CELESTE [AKA: PRINCIPE DI UN GIORNO]

A must!!!! for any lover of Italian Prog or Progressive music in general. Fantastic Mellotron/flute passages...PFM influences all over; However, not a clone at all. Celeste has a defined music style and I love it!!!!. My highest recommendation.

One of the classic Italian albums, plenty of majestic serenity and beautiful melodies. Similar to the most delicated and melodic PFM, there aren't bombastic moments, just magnificent and soft landscapes, with lots of Mellotron and delicious acoustic passages, interplaying flute, guitar and piano. The song "Eftus" is one of those unforgettable pieces, but the whole album is over the top. Highly recommended.

4.5 stars really!!!!

Of all the Italian symphonic prog groups, Celeste is maybe the one that relies most on ambiances, the most delicate and certainly ranks in my top five along with QVL and PDP (even if the last ones are definitely more jazzy) and is all too often overlooked by many. This multi instrumentalists quartet recorded two album in the mid-70's with their debut being the better-known. The very white (and bland) cover (even if the inside gatefold illustration is more evocative) contrast heavily with the superb calm classically influenced music on the disc. The mood is very much romantic, pastoral and mellotron-ladden. I find that Celeste does not sound like your typical Italian prog group, but in many ways, Principe Di Un Giorno is probably the album that comes closest to Harmonium's Si On Avait Besoin D'une Cinquième Saison.

Indeed, this album came out roughly a year after Harmonium, and most likely was heard by the Italian group, but if the influence is obvious, there is nothing shocking and one can't call this a carbon copy or derivative. And in some ways, Celeste's debut album betters the ambiances, and adds a little more to Harmonium soundscapes. Whether this is a more Latin feel or more classical music leanings is rather hard to determine, but this album is just as enjoyable as Harmonium's and there is a bit of Gensis in it in the form of Seven Stones. For me to give you a preferred track is very hard, because Celeste is more even in their songwriting (and taking less chances as well), but they also do not reach the absolute peaks that their Quebec counterparts do. But in Celeste's defense, they do not have tracks that can almost ruin the album (such as Dixie on Fifth season). Flutes, sax, spinet, xylophone, chimes, violin are among the instruments sprinkled throughout this delicious slice of wax.

An absolute gorgeous piece of music that would deserve top ratings if it had come before a certain Quebecois album, but nevertheless is highly recommended.

Regarded by many prog fans as a classic and I would echo their sentiment 1000%. This is tranquil space-prog the way it was meant to be heard. This early release from CELESTE will keep you begging for more from the moment it begins. CELESTE combine rich layered keyboard work (mellotron and synth) with beautiful guitar, vocal and bass interplay... Highly recommended!

If you like the relaxing side of bands like PFM, NUEVA IDEA, and CAMPO DI MARTE then CELESTE might be just what you are looking for. The music is mostly mellow, and emphasizes the gentle interaction between flutes, classical guitars, mellotron, and soft vocals. Similar to HARMONIUM from Canada, CELESTE also didn't have a drummer, which makes me wish that they would break out into something heavy and rocking. But, the mellow atmospheres is what makes "Principe Di Un Giorno" stand out.

This work represents the pastoral side of progressive music, in the vein of such Italian prog bands like ERRATA CORRIGE, while in other moments it's more similar to UK bands such as FRUUPP from Ireland. This ensemble was influenced by the acoustic performances by PFM , but soon they became a reference for many of the light symphonic bands; and as their stuff was enriched with tasteful parts at the flute and sax as well, this work can be regarded as one of the most interesting albums of the seventies. Recommended, even though it is not completely essential!!

Well, this album is something I really have mixed reactions about. CELESTE's self-entitled album, often called "Principe di un Giorno" was said to have been recorded in 1974, but not released until 1976, on the short-lived Grog label (a label that has few titles, and which only CORTE DEI MIRACOLI being the only other band from that label I have and is familiar with). I often appreciate this album because it's a solid effort and very well produced, so it doesn't take very many listens to get in to. The music borrows from PFM, and of KING CRIMSON. Acoustic guitars, early PFM-style vocals, Mellotron, piano, and some synthesizers dominate. Drums make that occasional appearance. But I also find parts of this album rather infantile sounding to my ears making this album a bit overrated. But there are some really killer passages as well, especially the Mellotron, or some of the more tranquil passages (especially the part with flute and the Farfisa electric piano with the sound of children playing in reverse).

Again, this is an album like LOCANDA DELLE FATE's "Forse Le Lucciole Non Si Amano Più", SEMIRAMIS's "Dedicato a Frazz", and IL BALLETTO DI BRONZO's "YS", overhyped and overrated, but at least still worth having.

Like QUELLA VECCHIA LOCANDA and LOCANDA DELLE FATE's "Forse Le Lucciole Non Si Amano Più" this is very melodious Italian progressive music, but is even mellower. Think sunny afternoons in a hammock; think walking through a pasture in the spring sunshine; think dangling your legs in a babbling brook; think lying in front of a warm log fire on an autumn evening. This music gently flows through you and over you, and is beautiful in places. This is definitely an album to listen to at the end of a hard day.

Flute, acoustic guitar and piano dominate the sound, but bass, Mellotron, synth, xylophone and sax (amongst others) also play a crucial part. The vocals are very calm and pleasant, almost susurrant at times. Percussion is very understated, with just some cymbal, bells, triangle, xylophone and hand clapping here and there.

In my opinion the music is not as adventurous as the music of the other two bands I mentioned above, but is still very well constructed and by no means simple in comparison. There is some very competent song writing and playing here. This album, however, has but one mood: laid-back. The start of 'Giochi Nella Notte' even reminds me a little of 'Alan's Psychedelic Breakfast' on "Atom Heart Mother". The individual tracks are not memorable to me; my memory is of the whole.

Is it a masterpiece of progressive rock music?: No. Am I glad I own this album?: Yes! Should you buy it? If you like the music of the two other groups I mentioned above, plus the softer melodic tracks of bands such as PFM, then my answer is "Yes!". It is so soothing to listen to, and some of the sounds please me so much, that I have no choice but to give this album 4 stars.

There's a lightness and sense of freshness and clarity to this uncluttered, gentle music. I've only took a valium once in my life, years ago, but when I first heard this music that peculiar feeling was bought back to me. Poised and calm. Parts remind me of some of the calmer episodes of Anthony Phillip's great "The Geese and the Ghost." Other reviewers have described it quite well, but I wanted to add my 5 stars! As a 'soundtrack' to calm reflection there's nothing better.

