1978 - GLI DEI SE NE VANNO, GLI ARRABBIATI RESTANO!

Last studio album with Demetrio Stratos and the first without Paolo Tofani. Stratos' vocals are still amazing, and Fariselli assumed the lead controls of the music, even more, due the lack of Tofani. Very keyboard oriented, less improvisations, excellent music in the same style of the previous albuns.

(The exact title is "1978: Gli dei se ne vanno...", named after the 10th anniversary of 1968).This is maybe my favourite one by Area and the last with Stratos, who died in the Usa in 1979. It's impossible to recognise from his outstanding vocals that he was illed. This is their most accessible album and it shows that the group could enter the '80 developing their sound, yet with their uncompromising inventivness still intact. "Il bandito del deserto" ("The desert outlaw") is a fantastic opener, based on the poetry of an ancient arab nomad. "Return from Workuta" shows how magic Stratos could be with his experiments on voice (Workuta was a Soviet gulag, and Area, whose members were all communist militants, showed almost desperately how the dream became a nightmare). "Guardati dal mese vicino all'aprile" means "Beware from the month close to april": it's an italian proverb, and the month close to april is march, impredictable and dangerous for the peasants with its rain storms: beware fellow workers, sayed Area, from the memories of 1968 riots: that year is gone forever, and we have to begin again from the start... Little they knew that this would become their swan song, and that it also marked the end of a turbulent age, that in Italy was full of hope but also of political violence. The '80 will be the years of plastic sounds and the very memory of Area and of all the movement of prog rock will be erased..

I bought this LP when it was released in 1978. Even before I listened to it for the first time, I knew it would be different from their previous albums. Guitarist Paolo Tofani was gone, and there was no replacement. The LP was not on the Cramps label, and the artwork had a different look to it. I remember thinking that Area had gone commercial after I listened to it. For years, I listened to only the final track, "Vodka Cola". When I got the CD (found at a pawn shop for $4, the first Italian Prog CD I'd ever seen at that time), I listened with "new" ears. It's got several good tracks on it, and compares well with the rest of their catalogue.

"1978: Gli Dei se ne Vanno, gli Arrabbiati Restano" is absolutely a masterpiece of all the italian and world prog-jazz fusion. This is the last record with Demetrio Stratos on vocals (one year later he will die) and the emotions that this album, the best Area album, for me, provoke in me are really a lot. The songs are all masterpieces, but the one that I love with all my prog soul is "Return From Workuta". A piece with Stratos on vocals and sinth and Tavolazzi on contrabass. Really I cry when I hear the power of Demetrio's vocals and the perfect harmony between his voice and the sound of VCS3, played by Stratos himself. Highly recommended to everyone who wants to know real progressive and experimental music. Area is the best I've found in music.

Essential: a masterpiece of progressive music. This album "1978 Gle Dei Se Ne Vanno and Gli Arranbbiati Restano" makes to the last work of AREA and is their attainment points. It is entitled, "The pantheon left, and fanatics remained". As for this age, the Prime Minister is being assassinated by the terrorist.

for me it's hard to chosse the best amongst Area's recordings; they are all stunning, until this 1978 release. Anyway, in this period I'm biased on choosing this one as my favourite.

Probably it is because here the power and versatiliy of Stratos' voice reaches its maximum, being really the fourth instrument of the band; in "Interno con figure e luci", and above all in "return from Workuta" tihs is absolutely clear: the songs are almost built around of his own sole voice, creating intriguing "solid" atmospheres.

Politic messages are strongly encrypted into the elitarian culture lyrics, which are just a bit cleared with some comments inside the booklet.

Probably this LP has the worst production of all their recordings, but still it is extremely enjoyable.

I don't want to write as much as I've written for "Chernobyl 7991". But as I think this is still my favourite AREA album, I should "praise" it here.

No Paolo Tofani on this one (was he already heading for India to get lost there?) and at least I don't miss him on these takes.. Nice trombone sections by one of the meanwhile best hidden bass champions, Ares Tavolazzi; his acoustic bass was as perceivably present as Stanley Clarke's at those times (OK, Clarke conquered the scene 2-4 years earlier). And he was playing a remarkable fretless electric bass, which he started before Jaco became famous for that. Demetrio, Patrizio and Gulio, well, AREA are at their best. Perhaps even better, already somehow matured, than in the years before.

