IL TEMPO DELLA GIOIA

When it comes to Rock Progressivo Italiano, there are usually two paths bands take. Some groups recorded three to four amazing albums in the early seventies, then developed a poppier sound in the eighties (PFM, Banco Del Mutuo Soccorso, Le Orme), and some recorded one single album before disbanding (Semiramis, Biglietto Per L'Inferno, Alusa Fallax), some of which came back several decades later to record another album (Alphataurus, Maxophone, Museo Rosenbach).

The band Quella Vecchia Locanda (Italian for That Old Inn), formed 1970 in Rome, followed neither of these paths. They blessed us with not one but two albums; one in 1972 and one in 1974, both of which are essential RPI classics. While it is sad that we would never hear anything else from the band, I also respect that they went out on a high note, as many bands of the genre would decline in quality during the second half of the seventies. When it comes to this album, "Il Tempo Della Gioia", you cannot really say anything else.

"Il Tempo Della Gioia" includes many traditional RPI elements, such as mellow symphonies, occasional energetic drumming passages and lyrics sung in native Italian. What makes the album special are the heavier influences from classical music and the powerful, vibrato-rich vocals. While many RPI albums depend heavily on mellotrons and organs, the album focuses more on string instruments such as the violin. Furthermore, while the predecessor to the album includes a lot of flute playing, it is left out on "Il Tempo Della Gioia" (except for on the last track), resulting in a slightly more mellow sound landscape. The result is something that sounds like Bach came back from the dead and made a collaboration with a rock band in the 70s.

Talking about the songs themselves, let me begin with the opener "Villa doria pamphili" (5:28) which is pure perfection - one of the best RPI songs of all time, rivaling PFM's "Impressioni di Settembre". From the minute- long piano intro to the powerful voice of the lead singer and the explosive violin symphony in the choruses, the goosebumps stand all the way through the song. The instrumental "A forma di?" (4:12), sounds exactly like something that would play in the opening of an adventure-themed movie while the camera flies above the landscape. Without any drums, this sounds way more like a classical piece from the 1700s, even featuring a harpsichord. The song successively increases dynamically, with a choir in the second half. The title track (6:14) opens with a calm ballad, another example where the violinist(s) and the vocalist in particular shine. Hitting the 1:20 mark, the song becomes more intense, with violent drum and piano playing, a sound that will continue for the rest of the song. Halfway through, the song features more choirs, and also employs a mellotron. The fourth and longest track, "Un giorno, un amico" (9:42) is mostly instrumental, continuing on the theme with intense drumming along with choir vocals. In the last third of the song, the vocalist returns, this time hitting some higher spine-chilling notes. The last song, "E' accaduto una notte" (8:18) combines elements from all songs along with the flute. This song is like a ticking time bomb, becoming more and more intense as the song goes on, and you even hear an explosion sound effect in the end.

All in all, a near perfect album in my opinion. I would say that the album's only imperfection is its length. It only lasts for 34 minutes, and while that is a reasonable length for an album, I really wish the pleasure would last a bit longer. Of course, I will not give it a lower score for that reason, because the quality of the songs make up for it.

Five out of five, ten out of ten. In my opinion, the album should along with the band's self titled album be stated as a staple piece of Rock Progressivo Italiano together with the early albums of Le Orme, PFM and Banco Del Mutuo Soccorso.