I have become an Italian prog enthusiast over the past 2 yrs. Before I purchased any cds from this genre I read about the "big 3" in Italy- PFM, Banco and of course Le Orme. I quickly looked into these bands and so much loved what I found that I had to dealve deeper into this early 70s scene. This is when I kept reading about a bad called Celeste and the pastoral beauty present on this album. It was the 1st I ever purchased and boy am I glad i did. I am now familiar with all the big Italian bands and have to put Principe di un Giorno right near the top of the heap just below Locanda delle Fate's masterpiece ( the best of them all). My girlfriend who can't handle prog much even finds this music essential. The only quiet prog that can compare would be Alusa Fallax's album.

A masterpiece, but in its way, if you like the italian scene and the most acoustic parts of pfm, this one is for you. But if you expect high speed music and loud vocals, this record is not for you. A good taste record, with happy and moody moments. Although it has no drums, have percusion and vocals in all songs.

At least a "must-try".

"Principe di un giorno" was released by the small Grog label only in 1976, but the tracks had been composed in 1973 and recorded in 1974. The reason for this delay? never know, but perhaps, considering the poorness of the period, for prog-rock italian and international scene, or the history of the band members (having some nausea for the decline of the good intentions and results of the previous periods...), these themselves could be the reasons: the ideal of making something in opposition!

For these intentions, and for the pure research attempt of this album, it deserves the maximum of the quotes. In fact, from the beginning to the end, the listener has the sensation that even the more little note, or drum-hit (very rare, indeed), or even eyelid click is accurately studied, and players are always at the research of something particular: this is witnessed by the Aldo De Scalzi participation, quoted on the album (note - he is quoted for "Si è", as he says... "si è" on Eftus, or plop, a very special "side-mouth-effect" on L'imbroglio; but I wonder if he has a stronger influence, considering his remarkable future jobs).

The pastoral lyrics, the acoustic atmosphere, are difficult to compare with other bands.

In my opinion, they miss a 5-stars judgement since they seem a center-american football team, playing a very-very-very good football, but never striking at goal!!!

This is the true prog rock!Fantastic mellotron,beautiful vocals,flute,acoustic guitar,everything.One of the best italian album.Minimal folk, maximal symphonic elements.Maximum ratings because this is a masterpiece.I love CELESTE!

Celeste' self titled album (aka Principe di un Giorno) is a very peculiar record released in the second half of the seventies. None of the traditional italian prog artists and bands sound like Celeste. The band tried in fact to abandon any usual progrock structure to make something completely fresh and delicate. This is the most melodic work ever relased in all the italian prog scene of the seventies.

Warning! Do not think that Celeste is less exciting and interesting as other more conventional bands do. Bass guitar, for example, loses its normal rythmic function and becomes a freely played instrument, sounding sometimes more like a gentle cello or contrabass. Acoustic guitar is always dreamy, celestial expression of souls and fairy worlds. Two flute players alternating , soft and deep mellotron's waves, spinet, eminent and arp odissey. Choruses like angels singing from Heaven and mellow piano's classic interludes.

That was not enough, though! An "intruder" was necessary: a wonderful alto saxophone, a quasi-jazzy instrusion in some tunes, as in "Giochi nella Notte" (Games in the Night, 8,11 mns).

Me I'm really impressed for how the album at each listening has grown in me. Very few records reached such a result. Only two weeks ago I probably would have assured people this was not a masterpiece of italian prog. How wrong I was! This is not anybody's cup of tea, I admit it. But you also have to recognize that nothing's more pure than it. The completely white cover it's a sort of presage.

"Principe di un Giorno" (Prince of a Day) is the 6,13 mns opener. A relaxing mellotron introduces the listener into an instrumental duo between flute and acoustic guitar. Warm and nice vocals and lyrics inspired by fairy tales. I recommend you to listen just before closing your eyes and sleep. Put your headphones on, let joyful thoughts flow into your dreams!

"Favole Antiche" (Ancient Tales) is the longest track of the album. Not very long running time, though (8,18 mns). Warm, soft and deep vocals, bass, mellotron and percussion for a quasi-medieval feel. Melodic but not traditional italian tune. That's the wonderful surprise with Celeste. Then the silence, interrupted only by child's voics then flute and xylophono. Then a duo again, between church organ and chorus, then acoustic guitar comes from behind the cloud...fantastic.

Then it's up to "Eftus". Some reminiscences of Jethro Tull? Maybe but in few seconds it is definitively gone. Arp 2006 gently whispering. Flute is convincing, never too loud nor boring or tedious.

Of "Giochi nella Notte" I've said before. I only add to what I say that I think this is the most proggy and interesting track of the album. From minute 2 on your ears will be pleased. Drums and sax winded by mellotron. Then flute. Again.

"La Grande Isola" (the Great Island) is another well inspired song with remarkable nice arp 2006 solo at the end, softly fading out.

"La Danza del Fato" (Fate's Dance) is a more short track (3,52 mns)which is in the same vein of all the previous stuff. The closer "L'Imbroglio" (The Fraud) is another excellent song, another quasi-medieval effort. Simply the icing on the cake!

After so many listening now I know that Celeste is very original stuff! Believe in me, people. If you want to take a break, sometimes, from all those usual technicisms, this one is for you. Give it the chance of more spins, please. You'll thank me. No wonder this is voted the best italian prog record of 1976 year!

My, my, my...if you are a lover of the mighty Mellotron, then I have news for you....this album is loaded with it. In fact, it begins with a beautiful burst of Mellotron ala PFM. Heck, the whole freakin' album is a homage to the great Italian band PFM, especially the second track, "Favole Antiche". In the song there is a Melotron melody practically ripped right from a certain track from the first King Crimson album, (check it out, its a beaut!). All throughout the album you'll hear incredible flute that takes the lead, with wonderful acoustic guitar, subdued bass and nimble drumming. There is not one bit of electric guitar to be found. And that's okay! The album is floral, pastoral and downright gorgeous with subtle singing in the, again, PFM vain. Occasionally, you'll hear a sax color a few songs. It's the only time you'll get a taste of Jazz on the album, otherwise it's a folky/prog/symphonic sound all over. My only gripe, the absolutely bland, plain white cover. Couldn't they come up with something else? Oh well, what it lacks in color on the outside it makes up with in spades on the inside. A four-star laidback gem in an over-crowded Italian Symphonic genre. Sit back and relax folks....

