ALESSANDRA

And so, here we are with probably the least interesting (in fact it is the least rock) album released by Pooh in the seventies. The bassist was then Riccardo Fogli who was replaced (after its release) by Red Canzian from RPI band CAPSICUM RED. Riccardo Fogli made a moderately successfull solo career in pop music and even made a very rare prog album in 1979... titled MATTEO.

As I said to you in the past reviews, this is not bad music. It is just melodic italian pop. Maybe too soft and romantic. Not bad, though.

ALESSANDRA was dedicated to Roby Facchinetti's daughter; it was exactly what the record company wanted from them: music for female target, lyrics on romantic feelings and teenage loves.

It was not a case the album sold very well, even better than the previous OPERA PRIMA. At the cost to deprive music of almost any individuality, though. No soli, nor virtuosism, at all. Full and accurate symphonic orchestral arrengements are the key... even drums are slightly subdued.

So, you may ask, is in there any good thing? Well, there is always something good if you search for it.

This is the first time Pooh used moog synthesizer. You can hear it in two tracks: NOI DUE NEL MONDO E NELL'ANIMA ("Both we in the world and in the soul") and in MIO PADRE, UNA SERA ("My father, an evening").

The former is an all time classic (you can't help but love it): wonderful lyrics on how infinite and undeciphrable is pure love for a fantastic melancholic music... moog is sparse, shy and a bit clumsy, but it makes a very good effect combined with symphonic orchestra.

The same goes for the above mentioned letter track, but less good and memorable.

On about the closer: this time I can't be so happy... it was then (1972) the longest number of the band (6:51 mns), but no prog at all. It's a delicate pop sad ballad... good melody, rich and somptuous symphonic arrengements (even bells) but not as memorable as other closers the band accustomed us to.

1,5 stars rounded up thanks to NOI DUE NEL MONDO E NELL'ANIMA (this song really deserves to be listened to and appreciated).

Whenever you classify a band in the "Prog Related" label, disappointment is just round the corner. Most bands in this group paid just a couple of visits to the prog world, preferably in the 1970s when the sound was challenging and (let's admit it) fashionable. This also happened for Pooh, a band whose members has always had a considerable technical training (axeman Dodi Battaglia, in particular) and a certain taste for epic rock which would turn up for their whole carreer. Nevertheless, it must be remembered that Pooh are fundamentally a POP band, whose main focus has always been love and its several features. Their 1972 "Alessandra" is by no means a prog album, but it is an exceptionally good pop one, filled with some of the most compelling love songs I've ever listened to. Therefore, the best way to enjoy it is to forget complex arrangements, virtuosism and soli, and just focus on the beauty of the melodies the band can create. It is true that no instruments or voices really prevail, but this is the basis for the band's most cohesive team work, an album which sounds incredibly more mature than its predecessor (Opera Prima). The band is able to write lushious, moving adult oriented melodies ("La nostra età è difficile", "Signora", "Cosa si può dire di te", "Quando una lei se ne va"), with a good use of chord shifts and helped by intelligent orchestral interventions. Three out of four members of the band sing, often harmonizing, offering a polished, fully enjoyable vocal performance (to be honest, some falsetto background vocals haven't aged that good...). Songs like "Noi due nel mondo e nell'anima" and the romantic title track are real jems, well structured, deeply felt. Last, but not least, Valerio Negrini's lyrics are really interesting. Even if the album is entirely composed of love songs, love is seen under several standpoints, from teenage love to betrayal, from an unexpected pregnancy to the difficulties of coming of age, without sounding dull or trite. Therefore, this love-song album is there for full enjoyment, assumed you are ready to give up any prog expectations. I did, and these notes will never leave their intimate place in my heart.