By the way: whether Demetrio and Jaco are playing together "up there"? Being members of the orchestra of the irreplaceables?

Avant Psych-Funk Jazz. Not for the timid!

Area is one of the wildest bands in my collection and I think sometimes they should be in the Avant genre. Fans of Deus Ex Machina and Discus should take note, this is the band that likely inspired them. Formed in 1972 they are one of Italy's most important exports and unlike so many others from there, they are not a "one-shot." They had many albums. This is the last from their classic period before famed vocalist Stratos died of cancer. Ironically it is also the first Area album that didn't feature long time founding guitarist Paolo Tofani, who also released the solo project "Electric Frankenstein" in '75. But I don't think the album suffers much for it, it probably shook the apple cart a bit and gave the others a chance to try different things in the absence of prominent guitar.

I have read Area was influenced by Soft Machine and Nucleus but they certainly took things much farther than those groups in terms of cosmic weirdness. Area is more adventurous and wild that the typical "jazz prog" group like Nucleus or Arti Mestieri. Area can be downright obnoxious, throwing all matter of styles and heavy funk together with the insane vocals of Stratos. While I acknowledge that Stratos is one of the most beloved and respected Italian vocalists he can be a challenge to get used to. But even with the bizarre vocal yelps and barks I still love the music. These guys have the chops to compete with anyone. Track after track of smokin percussion, keys, horns and bass in an experimental jazz soup. But even though they dabbled in dissonance Area will never leave the listener with a cold feeling. Their sound has an organic warmth and an appreciation for melodies even if they take their time coming out of the patchwork sometimes. "Il Bandito" jumps immediately into the fire with a fast paced and very quirky repetitive melody that sounds like Gentle Giant jazz style, Stratos already doing the bizarre yelps in the first track! "Intorno Con Figure" starts with some nice bass and keys before Demetrio again tries some non-singing vocalizations that could be compared to some of the weird psych mouth sounds from Roger and Syd on Piper. Then the bass and keys literally wrestle each other for control-fabulous! Some smokin drums at the end. "Return from Workuta" starts with some Eastern sounds over synths and features a most poignant vocal performance from Stratos. It becomes obvious listening to this that he likely knew this was his last chance for doing new material becomes he sure seems to putting everything into it. Very touching stuff. "Guardati Dal Mese" is a wicked maelstrom of piano and percussion. "Hommage A Violette" is a departure injecting a folksy atmosphere and an almost California sound. It's a nice respite from the craziness although Demetrio still throws in plenty of his ululating thing. "Ici on Dance" features great bass and a very catchy little riff. "Acrostico in Memoria di Laio" is a hoot. After starting with some tasteful, tame jazz by Area standards, you think maybe this song is going to be "normal." Nope. Halfway through, Demetrio starts this rant that I really wish I could understand. It sounds hilarious, almost like a phone sex conversation. Someone who speaks Italian will have to enlighten me on what the hell this is about someday. "FFF" features some crazy drum solos and even wilder piano runs. "Vodka Cola" (hmmm, that made me thirsty) is another strange character with everything from lonesome horns to barking weiner dogs to Demetrio's very humorous farewell end serenade. A very solid album with plenty to chew on for the adventurous prog listener, and from what I've heard this is one of Area's tamer albums.

The Japanese mini-lp sleeve reissue features a gatefold reproduction of the interesting photos and drawings within. The back cover band photo is a classic with a tired looking group posing with their mascot weiner-dog. While it is sad that Demetrio was gone so soon after this we are left with 5 classic studio albums from this period. They pushed boundaries with their Socialist ideals and chaotic compositions representing well the true spirit of what "progressive music" entails. Not everyone will like Area, but few who hear them will accuse them of playing it safe. The 60,000 plus audience (some placed the number much higher) that turned out for Demetrio's memorial concert prove that Area were more than just another Italian band, they were important and beloved by the Italian people. I can see why.

This is my least favourite of AREA's first five studio albums, yet there's so much that impresses me that I can't give it anything lower then 4 stars.This would be vocalist Demetrio Stratos last album with the band before he passed away tragically at the age of 34.They're down to a four piece outfit here, with the guitarist leaving after the last record.This band is so unique and such an important part of the progressive Italian music scene. Even before Demtrio sings you know it's AREA by their special sound, of course when he does sing there's no doubt who it is (haha).