The question is not be or not to be beautiful, yes, this album is beautiful, but if the first track is very good the rest of the album is much more monotonous, its an inspired album, but if you expect rock´n´roll you will get disappointed. But it's a matter of taste, to a really progressive record I can give at best three stars, in category ambient music it could have 5, the same happens with a lot of bands, Iron Maiden for example, 1 star as progressive and 5 as heavy metal. I have another category for bands like celeste, "dangerous bands" you may like or not.

This is some of the most beautiful music I have ever heard. The waves of mellotron wash over the delicate soundscapes of acoustic guitar, warm, soft vocals, flute and piano melodies.There are some drums, sax and violin, as well as other instrumentation creating heavenly sounds.

"Principe Di Giorno" opens with mellotron as violin,piano and vocals come in. Flute and acoustic guitar follow and 2 minutes in the sound is gorgeous as the drums and mellow vocals create an awesome uplifting melody. Some nice sax melodies later in the song. "Favole Antiche" opens with some strange noises then mellotron, vocals and flute come in. 2 minutes in more mellotron and drums and we can hear voices in the background. Some majestic church organ comes in and a vocal melody followed by soft vocals and acoustic guitar. Piano melodies close out the song.

"Eftus" features more mellotron, flute, acoustic guitar and vocals. "Giochi Nella Notte" opens with flute, acoustic guitar, piano and drums. Piano and sax melodies along with flute round out the song. "La Grande Isola" sounds so beautiful with the vocals, drums, sax, flute and mellotron. I know I sound like a broken record but this is amazing ! "La Danza Del Fato" opens with bells as flute, piano and vocals follow. "L'imbroglio" is just over a minute long with flute, violin and acoustic guitar leading the way.

I think everyone should own this classic Italian album. I love my "Metal" but this is like a warm summer breeze that can't be put into words. You just smile and enjoy it.

What a beautiful album we have here. probably the last of the romantics. For those who love tons of mellotron sounds, pastoral tunes, bucolic scenarios and mainly that incomparable flavor of early 70s Italian symphonic prog this album is a must.

Yes, this gorgeous album seems disjointed for its release year; the atmosphere is purely around 1972. Those four years looked like an eternity for the prog-rock scene and in 1976 the odds were really against our beloved musical genre: strange and difficult times that prevented us to have appreciated much more "Principe Di Un Giorno" then. This output is a typical classic Italian prog thanks to the poignant vocals, the torrent of instruments, the dramatic arrangements, the songs running in a way to meet a climax.

The title-track and album opener is a gem of beauty and enchantment: celestial mellotron tunes, nice flutes, splendid guitars; a song that deserves to be in the same podium reserved for the great ones of the progressive world. Sax solo is pleasant and the keyboards final trimming is amazing and sorrowful.

'Favole antiche' starts with weird space-rock choir and effects soon replaced by one of the purest symphonic moments ever heard decorated with nice folk tunes and romantic vocals; even the classics say present. Solo part begins with a short rock-like section and then a low tune holds sway backed by voices and spoken words; the following section provides a hymn atmosphere to the song. For our delight the last 2 minutes brings back those heavenly symphonic moments of the beginning, this time trimmed with a piano closure. This piece rivals with the title-song for the honor of being album's best.

Other tracks are fine and maintain a good and agreeable hearing level even not matching the opening duo. 'Eftus' keeps high the pastoral ambience with dominating flutes and acoustic guitars all embraced by very nice folk chords. 'Giochi nella notte' shows a kind of diversity from the general climate due to some more vivid parts.

'La Grande Isola' brings a certain epic taste in its intro but in the end the ever-present bucolic/romantic/pastoral scenery overwhelms. A quaint intro is also heard in 'La danza del fato' but later the album pace is retaken. The short and acoustic 'L'imbroglio' closes the album blowing some renaissance winds to the farewell.

I should refrain myself to attach a masterpiece label to this CELESTE album; indeed, the two first tracks could be considered as such but the lack of variation noticed along the other songs keeps "Principe Di Un Giorno" slightly away from this landing; anyway, a more than excellent addition to any prog collection, doubtless.

Beautiful and melodic!

It is always a pleasure to review this kind of albums that make me have a great time while listening to it, there are some albums that i could describe with one word, being sometimes "marvelous", "awesome", "fantastic" etc, this time i have thought about one word which really suits to describe this album, and it is "beautiful".

Never tired of Italian music, probably a couple of years ago, or more, i discover "Principe di un Giorno" but only the song, not the complete album, and loved it since the very first listen, it caught my attention and filled my ears with pure beauty, this is what led me to get interested on the album itself, and then, actually not that soon as i wanted, i got the album and was delighted with the music here, which seems to be probably one the softest and mellowest albums that RPI has offered to us, i am sure that anyone could like or enjoy this album due to its pastoral and traditional sound.

Another thing that i would like to remark, is that this album was released in the second half of the 70´s, i mean before it was released, several Italian monsters had previously have success with their different masterpieces, PFM; Le Orme and BMS being the obvious bands, but also a lot of other bands had disbanded for a period or even dissappeared, so Celeste appeared in a time when some people might have thought about the decrease of Italian prog rock, and prog rock in general.

So this album features 7 songs and a 37-minute lenght, and kicks off with the title track "Principe di un Giorno" which believe me its a beautiful song, very warm and delicate music, full of mellotron, flute and nice acoustic guitars, it makes you feel better when you listen to it, simply beautiful. "Favole Antiche" is one out of two mini epics of this album, over 8 minutes of again a very warm and soft sound, nice vocals accompanied with the beautiful sound of flute, again the mellotron plays an important role on the song but also we can hear the xylophone, great song. "Eftus", when i first see the name i though it was Fetus mispelled, well anyway, this song continues ith the soft and warm sound of the previous ones, a pastoral and short song, made to fill our ears with joy and tranquility. "Giocchi Nella Notte" follows the same way as the previous ones, but this time what makes this song different is the later sound of sax and a louder moment, i mean not as soft as other songs this is the second longest song of the album. "La Grande Isola" is one of my favorite songs here, i love the mellotron and the delicated bass playing, it has some magnific passages, mellotron - flute - acoustic guitar predominates here as in the album in general and this song has an stronger end. "La Danza del Fato" is a short piece with sound of bells but in general it has the same structure as the other ones. "L´Imbroglio" is the shortest and last song of this beautiful album, just a minute of pastoral music to finish this album, very nice.

