IL TEMPO DELLA SEMINA

A bit superior than their debut album, above all if you consider a major creativity and finally a style of their own too... but the emphasis is always on their hard rock stuff, composed at the guitar, despite of some music passages at the keyboards being very interesting. My score is obviously influenced by my personal tastes (consider for instance my love for bands like AFTER CRYING or the symphonic RENAISSANCE), even though I recognize their good arrangements and a remarkable skill too, always within this hard rock stuff, a "trademark" from B.P.L.. So I don't want to affect your opinion and let you judge...ok actually-at the end- erase an half star for its week production and its "trend" as well, regarding not only their hard rock style (sometimes becoming a sort of "ante-litteram" heavy metal), but also a few hints of hard prog music, being quite pretty for me anyway (... especially if you consider that epoque in Italy, in which unfortunately there was a strong interference from the Italian Policy within the world of art and music!!).

That's interesting enough, after all, as an historical and important period in Italy!!

These are the first recordings from the legendary Italian six piece band Biglietto Per L'inferno (Italian for 'ticket to hell"). This CD opens with the titletrack: a bit ominous climate, the dark voice from Claudio Canali (also flute) matches perfectly. This song contains lots of organ, delicate strings and in the more swinging parts a sound that is similar to Jethro Tull: powerful and catchy rhythms featuring fiery electric guitar and the inevitable flute. The first impression is a good one, this track (at about 10 minutes) is alternating and has many captivating moments. Then three shorter songs, each with a totally different atmosphere. "Mente sola-mente" delivers freaky sounds, then music that evokes Kraftwerk. In "Vivi lotta pensa" we hear pleasant Hammond and Moog play and some biting electric guitar. And "L'arte" is again in the vein of Jethro Tull. Then a strong composition entitled "Sola ma vivo": the mellow parts contain wonderful keyboards, the more heavy interludes deliver fiery electric guitar and fine flute work. The final song is their best: "La canzione del padre" (almost 10 minutes) is very alternating, from swinging with organ and propulsive with electric guitar to dreamy with acoustic guitar, rhythm guitar, flute and soaring keyboards. To me this is a varied progrock album that will please the .. indeed, Jethro Tull fans.

Biglietto per l'Inferno's second album, Il tempo della semina, was recorded in 1974 but, on account of the financial troubles of the Trident label on which it should have been released, it was left unrefined and unavailable for the music market until 1992, when the Mellow Records label took the old master tapes out of the drawer. Finally it was remastered and re-released in 2004 on La Vetraia-BTF label with the supervision of the band. The original sound quality and production was very far from perfect and it was rather difficult to fix it up after almost thirty years, but they tried hard...

On the remastered edition the sound quality is really improved and the final result is not so bad. The long, complex title track, "Il tempo della semina" (The time of sowing), I think is the best piece on this work. The music reminds me of the band's debut album, with its marching drums and evocative keyboards, while the filtered recitative vocals conjure up a kind of "revolutionary dream". "Why would we still have to put up with you / We won't wait for a tailor-made sunrise / To break down the bars of your prison...".

"Mente solamente" (Mind, nothing but mind) is a kind of experimental nursery-rhyme based upon a calambour and, in my opinion, is by far the worst track on this work... The following "Vivi, lotta, pensa" (Live, fight, think) is definitively better. The producer of the album, singer songwriter Eugenio Finardi, pushed the band to write committed lyrics dealing with social problems and the political system and this piece goes in that direction. The music and lyrics invite to reflection by comparing the poor and the rich, all human beings but one different from the other...

Next comes "L'arte sublime di un giusto regnare" (The sublime art of a righteous reign) with its medieval influences (and a light "Jethro Tull's flavour") and the flute in the forefront. The lyrics depict the life of a king who doesn't pay attention to the poor people who live outside his palace. "That's what I call to rule / Happiness in dominating, that's it...".