"Il Bandito Del Deserto" is uptempo right away as vocals come in quickly. I like the prolonged instrumental section especially the bass. Keyboards 2 minutes in before the vocals return. "Interno Con Figure E Luci" opens with drums as these odd sounding vocals come in with percussion. Some nice drum work throughout this track. "Return From Workuta" is exotic sounding really with some vocal melodies from Demetrio. "Guardati Dal Mese Vicino All'Aprile" is another track where the drummer impresses me a lot. Nice keyboards too. Vocals after a minute. It gets a little dissonant after 3 minutes.

"Hommage A Violette Nozieres" is a fairly straight forward and catchy track (gasp) except for Stratos' warbles. "Ici On Dance" is another catchy tune. Horns before 2 minutes with deep bass to follow. "Acrostico In Memoria Di Laio" is a great track. Kind of jazzy with piano, bass and drums standing out. It settles after 2 1/2 minutes with spoken words to the end. "FFF" (Festa,Farina E Forca)" opens with drums as bass and piano follow. "Vodka Cola" has this strange intro,especially the vocal melody, then it settles down to a really good sound. I like the horn melody while this dog (pictured with the band on the back cover) barks in the background. We're into Zappa territory before 6 minutes.

I would recommend any of AREA's first five albums, but especially the first three. An amazing band.

'1978: Gli Dei Se Ne Vanno, Gli Arrabbiati Restano!' (eng: ''1978: The Gods Leave, The Aangry Men Still!') is not a pure RPI song.

The only RPI song in this album is the beautiful melodic song 'Hommage à Violette Nozières'. For the rst this album present only Free Jazz music with Rock/ Fusion structure with great keyboards, bass (also double bass) and drums. Because this is '1978: Gli Dei Se Ne Vanno, Gli Arrabbiati Restano!', a beautiful psychological album.

It is extreme difficult to create a correct description about the songs of this album, because these songs are not classifiable, if we must be sincere. This album does not allow an honest reading of the music that contains (and it is this that Area wanted to?).

I am a poor lover of Prog... I love the Italian Prog... But this album makes me smoke a brain... Here is that blends... Brain melted!

Thanks, Area.

After it had debuted, the message by Area might have had the will of adamant always consistently. A young person at that time and the fan supported the music character of Area and the message. It is said that most fans were able to sing the song of Area though it is the irregular melody and diversity of the rhythm.

A political shade of meaning and the message of the anti-establishment kept enchanting the fan and the listener to some degree partially of the taste of Area. However, a music character of Area and an overwhelming technology might also wait for the aspect and it be also true in the music character to have kept always maintaining the excellent condition.

This album is the last work as the band to which Demetrio Stratos was on the register as the result. And, some respects will be enumerated when talking by thinking about this album.

Existence of CRAMPS label that supports the activity after Area debuts. CRAMPS that was offering a lot of wonderful bands besides Area almost lost the function of course in 1978. It is an album announced in this album after it transfers the register to ASCOLTO. If the situation of an activity of Area at that time was considered, this album might have had the role that was able to be caught for them as one turning point.

And, guitar player's Gianpaolo Tofani might have been hoped for because it had the form of the performance with strong more acoustic part because the band had already seceded. As for it, the part where the music character in addition to the theme that they had consistently had had been gradually refined might have been included.

Of course, the existence of Area might have been absolute as one of the bands that pulled the 80 year for the listener and the fan. However, June 18, 1979 became an impact day for not only the fan of Area but also the market of music. It is said that the ambition of Demetrio Stratos until dying always moved in an advanced part. After announcing this album, Area actually dares the tour. It is said that Demetrio Stratos will schedule it to secede the band after the tour and to concentrate on the activity of Solo. However, the plan will be lost as a result by the death of Demetrio Stratos. And, Area also rapidly shrank the activity.

An avant-garde who can listen in an initial work in addition to their political messages and an avant-garde part develop further and reach this album at last. The fact that this album carried everything before one the market of the music of Italy remains as an evaluation, too. This album had also to consider the fact that acquired the prize of the critic of second following "Crac" announced in 1975 because it unified it and to have received one the top for Area. All the height of the overwhelming power of expression and technology is surely expressed by this album.