Well as you can notice this album has no weak moments (at least for me), i like all the songs here, i feel very please everytime i listen to this gem, but i feel somewhat unconvinced about my final grade,i feel, as an RPI lover that i should give it 5 stars without hesitation, but something inside me says that 4 is the correct grade, because despite loving all the music here,i think i prefer another kind of RPI, hope you understand what i mean.

However, this album is essential to any prog lover, but not a masterpiece, anyway please check it you will be really pleased with this beauty!

While parts of this album can be compared with passages from early King Crimson and PFM, Celeste focused on the mellow aspects of those influences almost exclusively. The mellotrons and saxes of KC, the flutes and vocals of PFM, are all blended into this unusual 1976 album. This is quietly colourful music, teeming with memorable melodies. Its significant problem is that they are not always well developed, and sometimes end with a fade out that seems to be mid-song, as if they were not fully composed, or they ran out of money in the studio.

The title cut sets the tone, with violin, mellotron, and flute ushering in gentle vocal sections. All lyrics are in Italian. This is music without much edge, for those that like that, but it is emotional and very well played and arranged. Next is my personal favourite , "Favole Antiche", which features several blasts of string and choral mellotron, organ, and woodwinds, with the last 3 minutes of voice, flute, and piano over acoustic guitars being among the more beautiful prog passages ever recorded. "La Grande Isola" builds to an elegant crescendo in a mellotron-synthesizer haze, even if it too fades out where a grand ending might have worked better. But "Eftus" and "Giochi Nella Notte" both suffer from developmental issues, while still having nice moments.

While at times in the past I might well have given 5 stars to this heavenly work, and I do enjoy it very much, I feel, "en principe", that 4 stars is more appropriate given its occasional lack of dynamism and the presence of several uneven tracks. Recommended if you enjoy mellow symphonic rock with a decidedly Italian flavour.

Great album, made with "simplicity" and lyricism. The flute gives a sweet flavour, melodies are beautiful and gracious. However, there is a lack of boldness: perhaps the group could be more intense. In any case, the more relevant in this record is its delicacy and sensivity, distinguishing mark of the Italian progrock, but with unique personality. Pleasant music to pleasing and undisturbed moments. 4.5 stars really.

CELESTE Principe di un Giorno .how can a describe this.is a masterpiece .if you like Italian Prog you must get this one .the acoustic atmosphere is great and it comes with a big dose of mellotrons.if you like the acoustic side of of PFM this is going to blow your mind.the album . almost dont have drums on it and lots of alto sax, flute, electric piano,violin and even xylophone.is Italian Prog but in a different way .Highly recommended

Pastoral prog legend

Definitely a top contender for someone's future poll of the "most beautiful albums of prog." This album is a legend of "pastoral" prog titles. I don't know one person who has heard this album and not liked it, it is just universally delightful regardless of what genre you call your favorite. You've all seen Heaven depicted in the movies or in books. You can imagine the setting: the camera pans across a gorgeous meadow on a perfect sunny day, wildflowers of every color blowing in a warm breeze, songbirds about, and a huge oak tree with a massive trunk in one corner of the screen. There is a white glow or haze to the film indicating the supernatural. And there is no doubt some beautiful music in the soundtrack. Well, this album could be that music. Just a silly way of trying to communicate the "vibe" of this album instead of just telling you each track is going to sooth your psyche with gorgeous melody made of soft acoustic guitars, flutes, trons, bass, and vocals. The arrangements are impeccable. It is a uniformly mellow album without any rock and roll but that's OK. This album is not in your collection to rock you-it will become one of your prized "chill" spins. The flip side however is that it does lack excitement factor and over time has proven an album that fails to engage me very much on an emotional level. I have other "pretty" albums that move me much more than Celeste. For that reason I've had to back off my original 4-star rating to 3. It's a good album but not one for my 4 star shelf. While I've seen some reviews say the music came too late in the Italian heyday to matter (1976), the fact is that this album was written right in the peak year of '73 and recorded in '74. So don't let that charge stop you from checking out this widely acclaimed favorite.

The discography of this band is quite messy. The songs from this album were written in 1973 and recorded in 1974. It took two years to get them released! But don't ask me why. Such adventure already took place with another of their albums ("I Suoni In Una Sfera"). Therefore, this album does not really sounds as a 1976 release.

Anyway, the important factor is that this work has seen the light. This is a little jewel like Italian prog can offer. Unknown and confidential bands that deliver extremely catchy music. Like "Celeste" on this "Principe di un Giorno". The first two songs will plunge the listener in a beautiflul world of pastoral elements : nice acoustic guitar, subtle flute, great mellotron.

Influences ? "In The Court..." without "Schizoid" or "Trespass" without "The Knife". Some early "PFM" as well ("Storia di un Minuto"). I hope you got the point. Very sweet and peaceful music. I happen to like this style, you know not disturbing nor too tortured (although I can appreciate "VDGG" a lot).

"Favole Antiche" has the same flavour, but even softer : sometimes like during "Moonchild", but not as experimental. It is more structured and melodic.

You need to be keen on this type of music of course. Don't expect wild instrumental sections nor demonstrative vocals. All of this album breathes smoothness, beauty, tranquility. Great and relaxing music. Like "Eftus".

This album is perfect to accompany you while wanting to rest a bit or to cool down while in a traffic jam maybe. The only song which, partially, is a bit different is "Giochi Nella Notte". It features some sort of jazzy improvisation with heavy sax, but not for long. As if the band wanted to apologize for this. They are of course forgiven. The beautiful piano notes that one can listen to later on are really close to classical music. The flute only adding to the feeling.

If you like the three albums I have mentioned in my intro, chances are high that you will be enchanted with this one even if the last two numbers are weaker and more folkish.

But the global feeling is extremely pleasant. Four stars.

Very very still music. Beautiful subtle melodies with remarkable classical influences. Flute, piano, acoustic guitar, mellotron and sax are the main instruments. Mostly instrumental, althought it features lyrics in all tracks. Nevertheless, when I listen to this record I always wait for a breaking section here and there, but there's not. The pastoral atmosphere runs from the beginning till the end of the album. Excelent music, but too peaceful in a way. A little bit mellow to get 5 stars.

