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QUELLA VECCHIA LOCANDA

Rock Progressivo Italiano • Italy


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Quella Vecchia Locanda picture
Quella Vecchia Locanda biography
Founded in Rome, Italy in 1970 - Disbanded in 1974

QUELLA VECCHIA LOCANDA is a great Italian prog band of the historic scene, formed in Rome in the early seventies. QVL plays a complex music with a lot of instrumental combinations, beautiful melodies and a very high sophistication. Close to KING CRIMSON.

QVL released two albums which are both considered essential releases from that particular scene. The first album is still regarded as a classic in its field, with an original fusion of classical influences and the use of flute and electric violin in evidence. QVL was fairly typical of the style, especially on their second album, "Il Tempo Della Goia", which ranks as one of the finest examples of classical, pastoral Italian symphonic along the lines of PFM, CELESTE, ALUSA FALLAX or LOCANDA DELLE FATE. The group sadly disbanded soon after the second album, leaving us with two more italian progressive gems, both with beautiful covers. Two of the most looked records of Italy!!!

See also: WiKi

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QUELLA VECCHIA LOCANDA discography


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QUELLA VECCHIA LOCANDA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.15 | 394 ratings
Quella Vecchia Locanda
1972
4.13 | 381 ratings
Il Tempo della Gioia
1974

QUELLA VECCHIA LOCANDA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.33 | 8 ratings
Live
1993

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QUELLA VECCHIA LOCANDA Reviews


Showing last 10 reviews only
 Il Tempo della Gioia by QUELLA VECCHIA LOCANDA album cover Studio Album, 1974
4.13 | 381 ratings

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Il Tempo della Gioia
Quella Vecchia Locanda Rock Progressivo Italiano

Review by Henroriro_XIV

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

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

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

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

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

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

 Il Tempo della Gioia by QUELLA VECCHIA LOCANDA album cover Studio Album, 1974
4.13 | 381 ratings

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Il Tempo della Gioia
Quella Vecchia Locanda Rock Progressivo Italiano

Review by Squire Jaco

3 stars I've collected a decent amount of Italian prog over the years, and I must say that most of it is phenomenal. This second album from Quella Vecchia Locanda always seems to get very (VERY) high reviews, and I finally ponied up a little more cash than I'm normally comfortable with to grab a copy of this cd from an auction. After a few good listens, I'm just not lovin' this....

I enjoy classical music about as much as I enjoy rock and jazz; I agree that this is a nice melding of those musical genres. I like the violin touches, and the warm, soft vocals. And the players seem to be very proficient on their respective instruments. But...it's almost too tame for me. (Another reviewer used the word "polite".) At its quietest moments, it resembles acoustic baroque chamber music with vocals - not my personal favorite shtuff. Also, a number of songs seem to end rather awkwardly - either too fast fadeouts, or just plain too abruptly. Plus, this is only 34 minutes long. (I spent almost a buck a minute for this cd!)

The second half of the cd is a little more traditionally proggy, which is what I was hoping for more of. It's not a bad cd overall, and I certainly found a few moments of greatness here and there; but I'm having trouble justifying the superlatives that others have lavished on this. I will continue to listen and seek enlightenment from this album; but for now, I'm gonna send out this little caveat of a review to protect other potential victims of over-hype...

3-1/2 stars for me.

 Quella Vecchia Locanda by QUELLA VECCHIA LOCANDA album cover Studio Album, 1972
4.15 | 394 ratings

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Quella Vecchia Locanda
Quella Vecchia Locanda Rock Progressivo Italiano

Review by zeuhl1
Collaborator RPI Team

4 stars This band makes a lot of lists of 'best Italian prog albums' and it's easy to see why. This album ticks all the boxes: well recorded, violin and flute integral to the sound, prominent bass, deft electric guitar and a vocalist (Giorgi Giorgo) that can make you forget you don't speak Italian. Add in the trippy gatefold painting on the cover and you have covered the bases. I wasn't totally blown away at first but this one is growing on me.

Overall, this is another album that would make a decent introduction to Italian prog after one has sampled a few albums from the big trio of PFM, Banco and Le Orme. Not overly original, but its brilliance lies in their ability to synthesize disparate elements and make them sound like something completely new. Would have love to have seen them live, as the full on rock of Imagini Sfocante shows they could draw on their past as rockers--unfortunately the song fades quickly and probably went on far longer in its master take. There is more rock in here than some might guess, and though they aren't unfamiliar with 'pastoral', one gets the impression this band enjoyed rocking things out as far as they could. (Dialogo). Verso La Locanda might be the most appealing to RPI fans, but there aren't many weak points here.

Reference points: mostly Italian bands really. Some vague Jethro Tull in there. But they were on the scene early and helped form the sound PFM ended up running with and made famous. It's a shame nobody ever picked up on these guys outside of Italy, as this and their second album are some of the better Italian prog out there.

On vinyl this is in a gatefold sleeve that just projects 'this is a prog rock album'. I used to love buying unknown treasures on the basis of a really good album cover.