"Il Bandito Del Deserto" is a tune that involves the overwhelming might. There might be the album's arranging the element of the music of Bulgaria and the sphere of Arab first for the composition of their albums comparing it a lot. This tune will take pride in overwhelming composition power in the flow. The band dashes attended with a complete melody by 11/8 rhythms in union. Sound of decoration with wind instrument. And, the line of Bass that completely pulls the tune. The song in close relation to the composition of the refined tune is powerful. And, the processing of the melody by the part of Coda might be splendid.

The atmosphere of the music of Arabia where it gets on 11/8 rhythms twines round "Interno Con Figure E Luci" well. The scat of Demetrio Stratos in close relation to the melody of the marimba that Giulio Capiozzo performs produces racial atmosphere. The tune progresses as the element of Jazz Rock and the part of Solo of the keyboard twining at the same time as with diversity as a form of the performance. A good flow of Bass and a complex composition are splendidly expressed.

As for "Return From Workuta", a fantastic expression of the voice by Demetrio Stratos and the obbligati of the keyboard are impressive. It is said that Demetrio Stratos acquired "Throat-Singing" as one of the methods of expressing the song. The expression of a fantastic line by Bass and the continued voice might be splendid.

The theme round which a complex rhythm twines from SE of the siren of Intro with the melody appears in "Guardati Dal Mese Vicino All'Aprile". The performance of the band that emphasizes an acoustic part continues a good flow. Part of guitar and scat. The sense of relief and the dash feeling are kept. The flow that rushes into the part of Free Jazz from the part of the repeated theme might be calculated well as a composition, too. The route of the avant-garde whom they consistently had is exactly refined and expressed.

As for "Hommage A Violette Nozieres", pastoral original atmosphere of the music of Italy is expressed well. However, the content of an irregular composition of the rhythm and a little extreme lyrics might be one of the expressions of them. The performance of a bright melody and the band that twines with 7/4 rhythms in which it listens in the part of Intro after repeating 8/4 rhythms expands the width of the composition of this album. The idea of the tune composed 7/4 rhythms and 8/in quadruple time is also splendid each other.

"Ici On Dance" has the start of the multiple structure of the voice with the atmosphere of Bulgaria Voice. It is ..original composition that is.. finished though it has the becoming it rhythm in basically subjects four rhythms by twining of 10/8. Part where original melody that is twines from line of Bass. Flow of good Groove performed as much as possible. A dash feeling and a mysterious melody are the music for them.

"Acrostico In Memoria Di Laio" is a flow of ensemble of the band that produces a part of the complex melody repeated from the part of Intro of 16/15 rhythms with an overwhelming keyboard and complete Groove. Part of dash feeling in close relation to bright melody of acoustic piano. And, the part of complete Solo of the keyboard in close relation to the obbligati of the wind instrument might create one space. The progress of Chord will excite the listener. A peculiar talking about Demetrio Stratos that twines while continuing Groove completely demonstrates power of expression.

As for "FFF", a flow, a piano, and Bass expression of feelings with a good organ combine from Solo of the drum that moves freely. The melody will call impression as much as possible. Playing piano Trio it in close relation to the rhythm that combines 4/4 rhythms with 3/4 rhythms has the element of complete Jazz Rock. The technology and the idea of the performance are overwhelming though the song doesn't appear.

"Vodka Cola" is a tension of 11 rhythms from the theme that repeats the rhythm of 7 and 10 by the song. And, it is partial of the performance that produces the anacatesthesia. The performance of the band accelerates gradually. The flow that the part of original composition and POP is taken to the melody with the tension might be splendid.

Construction of consistent theme that part technical performance and men had of doing. This album where everything is almost expressed in their works might be the top that Area surely reached at last.

The more avant and RIO Area get, the less I personally enjoy their music. It seems to me the band is more a caricature of their former selves, playing to their reputation of intentionally throwing convention upside-down, and at this point to the obvious--at least in my opinion--detriment of their music.

Perhaps it's the extended spoken-word stylings of Stratos in Acrostico, or perhaps it's the pseudo-doo-wop section of Vodka Cola. They are clearly mixing in numerous influences, from disco lines to even a little country, but it seems to me more like in a farcical or inside-joke sense than good music. These two songs are also why this album frustrates me so, because there is some genuinely good fusion happening...but you have to endure the rest, which for me is more often than not more than I'm willing to do.