Celeste was a band of the early seventies Italian prog scene. They came from Liguria and the line up featured Ciro Perrino (drums, percussion, flute, keyboards, vocals), Leonardo Lagorio (keyboards, flute, sax), Mariano Schiavolini (guitar, violin) and Giorgio Battaglia (bass). Their debut album was composed in 1973 and recorded in 1974 but it was released only two years later by the independent label Grog (lead by New Trolls' member Vittorio De Scalzi and by his brother Aldo, founder member of Picchio dal Pozzo). The music on this album is soft and challenging, showcasing a wide range of influences swinging from early King Crimson to Amazing Blondel, from classical music to jazz, from Italian singer songwriters like Fabrizio De Andrè to Italian prog bands like Delirium and PFM... Nonetheless the band managed to shape an original and interesting sound that would have deserved more attention.

The dreamy opener "Principe di un giorno" depicts peaceful and timeless melodic landscapes mirroring "colour changes"... "Prince for one day / You are looking for a lawn to rest / You dream the wise man in white / Who shows you the way towards endless realms / Where the wind does not blow anymore...

Next comes the long "Favole antiche" (Ancient Tales) where the band seems to be "talking to the wind": the mood is ethereal while a "coffer of sounds" invites you to listen to ancient fairy tales... The following "Eftus" and "Giochi nella notte" (Games In The Night) are delicate acoustic pieces with a nice classical flavour... On this album lyrics do not tell stories, they suggest images to stir your emotions: so, just relax and enjoy the sound of acoustic guitars and flutes while melodic vocals soaring from the dark ask "Where is it? Who knows? / It's here! / In me? In you? / Yes it is..."

The structure of the pieces is complex but rhythm never gets frenzy while "sailing towards a large fantastic island where the fate is dancing"... "La grande isola" (The Great Island), "La danza del fato" (The Dance Of The Fate) and "L'imbroglio" (The Cheat) flow among the echoes old troubadours' songs and classical music patterns leading you to the end of an album that seems to be conceived as a musical dream... "Veil your voice while you play the lute looming songs and harmonies by the seaside"...

On the whole this one is an excellent album but it needs some time to be completely appreciated: the risk on the first listening is that you could got asleep before the end...

Talk about a perfect title, an all white album (just like the Beatles dared!) and just to confuse matters a bit more; a mellotron-sated pastoral Italian School of Progressive classic to boot (the shape of Italy from way up in satellite land!). While many boldly orate about RDM, Banco, Le Orme, PFM , Museo Rosenbach and company, this little fragile gem continues to dazzle, proving that there are fundamental reasons why most Italians cook so fabulously! They know how to combine natural products so well: juicy and ripe tomatoes, crisp and crunchy red onions, grandiose acidy capers and the most delectable cheese you can think of. Put them all together, a little salt and pepper, then a sprig of fresh basil and Ecco il Paradiso! On "Principe di Giorno" the musicians emulate their mammas in the cucina by adding magical flute, divine acoustic guitar and heavenly blasts from the ubiquitous Mellotron, plus an occasional dash of gentle choir, church organ and those trembling vocals that have inspired many for centuries. This is true music genius, a medicating journey of unfettered bliss, a mature expression of celestial inspiration, placid introspection and dreamy Sunday morning relaxation. That this superlative disc offers genuine panacea is uncontestable as one would be hard pressed to find fault with such splendor. Even the hard rockers need to rest their head banging carcasses on occasion! That there are powerful early King Crimson influences in attendance here should come as no surprise, as Italy was surely one of the first countries to openly embrace the liquid beauty of progressive rock, inspiring a rich musical culture that could add its own folk/classical aromas without too much of a hardship. Hence, an entire arsenal of instruments are presented here, with everything from xylophones, saxes, violins, flutes, assorted percussive implements, blending superbly with the majestic piano, the grinding mellotron (and its local derivative, the Eminent),some electric piano as well as some synths (the good old ARP 2600). The amazing tracks really do not deserve to be served up individually since they form nothing more than an elegant suite of songs that have a continuity that contributes grandly to the overall impression. I cannot help smirking at the oft repeated thought that this may put you asleep, because elevator muzak this is definitely not. It is not inconspicuous, boring, dull or even repetitive. In fact, the finale "L'Imbroglio" even offers up playfulness and humor. It just needs a special time and place for it to be enjoyed properly, like after a rowdy night out drinking, flirting and carousing with your social cronies, nothing is better than this to crash on the sofa and crank up the volume. But it can also be an inspiration to make passionate love to a bella ragazza (or your wife!) and ultimately , a great choice on a Sunday morning between Ant Phillips' Slowdance and Iona's Open Sky, a tasty frittata brunch waiting on the patio , as the birds dance to the sights and sounds of peaceful harmony. This is not just music, its medicine! An absolute necessity in any prog collection worthy of "envergure" (French for depth). This is dedicated to Raff and Micky! I can only imagine them listening to this ! 5 passionate bravos.

Although closer to the early King Crimson Celeste is not proper the kind of band that conquest me. Ok, 'Principe di un giorno', album wrote in 1973, recorded in 1974 and published by Grog in 1976 is a good Pastoral Prog album and nothing more. Unfortunately, although I have heard several times, I admit that 'Principe di un giorno' is a good album, can not create that magic that is often the winner quid.

Interesting for songs, without heavy or invadent arrangements 'Principe di un giorno' find victory in the production, even if too powerful, which penalizes the songs. Also because off between the electrical parts (very light) and the acoustic parts (too light) ruining the feelings, because they are not very developed, being an end in themselves. correct the sung parts, appropriate to the style of songs and genre.

That 'Principe di un giorno' be a good album is also my conviction. In any case, for me, 'Principe di un giorno' remain a good example of Italian 70's music.

Subtlety, beauty and erudi. An album that does not refer to rock music at its all.

The basic instrumentation line up consits an e-piano, guitar (payed by the classical way), bass, a couple of flutes and an extremely calm voice. Saxophones, organs and keyboards are also found.

The album consists seven songs but it has lots of melodies (some of them refers to other melodie played minutes ago), some of the best i ever heard.

I consider this album a pearl of the italians and a pearl of the simphonics. For all those who like RPI or acoustic progressive music. A trip. A Masterpiece.

Celeste - Principe di un Giorno (1976)

...the Italian artistic flavor, so amazing!...

This one-shot wonder from Italia is really something. Most of the bands in the RPI scene had adopted the heavy ELP-styled symphonic prog sound with Deep Purple like rock sounds, but not Celeste.

The sound of Celeste can best be described as a very gentle interpretation of the symphonic prog scene with a lot folkish and classical music influences. A perfect combination of acoustic instruments like guitar, piano and wind-instruments with a slight electronic symphonic edge. Mellotrons all over the place! The songwriting is very strong and has an atmospheric, devoted feel.