"Solo ma vivo" (Alone but alive) is another committed track, that invites you to choose to fight instead of fighting because to have to choose. It describes a jaded friend who walks on many roads but who have no real goals... It's not an outstanding piece and I prefer by far the introspective vein of the songwriting of Claudio Canali in the closer "Canzone del padre" (Song of the father), a long track full of energy, autobiographical and bitter, where the music and lyrics describe the difficult relationship between the singer and his father...

On the whole, Il tempo della semina is less inspired if compared with the excellent debut album of the band, but it's still a good work that was luckily saved from oblivion.

Fiery organ dominated Italian prog, this salvaged mid 70s recording is not atypical for its time, and presents a mix of influences from the French symphonic to Tull, but also sounds a great deal like Italian contemporaries Metamorfosi and owes some debt to the New Trolls.

The highlight is unquestionably the title cut with its shifting themes, some lovely, others harsh, many in between. The vocals tend to the rough-cut but generally do not deter, the exception being the other long track " La Canzone Del Padre" which does suffer from period rancor. The opening song also showcases Claudio Canali's fabulous flourishes on flute, as does the short but succinct " L'arte Sublime Di Un Giusto Regnare", which also contains some of the more pastoral organ, lead guitars and vocals. The other highlight is "Solo Ma Vivo" which is exquisitely understated and stately, and features what sounds like mellotron.

All in all, a pretty good effort. If Biglietto per L'Inferno might not be the most original group by any stretch, this is not simple regurgitation of musical ideas, and there is a certain layered richness to the proceedings that elevates the disk beyond much of what was released back then, even if one can understand why it languished for 20 years in purgatory.

Even if it took some time to release this album (eighteen years), the music featured (is pretty much similar to the one of their debut effort.

The opener "Il Tempo Della Semina" is a complex number. It features dark and weird passages, far from the standards of this genre which is usually more on the harmonious and melodic style. The guitar solo even sounding pyschedelic. The listener is brought through so many different themes (from fully symphonic to somehard to heavy ones). It is by far my favourite song from this work.

As for their debut album (released in 1974), some aspects of their music will please the Tull fans. But not the acoustic and folkish Tull. No. The hard one. To some extension, a band like "Ñu" from Spain took over the same sounds (although they tended to be much harder).

The problem with this album is that the listener will be faced with brilliant music ("Il Tempo Della Semina") as well as some experimental tracks like "Mente Sola" which is really difficult to bear. Fortunately, "Viva Lotta Pensa" will erase this feeling. Considering its length (just over three minutes), it is quite an achievement to get such a diversity in this short song. Great keyboards are the main attraction here.

"L'arte Sublime Di Un Giusto Regnare" is probably the most Tullesque one of the whole. Especially during the hard part, because this song is also showing some pure symphonic moments. Again, this variation is extremely pleasant. If ever you are interested to listen to an Italian version of Tull's music, this band is definitely a good choice.

"Solo Ma Vivo" is not so accessible. Again, the band is performing a rather complex piece. A condensed concept. Fully creative and featuring several short parts fitting perfectly within these six minutes. But this is one of their characteristics : to be able to write relatively short but diversified songs. During this song, you'll travel through Trespass during the quiet passages. But it'll also turn you into some furious guitar work.

The closing number : "La Canzone Del Padre" suffers from a poor production. A very strong bass sets the pace throughout the number but it sounds a bit chaotic and unfinished.

I preffered Biglietto Per L' Inferno (their first album) to this one. Three stars.