Although Area are listed as Italian prog, I tend to like their earlier stuff, which is more fusion. The balance has now been shifted to more RIO, and perhaps fans of that genre will enjoy 1978.

Like so many others before me I have been so pleasantly surprised by this album. I guess most of us don't have high expectations for anything hailing from 1978. On top of that, I thought the preceding album Maledetti to be slightly disappointing, so I hadn't expected the band to find their inspiration and 'gusto' back so convincingly.

Area has stripped their sound a bit. Not drastically, but the experimental, avant-garde and fusion elements of the sound are slightly toned down a bit in favour of Demetrio Stratos' vocals and more accessible and funky song writing. That doesn't mean Area has turned pop or mellow, they are still more then weird and quirky enough to please all their fans, but somehow they seem to enjoy themselves more then they ever did before. The lighter tone of the songs and the Zappa-esque humour intrusions demonstrate that amply.

The playful tone and accessibility of the album makes it a close companion to the Crac! album and I'd say it's every bit as good. Too bad tragedy struck this band when Demetrio Stratos died of cancer. I'd really have loved to hear his answer to the 80's.

In 1978 Area left the independent label Cramps and released their first album for a major, CGD, "1978, gli dei se ne vanno gli arrabbiati restano" (1978, the gods are going away, the angry people remain). In that year Italian post '68 protest movements were losing strength after ten years of hopes and contradictions and the members of the band, one of the most committed on the Italian scene, went through a period of personal crises too. Guitarist Paolo Tofani left the band and became a follower of Hare Krishna while the others tried to keep up facing the "reflux". While hopes and revolutionary dreams were vanishing rage was still there and the band managed to express it with great musicianship and personality even without the help of the "ideologist" Gianni Sassi, producer and lyricist on their previous albums who had been for years almost a "ghost member" of Area. All the tracks on this album are well crafted and refined but the band didn't heed the commercial sirens selling out their art to the music business and extended liner notes explain the meaning of music and lyrics to make it clear to everyone.

The opener "Il bandito del deserto" (The bandit of the desert) was inspired by a "Quasida" (a form of poetry from pre-Islamic Arabia) about freedom rebellion and nomadic life by Shànfara, poet and bandit who is defined in the liner notes as the of François Villon of the desert. The music is fresh, full of colours and nuances, pulsing bass lines and ethnic touches are combined with jazz passages and peculiar "howling vocals" depicting desires, fears and the need to be free. "I'm leaving in the morning / Wind and destiny... Into the dust a refuge shelters from the offence / It's a retreat for who fears the enemy and the surrender...".

"Interno con figure e luci" (Interior with shapes and lights) is an instrumental track where the band paint shapes and lights, shadows and masks as in an anonymous "tableau" from the XIX century. This piece was inspired by a kind of search for normality as opposed to the star system full of shining lights and noises. It sounds as a perfect alchemy of jazz and Mediterranean influences.

"Return from Workuta" is a short instrumental track that describes in an evocative way the melancholic come back after the visit in a "Gulag" near Baikal Lake, a black-hole in the history of Bolshevik Communism. Demetrio Stratos' voice does not need here any word to explore a sad and icy paradox of Russian revolution...

Next track "Guardati dal mese vicino all'aprile" (Beware of the month near to April) starts with a sound of police hooters and a military marching beat, then music develops with many changes of mood and rhythm trying to describe the disappointment for another failed revolution, the one started in May 1968. There are no lyrics here and Demetrio Stratos sings his rage without words, but in the liner notes there's a warning: "beware, comrade, of the month of May, we are not the heirs of anyone anymore, we have to start all over again!".

"Hommage à Violette Nozières" is a beautiful and light song inspired by the character of a French young woman that in 1933 killed her father and tried to kill her mother poisoning them. During the trial she claimed to have acted to avenge years of sexual abuses. She was condemned but many artists and intellectuals took her side and made of Violette a symbol of rebellion against the false moral of the bourgeoisie. In 1978 Violette Nozières was also portrayed in a film directed by Claude Chabrol and starring Isabelle Huppert and Stéphane Audran. "Leave me alone with my delirium, my only martyrdom... Eventually in my cell, left in peace / Everything is quiet...".

