. If that sounds bizarre, well, it is: UT is the sound of New Trolls having a serious personality crisis right in front of the listener. Moreover, because the band goes to a more hard rock approach than previously, they're effectively evolving backwards to earlier musical styles just as other Italian prog bands are adapting the cutting edge of progressive rock to their own particular styles, with the result that whilst this album would have been revelatory coming out in 1970, compared to the other Italian prog great releases of 1972 it seems a little behind the times.

With the passage of time, of course, this is less of an issue, and there's a lot to like about the album - it's probably my favourite Trolls release. But with the band flailing for a distinctive identity or personality which they just couldn't settle on, I fear it also represents the peak of their accomplishment, not a foundation for future success.