Sophomore, last and posthumous album by Biglietto per l'Inferno, one of the undisputed masters of the heavier side of 70s Italian symphonic prog, "Il Tempo della Semina" never met its proper vinyl edition at the time. All in all, it happens to be one of those lost progressive rock gems that shouldn't be missed in a good collection. Definitely, the band remains loyal to its roots, formed by a combination of rocking dynamics, creative use of double keyboards by two stylistically different players, an important presence of Canali's vocal deliveries and a tight ordainment of the rhythm duo's foundations. All these are fueled into a harmonizing structure that feels even more robust than on the debut album, a stunning debut indeed. The level of compositional genius and the dose of dramatic musicality may not be as impressive as on the debut album, but you can tell that the arrangements and sonic interconnections among musicians are more accomplished, that is, they reveal a wider range of elaboration. It is such a pity that the sound production is not really in touch with this improved framework, but luckily we've recently got remastered editions of both albums, so this technical flaw does not feel as overwhelming. The original CD was taken from a presumably lost tape, and now we've got a new edition with a modified tracklist. Anyway, I'll comment on the first CD edition. The opener is the majestic 10 minute long namesake track, which follows a set of instrumental deliveries fluidly going through the various motifs: the flow is properly on clever links between sections that are alternately romantic, pompous, syncopated and almost spacey. The whole sung part is actually a soliloquy that trends somewhere between the ceremonious and the humorous, followed by a final instrumental section (Tull-meets-BMS). Once the fade-out end, the listener is left wanting more, and so the record continues. 'Mente Sola - Mente' is a playful theatrical interlude that mixes a circus mood with a mechanical vibrato (not unlike the closing track of BMS' "Darwin"). It is a funny little piece in which the sense of humor provides a light approach to the relevant issues of free thinking and the value of the individual mind. 'Vivi Lotta Pensa' states a very vibrant example of progressive complexity cleverly mixed with the power of rock: it isn't too long but it is well crafted in artsy terms. The same goes for 'L'Arte Sublime di un Giusto Reinare', which brings a Tullian feel to the band's signature approach to uptempo compositions. Believe me, these tracks are so catchy and, at the same time, so true to the spirit of symphonic rock, that perhaps they would have benefited from a longer expansion (a total of 4 or 5 minutes) in order to comply with their potential magnificence. Elaboration and expansion are not problems for the last two pieces. 'Solo Ma Vivo' starts with a slow, introspective section that sounds quite related to the more relaxed moments of the debut album; the final section erupts with power and intensity, with the guitar riffing and the tight drumming leading the way for the other instruments, while Canali sings the closing words. 'La Canzone del Padre' bears a more diverse structure (with featured presence of organ layers and fuzzed bass), less dramatic than the preceding song, with more room for playful passages. I agree with other fellow reviewers that the song lacks the sense of unity that prevailed in the namesake opener and in 'Solo Ma Vivo', but it is a great song anyway, and it makes an effective closure. Great, awesome, colorful - synonyms for Biglietto per l'Inferno and accurate descriptions for this particular album.

Il Tempo Della Semina is the second album from seventies Italian prog rockers Biglietto Per L'inferno. It's failure to be completed and released at the time was to shortly lead to the band splitting up and it didn't see the light of day until 1992 unfortunately. Not surprisingly it's a bit rough round the edges.

After their classic debut Il Tempo Della Semina is a bit of a disappointment but still contains some fine moments. Biglietto Per L'inferno occupy the heavier end of the RPI spectrum though less so here in comparison to their debut. While echoes of their debut are present there are less symphonic leanings and the sound is more varied. Clearly the band didn't want to produce part two of their debut and have made obvious effort to move forward and try something different. The result is an overall less cohesive and inspired effort though. Particularly noticeable is vocalist Claudio Canali's singing style which has changed I have to admit, not for the better. It's less refined lacking the more histrionic moments on their debut, having a rawer sound.

The title and opening track is excellent however, if not reaching the heights of their first album then not far off. Over the course of 10 minutes the music constantly shifts on this largely instrumental piece with only a short spoken word vocal part. Pleasing dual keyboard work against powerful guitar and a dynamic rhythm section and flute adding the icing on the cake, an instrument semingly prevalent in much Italian prog.