"Ici on dance!" was inspired by a painting celebrating the first anniversary of the French Revolution in 1780. On the ruins of "La Bastille" someone put a sign where was written "Ici on dance!" (Here we dance!). Joyful sounds seem soaring from the dust... But smashing down statues and symbols is not enough to change the world and the dust provoked by a revolution can turn into a perverted souvenir. "Take the first way on your right / Then the first one on your left... Smash down the statue and stay down, stay down!"

"Acrostico in memoria di Laio" (Acrostic in memory of Laius) is a jazz rock track featuring "surrealistic" funny recitative vocals. An acrostic is a poem with a hidden a message, Laius was a king of Thebes killed by his own son, Oedipus... Like Laius a generation of losers have delivered their children to the fury of wild beasts, to the rage of history, to the flattery of the show business. Well, lyrics here describe a complex and tangled family tree and there are hints of psychoanalysis...

"FFF (Festa, Farina e Forca)" (Feast, flour and gallows) is an instrumental that begins with a drum solo giving way to an acoustic interlude, then to a frenzy jazzier part. From the entertainment and the joy of a Carnival pageant to the fear that becomes show, from the feast in Woodstock to the violence of Parco Lambro festival...

On the last track "Vodka-Cola", the longest one on this album, the band mix Vodka and Coca-Cola as symbols of an hegemonic global power in a world without ideals where "business is business". A cocktail where swing and jazz make a deal with Oriental influences in a bitter-sweet and ironic way. But Area do not claim to have the gift of humour and the smile on their face is just a grimace...

This album is my first impression of this legendary band. I am left with mixed feelings.

Area is said to be on the avant-garde side of the RPI scene. Hence, I bought this and some other Area albums. But based on this album, they are more Canterbury that avant-garde. But this is not a typical Area album, I have been advised by others in PA. The music is pretty playful and funny. The vocalist is more making noises than singing. I guess the lyrics are pretty weird too. The music is a mix of RPI and jazz with some forays into avant-garde. The musicianship is pretty good throughout. The drummer is pretty overworked with rapid changes in style and mood.

So far, so good. The problem is the songs. I am not able to connect with the material here, even after the customary ten listening sessions over a couple of weeks. The music seems too fractured and too unfocused. But by all means, this is a good album. But it is not a great album by any standard. To put it simply, I do not get the greatness factor here. But it is still an album well worth checking out. It has not scared me from the rest of Area's creative output.

3 stars

Another intriguing experiment from the Italian masters of avant-fusion, 1978 Gli Dei... sees the band drift towards the more comedic end of the avant-garde, spewing forth outrageously cartoonish vocals over a musical backing which seems a little weaker than their usual to me - a bit too repetitive, a bit too low key, without the fast playing and technical skill evident on their earliest albums. Like the Mothers of Invention (who must surely have been an influence on them), they even dip their toes into doo-wop parodies here and there; unlike the Mothers, they don't produce any particularly interesting results. An album for the more committed Area fan, this one.

Where do you begin reviewing an album by Area?

Demetrio Stratos had the vocals of a demented bull. Patrizio Fariselli plays piano like that mental part in 'Aladdin Sane' and Ares Tavolazzi's bass clings tightly to all that's being thrown at his face.

This is a fair bit easier on the ear than previous Area albums and that's saying something... However, their best days were past in my opinion. 'Maledetti' was the high point where everything they played and all members were as sharp as a diamond. There's nothing wrong with '1978 Gli Dei Se Ne Vanno, Gli Arrabbiati Restano' but, crumbs - why such a long title?

Bits of 'Weather Report' creep in when Stratos isn't singing, when he does sing he elevates this album into something truly unique.

I've got a version where a BLEEP cancels out the vocal on 'Acrostico in Memoria di Laio' at 4 mins 30 secs into the track. Every time I hear it I get more and more agitated. What was the word that censors felt they had to delete?? Arrghh! It really makes me not want to listen to this again. And I can't even speak Italian!

The bizarre musical outfit known as AREA who was one of the most unique entities to emerge from the avant-prog and jazz-fusion scene in Italy continued their string of challenging and eclectic releases with their fifth studio album 1978 GLI DEI SE NE VANNO, GLI ARRABBIATI RESTANO which translates into "The gods depart and the angry ones remain!" This album immediately sounds like AREA but it also feels different than the previous four and there are legit reasons. Firstly Paolo Tofani had left as guitarist and there is less guitar as a result. Bassist Ares Tavolazzi picks up any needed guitar parts on this which mostly shine through as acoustic. They are now a quartet and there also lacks the ensemble of guest musicians who helped out previously. Demetrio Stratos also contributes as a composer on GLI DEI... something he had not done before.