'I Talk to the Wind' of the King Crimson debut could be seen as a good point of reference here. Celeste's Principe di un Giorno has songs with this amazing impacts with the same amazing wind-instruments. A warm bath of acoustic/symphonic music.

The recording of the album is good. I have only one complaint. Some of the wind and key instruments are recorded in a slightly different pitch which can be a bit disturbing for musicians. After continues listening to this album this becomes part of the album and it doesn't bother me anymore.

Conclusion. A very good light, but artistic, symphonic record from the RPI scene. Due to it's different approach on the symphonic prog genre this is an excellent addition to almost any- ones collection. Only those who are in need of (hard) rock instrumentation might be left unsatisfied. This is a record about beauty, it's slightly progressive and always gentle. I love the Italian artistic flavor. Four stars! Buy.

Delicate, ephemeral weaves of guitars, bass, piano, woodwinds, and tuned percussion, all set against or accompanied by copius amounts of Mellotron and then coupled with the gentle male vocals of composer Ciro Perrino set within the music and sung the band's native tongue, Italian, make for some absolutely gorgeous music. Celeste came onto the scene with this, a concept album of gentle, pastoral music in which there is a minimum input of percussion instruments. As noted by other reviewers, the similarities to Québeçoise band HARMONIUM's album of the same year, Si on avait besoin d'une cinquième saison, are strong, but just as strong are the presences of countrymates PREMIATA FORNERIA MARCONI's early albums--especially in the intricate multi-instrument weaves--as well as the softer side of GENESIS's Trespass, and even King Crimson's first two albums (in the style of the use of the Mellotron). The key words here are "delicacy" and "pastoral." There is very little heaviness or barely any "rock" here. The band uses beautiful instrumental weaves to try to re-construct a beautiful day in the countryside. I love this album. I count it as one of the masterpiece gems of the late classical period of prog. Every song is its own gem among the king's riches, but the whole, listened to start-to-finish, is a wonderful excuse for nostalgic daydreaming. IMHO, one can never do enough daydreaming.

1. "Principe Di Giorno" (6:12) (9/10)

2. "Favole Antiche" (8:18) (20/20)

3. "Eftus" (4:17) (8.5/10)

4. "Giochi Nella Notte" (8:11) (13.5/15)

5. "La Grande Isola" (5:04) (9/10)

6. "La Danza Del Fato" (3:56) (9.5/10)

7. "L'imbroglio" (1:06) (4.25/5)

I love this album. I count it as one of the masterpiece gems of the late classical period of prog. Every song is its own gem among the king's riches, but the whole, listened to start-to-finish, is a wonderful excuse for nostalgic daydreaming. IMHO, one can never do enough daydreaming.

Five stars; A-; a masterpiece of pastoral progressive rock music.

A delicate and prettified pastoral prog album, recorded in 1974 but delayed for two years until it crept out on the Grog label. In principle, delaying the release wasn't necessarily a terrible idea - the Italian market had been so flooded with similar material from 1972 to 1974 that giving it a bit of time to clear wasn't a completely wrong-headed move, but fashions had moved on by the time it was released and so until the reunion albums in the early 1990s Celeste were doomed to be yet another RPI one-album wonder. Here, the album is elevated above the typical Trespass-era Genesis-worshipping fare by the strong musicianship; Mariano Schiavolini's acoustic guitar is a particular highlight, and few prog fans can resist an album incorporating not one but two skilled Mellotron players.

I bought the boxed set of Celeste albums by chance and I am quite fond of it. Especially so when it comes to "Principe..." The music on this particular album is very dreamy, gentle and soothing. It flows by quite gracefully. Melodiuos and well played, with that typical RPI sound. On the other hand I find there's also a hint of the british sound, which I really enjoy. There are lots of keyboards on here, something deeply appreciated by me.

Although the album is very enjoyable and relaxing I find myself void of any real memories of the music after playing it. The music is, like Jade Warrior's "Waves", beautiful but not too memorable. I listened to it again this morning. Outside he sun shone, making the snow glisten. It was all very tranquil and peaceful. Lovely. And I do like the album, it's good. It simply fails to make any lasting impression. That is why I reward this album with a solid three stars. There's no shame in that, now is there?

Celeste's debut album is no doubt one of the more pastoral albums of prog, borrowing much of its sound from PFM. But make no mistake, this obscure Italian band has its own formula, and it works extremely well. Instead of the relentless energy and intensity streaming from many Italian groups, Celeste manages to focus on a sound filled with uplifting melody and serene atmospheres.

Lovers of mellotron, flute, and synth will find some satisfaction in this album, as it there is no shortage of either. They manage to build a deep symphonic and folky atmosphere throughout much of the songs. This, combined with the myriad of appealing melodies more than makes up for the lack of intensity. I would even venture to say this is one of the albums I find easy to get lost in, sort of like Dark Side of the Moon. But let this not take away from the diversity of the album, as there are plenty of dynamic changes throughout the album to keep it interesting.

Those who like the softer side of prog should love this album, especially fans of PFM, Harmonium, and early Genesis. Despite being homogeneous in its beauty, I believe this to be one of the best albums to come out of Italy.

9/10

Very rare band from Italy. Celeste's debut album Principe Di Un Giorno (1976) - one of the classic Italian albums. The music is mellow, full of mellotron, flute, piano, violin, alto & tenor sax, spinet, xylophone and nice acoustic guitars, it makes you feel better when you listen to it, simply beautiful.

Lack of drums doesn't take away too much from the music due to the increased interaction between flutes, acoustic guitars, piano and mellotron. This is probably the most "beautiful" album I have ever heard. The arrangements are impeccable. A true masterpiece of music. 

Is a masterpiece. Highly recommended to any fan of beautiful pastoral prog, fans of the flute and mellotron. Be prepared to listen to something soft and beautiful. Enjoy!

5/5

An excellent album by this very obscure Italian band. I found out about them just a few days ago when a friend showed me this CD. It seems they were a studio band and did not last long. However, the music here surprisingly good for such an unknown work. With obvious influences of early King Crimson and (surprise, surprise!) PFM, it is a very pastoral, calm and mostly acoustic album. Nothing bombastic or epic, but, make no mistake, it is very creative and captivating in their quiet and tranquil way. All four members are multi-instrumentalists and there is great use of analog keys, specially mellotron, acoustic guitars and flute. There are some fantastic saxes too, courtesy of keyboardist Leonardo Lagorio. This is a mostly instrumental album, with some sparse, but nice, vocals.