Mente Sola - Mente shows a few cracks appearing and is the least satisfying moment here as a horn honks against a background of all sorts of strange sounds until a synth takes over. Thankfully it's short lived at less than 3 minutes.

Viva Lotta Pensa is much better seeing the band back in symphonic vein on this keyboard dominated piece. L'arte Sublime Di Un Giusto Regnare has a Jethro Tull vibe and Solo Ma Vivo sees them fitting in a number of moods and changes on a relatively short song. Finally another longish song to close, La Canzone Del Padre doesn't work as well as Il Tempo..... but is still worthwhile, once again going through many changes.

So Il Tempo Della Semina while not being in the same league as their excellent debut still has enough of interest to make it a worthwhile purchase for RPI lovers though not essential listening by any means.

3.5

Biglietto per l'inferno is an italian symphonic prog band who release a single album in the '70's selftitled. Il tempo della semina must've been their second album, but due to some problems with their label Trident, this album was issued only in 1992 by Mellow records. If this album were released in the '70's for sure would been much better recognize as a solid album in italian scene. Then in 1992 and aswell now this album is considered only as a good release, nothing really impressive, but enjoyble most of the time. I find it very catchy, with some fantastic moments, for ex title track, Solo Ma Vivo or the last tune to be very worthy listning. The voice, Claudio Canali sounds to me on couple of pieces like the guy from Ange, very theatrical. Alternating from beautiful key passages to some intristing guitar work, this album , at least for me is a good one for sure. The most intristing elements here are the instrumental passages, very catchy, well done, typical for symphonic prog, organ and keys who interlude great with flute and guitar. The voice is ok, even very good like on Solo Ma Vivo. So, a good album, nothing really fantastic but strong in places.3-3.5. One of the albums who doesn't get the credit he desearve, and is not so bad as the rating shows here.Is not considered one of the major albums from italian scene, but I think this album worth to be investigated.

Being part of the Trident label, Biglietto per l'Inferno had an unsuccesful end as most of the label's acts.A second album by the group was recorded in 1974 at the Regson studio in Milano and even a single was officially printed by Trident, but the label's fall during the year led to the demise of these Italians after some concerts in Italy and Switzerland.Of course neither the single nor the album were officially released and ''Il tempo della semina'' only saw the light some 18 years later thanks to the involvement of Mellow Records.

Compared to the debut, ''Il tempo della semina'' has less Heavy Prog moments and is closer to the Classic Italian Prog style with loads of symphonic textures and Classical interludes.There are still some incredible Hammond organ washes and hard guitars appearing in the music content of the band, but the more evident use of moog synths by Banfi recalls GENESIS at one point.The arrangements remain at a high level with some beautiful instrumental passages, featuring melodic synths, Classical-drenched piano parts and dreamy organ, while the guitars deliver nice psych-inclined soundscapes and the discreet use of flute offers some great richness to the compositions.The voice of Claudio Canali is still in great shape.Expressive, powerful and even warm when needed.Interplays are not absent.Not offered in a massive way, but when delivered the group prooved that it was one of the best acts of the Italian scene.Adventurous, dense and inticate instrumental pallettes of great quality.However it seems at moments that the heavier style of the debut suit better to the sextet, as ''Il tempo della semina'' lacks the tremendous power of Biglietto per l'Inferno's debut.

Towards the end of the 70's Baffo Banfi had a good solo career in the Electronic Music field with three albums, while drummer Mauro Gnecchi appeared later on Franco Mussida's album ''Racconti della tenda rossa''.In 2007 two of the band's original members, Gniecchi along with Giuseppe Cossa, reformed the group as Biglietto per l'Inferno.Folk and with the help of Banfi and some new musicians released the album ''Tra l'assurdo e la ragione'', containing reworkings of old songs.

One of the best Italian Prog bands ever, no question.''Il tempo della semina'' is another strong release by Biglietto per l'Inferno, being a great example of challenging Classic Italian Prog.Strongly recommended...3.5 stars.