The feel of this album is totally different. Many of the songs seem to be more accessible. There are plenty of avant-jazz passages and frenzied instrumental "noodling" to be found but the tracks are primarily composed of catchier melodies more akin to "Crac" than the other albums but even more so by incorporating funky disco and poppy fol and even some Mothers inspired doowop. The tempo is slower on this one with fewer blitzkrieg fusion attacks but not totally devoid of them either.

AREA is one of my faves because I really love their uniqueness and fearless approach but I have to admit that on this album it starts to feel like they are beginning to recycle many of their ideas and that they are one album away from becoming a total parody of themselves. Thankfully that doesn't happen here as there are plenty of fresh influences to keep this album interesting from beginning to start. Although I don't understand Italian fluently I don't mind the spoken parts as the vocal style is so emotive as to convey the mood of what's being said.

Sadly this would be the last album with Demetrio Stratos before he died from complications caused by a severe case of aplastic anemia at the age of 34. It is so sad that such a talent was taken from the world but at the very least the band was wise enough not to try to replace the irreplaceable and decided to call it quits keeping the legacy from falling into mediocrity like many innovative bands from the 70s did. This album, while not their best, is still an excellent addition to any avant-prog lover's collection but I do recommend skipping the horrible all instrumental album "Tic & Tac" that several members released under the AREA name a few years later.

The last album for Demetrio has been launched in the same year as the title says. At first let me say this is a fantastic album on that all AREAers might introduce sound variations all around and construct quite refined, well-matured world of eccentricity. These auditory effects here and there undies with each other are excellent indeed but Demetrio's magnificent spiritual power might have been gradually attenuated, it's my speculation though. On the contrary, instrumental affection based upon active, strict, explosive play would get more intenser ... this is another reality in this creation.

Via this album we cannot feel any of tragedy that the genuine voice creator would be likely to leave the great combo away. As above mentioned their play is quite intensive and positive, and Demetrio's voices are as powerful and immersive as well. And more of sensuality, I cannot understand Italian language though. Yes this album might not have any issue in a critical manner. Wondering why little impressive texture can be grabbed at least in my ears. Because this album sounds more of RPI-ish melodious progressive rock / pop rather than of powerful, aggressive, and violent jazz rock like their debut stuff? No, not at all.

Every single song can be created and produced greatly indeed, but no unification of the whole album nor energetic "spirit" can be heard actually ... yes there is something lacking. I guess all members should play with their enthusiasm upon every song without suspicion. It's really a difficult case each song be as good as another, "at the similar level" ... surely the collection of "not bad" songs must attenuate the identity of the album. It's a pity they created such a great colourful variation featuring the worldwide essence for every track. Tough looseness should have been another reason of Demetrio's resignation, I'm afraid. Not bad nevertheless.

Review Nº 213

'1978 Gli Dei Se Ne Vanno, Gli Arrabbiati Restano!' is the fifth studio album of Area and was released in 1978. This is certainly the most discussed, poorly digested and criticized album of the band. It marked definetely a change in the band. The first turning point is, undoubtedly, the abandonment of Paolo Tofani. With his departure, Area doesn't lose only a guitarist but all that experimental research of sounds that had distinguished the band in their previous albums. The second turning point was, unfortunately, the untimely death of Demetrio Stratos. The group, under the same name, will produce two more studio albums, one a year later and another in 1996. But, both albums are strongly distanced from all the production in the years of activity with Stratos on vocals. It was really fatal for Area his tragic departure.

'1978 Gli Dei Se Ne Vanno, Gli Arrabbiati Restano!' has nine tracks. All tracks were written by Demetrio Stratos, except 'Interno Con Figure E Luci' written by Patrizio Fariselli and Demetrio Stratos, 'Acrostico In Memoria Di Laio' written by Patrizio Fariselli, 'FFF (Festa, Farina E Forca)' written by Giulio Capiozzo, Patrizio Fariselli and Ares Tavolazzi and 'Vodka Cola' written by Patrizio Fariselli, Demetrio Stratos, Giulio Capiozzo and Ares Tavolazzi.