It´s hard to say if my copy was a remastered one, because it does not have the bonus track of the 2010 version, but the sound is crystal clear. There are no weak tracks and I listen to it from beginning to end with great joy, the experience being enhanced by every new spin. If you are into RPI then this is a must have. A nice surprise.

Rating: 4 strong stars.

This one is definitely hyped in RPI circles, but I am not completely sure why. Is it pretty good? Definitely yes. What sets it apart for many I'd guess is that it is so different from the voluminous output of Italian prog bands of the 70's. This is low key to the point of almost being background music (a thing often said about Il Paese dei Balocchi), yet there is a quiet dynamism lurking in here that begs repeated listens. ,

Very few drums here, they occasionally intersperse with the dominating themes: heavy flute, Mellotron and acoustic guitar passages. (look for the mellotron passage that nearly exactly quotes the first King Crimson album). Delicate and pastoral throughout, it can bear close listening, but is excellent as a background to quiet activities. This sounds like a complaint, but is actually a compliment on how Celeste can function on more than one level.

For point of reference: think quiet Gryphon, Genesis and early King Crimson all in acoustic mode. Like Alusa Fallax, a little bit of the first Long Hello album might be a good comparison. Maybe a tad of Moody Blues in there from time to time. All filtered through the Italian lens of course.

Excellent sounding pressing on vinyl, recommended if you can find one. Not a masterpiece, but an important piece of Italian rock history. 3.5 stars

Typically, I prefer my progressive rock to be a mix of clever, exciting, and interesting songs performed by the very best at their instruments. That doesn't mean that I can't enjoy quiet and pastoral songs or sections of songs - I just lose a little patience when the whole album is comprised of such.

And there lies the drawback (for me) in this cd by Celeste. It has some beautiful moments, and it's nicely performed. But I'll probably only play it as background music while I'm reading (as opposed to while I'm driving too fast on a back country road ;-). This is a pretty mellow (and mellotron-ish) album. Nice vocals and flute playing too, along with some nice melodies. It might have been a nice contrast to include drums more often, or a little more "meat" in spots? Too bad it's only 37 minutes long, too. (Was that the stated standard for Italian prog album durations in the 1970's?!)

If you're off on an adventure into the Misty Mountains with Bilbo Baggins, you probably want to have "Close to the Edge" on your headphones. But if you're just hanging out at the old hobbit's place, smoking a pipe, and enjoying the sunset, this Celeste cd will hit the right spot! You need to be in the right mood for this one - I'll give it a mood-appropriate 4 stars. (And now I have this mysterious urge to listen to Zep IV...)

"Celeste" is the eponymously titled debut full-length studio album by Italian progressive rock act Celeste. The album was released through Grog Records in 1976. The material featured on the album was however already recorded in 1974. To some the album is known under the title "Principe di un Giorno", but that title wasn´t applied to the album until the 2009 AMS label reissue of the album. Celeste was founded in 1972, but some of the members had been active in the late 60s/early 70s in a band called Il Sistema along with future members of Museo Rosenbach, so they weren´t completely new to performing or recording. This debut album was their only official release before they disbanded in 1977, although some of their material (not featured on this album), was used on a contemporary soundtrack album ("I suoni in una sfera" from 1974, which may or may not exist depending on the source), and on a couple of various artists compilations released by Magma records in 1976 ("Musica Del Mare" and "Sensazioni D'Estate"). Most of the material from those recordings were released as Celeste´s third full-length studio album "I Suoni In Una Sfera" from 1992.

Stylistically the material on this self-titled debut album are sophisticated, mellow, and beautiful symphonic progressive rock. It´s incredibly tasteful and features a pleasant tranquill sound, which is both progressive in nature and at times also leans on folk/medieval elements (I hear elements from classical music and church music here too). Flute, saxophone, piano, acoustic guitars, subdued clean singing (in Italian), and epic mellotron moments wash over the listener in waves of velvet beaty. The use of Drums and percussion and bass are very restrained, but there are some moments on the album, which are a little louder and rhythmic in nature. They aren´t many though and this is overall a very mellow, ambient, and pleasant sounding release. There´s drama here, but it´s in the details and Celeste have carefully composed those moments to work as climaxes and in some instances surprising adventurous moments to spice up the compositions.

The album features a detailed, organic, and pleasant sounding production, which suits the material perfectly. It´s an incredibly well sounding release, which is smooth on the ears and stress relieving on the mind. The word tasteful comes to mind at all times during listening to the album. The subdued musical performances, the organic sounding production, and the clever and intriguing songwriting. They are all high class feautures, which combined means that this is an excellent progressive rock album in the more mellow end of the spectrum (I´d mention Canadian contemporaries Harmonium as a valid reference). A 4 - 4.5 star (85%) rating is deserved.

Review Nº 568

As almost all prog fans know, the progressive rock music was almost an Anglo-Saxonic phenomenon in the 70's. But, it was especially a British phenomenon, in spite of some names that appeared in USA. However, there were many other interesting cases all over the Europe. We can especially mention cases that appeared in Sweden, France, Germany, Netherlands, Spain and Portugal, despite many other interesting cases, some of them that ppeared in an unexpect place, I mean the East Europe, especially in Hungary and Yugoslavia. But, of course, we can't forget the Latin American countries and the Canada, especially the Quebec. But, above all, we must especially mention a European country, Italy. I think that once I read that someone said that there are probably much more Italian prog bands than Italian prog fans.

Towards the end of the 60's, the Sanremo group Il Sistema, was one of the first to spread the prog rock in Italy, even though it had never recorded a single LP. Not only the guitarist Enzo Merogno who later formed Museo Rosenbach in 1971, but also the drummer Ciro Perrino and the keyboardist/flutist player Leonardo Lagorio who, with Mariano Schiavolini, guitar and violin, and Giorgio Battaglia, bassist, were part of that historical formation and gave birth to the band Celeste in 1972. After about a year of work in which Celeste prepared an amount of tracks, in 1974 the quartet entered in the recording studios and recorded an album. However, for some reason (probably due to problems with the record label), the album was only released in 1976 when the progressive rock wave was running out. In any case, and certainly due to that, 'Celeste', also known as 'Principe Di Un Giorno', was released with the band already dissolved.