The first track 'Il Bandito Del Deserto' opens with the usual Mediterranean atmosphere very common in the band. The structure of the piece isn't the most complex. But nevertheless, at the level of the structure, it's a concentrate of ideas and precious virtuosities that only great musicians could produce. The text is loosely based on the writing by Shanfara, an Arab pre-Islamic poet. The second track 'Interno Con Figure E Luci' is structured between instrumental parts and moments in which Stratos remains the only creating every kind of sounds from his throat. It's an instrumental track that can show the contrast between the sung parts, which are more obscure and repetitive, and the instrumental parts, which are more radiants. The third track 'Return From Workuta' opens with a very strange and amazing vocal work of Stratos. The piece is timeless and we only perceive a synth carpet with a heavy and suffered contrabass accompanying the melancholic vocalization of Stratos. The song is about the return from the famous Soviet Gulag, the Vorkutlag. The fourth track 'Guardati Dal Mese Vicino All'Aprile' is, undoubtedly, the freest song on the album. It hasn't any kind of structure or discipline. It would be impossible, or rather infinitely long, to describe what happens all over the track. This is another instrumental piece. It's about the regret of have passed ten years after the revolution of 1968 and the things just have only changed a bit. The fifth track 'Hommage A Violette Nozieres' is a ballad with a typical Mediterranean atmosphere, apparently almost pop. But, if we analyze it, we can find harmonious choices and rhythmic solutions of great refinement and complexity. Even the vocals are in a stratospheric level. It's one of the tracks in which Stratos reaches the apex of the vibrato. That is particularly evident on the ending of the piece. It contains a vocalization to the limits of the unimaginable. The sixth track 'Ici On Dance!' is a piece where the most amazing thing is the crazy work from the rhythm section. Here, the Mediterranean influence is aslo predominant in the theme and in the created musical atmospheres. The text is very minimalist and hermetic. The only real fact is that the title of the piece resumes a writing attached to a post, during the Bastille's taking in Paris. The seventh track 'Acrostico In Memoria Di Laio' is a funky Mediterranean jazz piece that runs almost entirely around the text, which is interpreted by Stratos with a kind of spoken. Stratos changes the voice and intonation with an embarrassing naturalness, making jumps even more octaves, giving us the impression that there are several people recording the piece. The eighth track 'FFF (Festa, Farina E Forca)' is another instrumental piece, starting from a single drum that later flow into an almost ambient relaxing part to culminate in another jazz style in which Fariselli shows off all his piano skills. The ninth track 'Vodka Cola' is the lengthiest song on the album. Here, the influence of the Weather Report is even more present, especially in the keyboard sounds. 'Vodka Cola' doesn't have a well defined music structure and has a continuous progression of parts full of the all kind.

Conclusion: '1978 Gli Dei Se Ne Vanno, Gli Arrabbiati Restano!', like all the albums of Area, isn't easy to assimilate, although it's certainly more 'easy listening' when compared to their previous albums. If Stratos hadn't passed away, so soon, probably today, we would talk about this album as an adjustment to a new music path for Area. But, unfortunately, we have to label it as the 'swan song' of one of the best vocalists ever of the universe of the progressive rock music. Although we certainly can't define it as their best album, this is undoubtedly another great album produced by this unique band. It's a less avant-garde release, but if you appreciate the genre, this album will undoubtedly please you. Perhaps our friend DamoXT7942 is right when he says that there's no unification in the whole album. However, this album remains a great piece and justifies why I consider Area the most original and creative Italian prog rock band ever.

Prog is my Ferrari. Jem Godfrey (Frost*)

Area does not disappoint on their last album of the 70's and the last one with their original singer. The band is loyal to their fusion sound but experimenting with other instruments such as trombones and variety of keyboards. The first track sounds simpler in the beginning but evolves into a complex fusion track with classy oriental motives. The second track has two highlights - an Arabic motive and great jam between piano chords and mighty bass guitar. "Retun from Workuta" is a showcase for Stratos vocals that sound unlike from this world.

Next two following tracks are simpler and catchier in their structure but by no means commercial. "Acrostico In Memoria Di Laio" is one of the highlights as it unites modern fusion and funky directions. "FFF" is almost a hard-bop classical workout had it not been for rockier sounding drums. "Vodka cola" is a promising track but the execution leaves mixed feeling as it is not coherent reaching from pop to fusion.