The intention of Celeste was to aim of deepening those musical spaces that had only been touched with Il Sistema, the more classic and acoustic ones. The melodies sought were not those from across the channel, because that had to be 'Mediterranean', manifesting the firm intention of regaining their own strong identity, a kind of an identity of the South European music. This led to the idea of creating less rock and a bit more symphonic music. The result is a dreamlike atmosphere that permeates the entire album, a sense of lightness that accompanies listening. Even the texts written by Perrino are poetic and dreamy. Thanks to their previous experiences, their musical culture and the excellent skills of all musicians, they've managed to create a very innovative and different product, where the 'classic' instrumentation, guitar, flute, piano, violin, sax, bass, percussion, mixes perfectly well with the electronic parts, Mellotron and synths.

The sound of a Mellotron opens and closes the title track. The delicacy and lightness present in the entire album are perfectly shown on this song with an excellent fusion between voice, guitar and flute, especially on the first part of the piece. The second part flows slightly along the lines of the first one. 'Favole Antiche' has an electronic start with the support of a vocalization. Soon the dreamy atmosphere takes over the track with the flute and xylophone between voices and laughter in the background, underlined by the organ and a choir. The ending is entrusted above all to the piano. 'Eftus' starts with voices and flute. The continuation of the piece is a skilful mix of flute, guitar and bass, with the use, for a short stretch of the synth. The use of the flute is nice, never too loud nor boring or tedious. 'Giochi Nella Notte' continues the sense of the album. Around the second minute, the sax stands as the driver, compared to what Celeste was getting used us. But, everything comes together very soon with the entrance of the whole band. Only in the last part of the track, vocals take over the control. 'La Grande Isola' starts directly with the voices to flow, with a crescendo, in a suggestive game between Mellotron and synth. After this, as happened on 'Giochi Nella Notte', after the 'storm', we return to peace by the sound waves of Celeste. In the end the synth returns. 'La Danza Del Fato' begins with space sounds. It might almost seem like the beginning of an experimental song, but it doesn't, really. The trademark of the Celeste is felt immediately with the guitar and the flute, above all. The very short track 'L'Imbroglio' closes the album. The guitar, the tambourine and the flute give a sense of a 'medieval' feeling to the composition.

Conclusion: Celeste released a very beautiful and pleasant album that ranks among the best releases from the Italian 70's progressive rock scene. They're a four piece that consisted of guitar, bass, flute, Mellotron and some synths. There are no drums, and the music is always very quiet and atmospheric. In fact, it's undeniable that its weaves of Baroque bows and woodwinds can leave a good flavour to those who mainly ask for moments of peace and serenity from the music. It's a very beautiful and romantic album, layered with Mellotrons and synthesizers to give it a huge, rich of the 70's atmosphere. The songs are brilliantly crafted and show just how profound a symphonic album could be at its most gentle and tranquil. It has great vocals too. It's an absolute gem, an overlooked classic that deserves a place among the best Italian releases of the classic period. This is a worthwhile listen, especially if you're into the Italian 70's prog scene.

Prog is my Ferrari. Jem Godfrey (Frost*)

CELESTE was one of two bands that formed in Sanremo, Italy in 1972 following the disbanding of the group Il Sistema, the other being Museo Rosenbach which formed the exact same year. This group was the brainchild of Ciro Perrino (percussion, flute, mellotron, lead vocals) and Leonardo Lagorio (flute, sax and keyboards) who were joined by bassist Giorgio Santiano and took the complete opposite approach of Museo Rosenbach that delivered one of the most complex and demanding Italian prog albums of the entire 70s scene. Considered one of the most pastoral albums in the earliest prog years, CELESTE clearly adopted the sounds of early Genesis as did many Italian bands but accented the mellower parts even further thus making an entire album's worth of a style that many Italian prog bands were only using as introductory segments.

Recorded in 1973 - 74, CELESTE delivered a very light and breezy form of prog that offered softer chamber folk styled acoustic guitar parts with dreamy atmospheres courtesy of the soaring psychedelic atmospheres created by the synthesizers and mellotrons. While the bass and percussive parts are found throughout the album, they too are completely on mellow mode and only used to contrast with the almost new age styled melodies that were clearly inspired by the better known Italian bigwigs such as PFM, Banco and Le Orme. Sounding something like Anthony Phillips' late 70s albums such as "The Geese & The Ghost," CELESTE looked more towards the mellowest moments that early Genesis had to offer and left all the knotty time signatures and bombast behind.

The album CELESTE wasn't released until 1976, a bit after the initial Italian prog boom and didn't find a second released until archival material in the form of "II" emerged in 1991. The album has been nicknamed "Principe di Giorno" after the album's title track. The original album featured eight tracks at just over 37 minutes playing time but subsequent releases have offered varying numbers of bonus tracks with the 2020 digital streaming version featuring a whopping sixteen which effectively doubles the number and playing time. This is a true slow burner with soft arpeggiated acoustic guitars, lush flute melodies and beautiful classical piano rolls. While considered symphonic prog by some, it is more a form of symphonic prog folk since the music never really takes off into the world of rock even at its most feisty which would be moments when the saxophone parts can be heard on tracks like "Giochi Nella Notte."

The music is so pastoral that it makes you think of a soundtrack in some distant past in a quaint quiet village unaffected by any outside influences and despite being in the middle of one of the most sophisticated musical movements in the history of recorded music, CELESTE managed to completely drift off into a world of its own making where only fluffy clouds and zephyr winds gently blowing forest canopy provided any inspiration. Resembling non-Italian bands such as Quebec's Harmonium, the English Mellow Candle and of course early Genesis and Anthony Phillips, CELESTE surely must have stood out from the more complex and brash bands that populated the 1970s Italian scene. Despite these differences, the style is clearly rooted in that classic Italian symphonic prog sound but just set to acoustic mode. The lyrics are completely in Italian and eschew the turbulent topics of politics and rather craft an uplifting even triumphant soundtrack.

This one took a while for me to warm up to as i much prefer the whole enchilada effect that not only implement these soft and lush passages but take things into the world of heavier rock and beyond replete with mind numbing technicalities but after a few spins of this one, it's admittedly a bit hard to resist these soul piercing melodies that are polished to perfection with gorgeous compositions fortified with a beautifully woven tapestry of guitar, bass, flute, piano, violin, saxophone and tons of synthesizers including the mellotron. Definitely one of the most distinct and accomplished mellower albums from the 70s prog scene and probably one of the only examples to emerge out of Italy.