Four stars

 Il Tempo della Gioia by QUELLA VECCHIA LOCANDA album cover Studio Album, 1974
4.13 | 381 ratings

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Il Tempo della Gioia
Quella Vecchia Locanda Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars The second of two creative and sophisticated albums by this band from Rome, its reception was mixed as many did not like the lineup changes (especially the departure/absence of dynamic violin phenom, Donald Lax) but others saw the compositional growth and loved the less crazed, more melodic accessibility of this album over the self-titled debut.

1. "Villa Doria Pamphili" (5:27) beautiful, symphonic, even cinematic music that begins being piano-based and dominated but then turns symphonic with strings. At 1:45 electric bass enters to accompany acoustic guitar for a lone male singer to enter and sing over. At 2:40, with the end of the singer's first verse comes a bombastic RENAISSANCE/Russian-like symphonic bridge and then return to simple acoustic foundation for the second verse. The bombastic Russian section repeats and is prolonged before decaying into a gorgeous solo piano piece for the final 45 seconds. (9.5/10)

2. "A Forma Di" (4:07) opens with quiet, pulsing strings with gentle, almost distant flutes, winds, upper octave piano, and harpsicord "dancing" around. Only very slowly does the background move forward and into full presence and full volume. Definitely conjures up a musical "view" of a religious ceremonial march of rural folk--like a processional of Russian peasant souls from Gogol's Dead Souls. (9.25/10)

3. "Il Tempo Della Gioia" (6:15) interesting music and song structure are betrayed by overall poor sound reproduction as well as flawed vocal and electric guitar performances and choices. (7.5/10)

4. "Un Giorno, un Amico" (9:39) wonderful acoustic intro of piano and violin. The breakout of full-band even goes well (again, the sound and stylings of the English band RENAISSANCE come strongly to mind), as the folk melodies and sounds are well-maintained. Over the course of the first half of the song, the music develops no further than a cabaret-like gypsy folk dance despite some find performances from the violin and piano, but then things shift under the leadership of clarinet. Everything slows down a notch and becomes more jazz lounge-y. Again, it is the emotional sense of melody expressed by the violinist that keeps me engaged--and deeply so. At the seven minute mark vocals join the fray for the first time, followed by an electric guitar solo--both of which fail to impress. Poor, flangy drum sound, too. (17/20)

5. "È Accaduto una Notte" (8:16) opens with choral voices singing wordlessly (like the opening and ending sections of PFM's "L'isola de niente") which also fade away leaving a very gentle, spacious pastoral section not unlike some sections of CELESTE's Principe di un giorno or even MAXOPHONE--both of which won't come out for over a year). Musically, this is the most mature, interesting, and fully developed piece on the album. Still poor production of voice and electric instruments, but musically very perfect--brilliantly conceived. This is a piece I'd LOVE to hear re- recorded or performed live. (19/20)

The musical constructs, compositional arrangements, and instrumental performances of this album are incredible-- delicious. Where it falls short is in sound production and vocal performances. When the sounds are acoustic, the engineering team seems to do well; it's with the renderings of the electrical instruments that the music production falls short. Still, I am one of the faction who like this album better than the more bluesy, frenzied debut.

4.5 stars; a near-masterpiece of progressive rock music and a wonderful listening experience for the more acoustic, symphonic approaches to rock music.

 Il Tempo della Gioia by QUELLA VECCHIA LOCANDA album cover Studio Album, 1974
4.13 | 381 ratings

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Il Tempo della Gioia
Quella Vecchia Locanda Rock Progressivo Italiano

Review by Menswear
Prog Reviewer

5 stars Afternoon Delight!

Well, it's for any moment of the day really, but the sunny afternoon of Della Gioia is irresistible. Bright colors, mildly windy and your loved one by yourself on a soft blanket, this album evokes pleasant, relaxing times...at times! It's time for joy, as the title says so the fun is there mixed with more tranquil moments. But they blend it effortlessly! How!?

Less rock and roll on the menu (less Tull and vocals mainly) but super well written classical bits are plenty. Majestic, inspired, grandiose...call it whattya want, it's virtuosity with a nice chianti and some fava beans.

Orchestral but groovy, well sung but baroque at times, you cannot go wrong. A solid chunk of spaghetti rock.

 Il Tempo della Gioia by QUELLA VECCHIA LOCANDA album cover Studio Album, 1974
4.13 | 381 ratings

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Il Tempo della Gioia
Quella Vecchia Locanda Rock Progressivo Italiano

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars QUELLA VECCHIA LOCANDA (That Old Inn in English) emerged at the height of the Italian prog boom in the early 70s, released only two gems of the genre and then sadly disbanded but in their brief yet productive career they released not only their stunning masterpiece of a self-titled debut but a second classic in the form of IL TEMPO DELLA GIOIA (The Age Of Joy). In the two years since the debut there had been a significant lineup change that steered the band's sound in a new direction. Violinist Donald Lax was replaced by Claudio Filice and bassist Massimo Giorgi (from the band Il Ritratto di Dorian Gray) took over for Romualdo Coletta. The debut album gained the band a prominent role in the Italian prog scene and in the two year gap they caught the attention of RCA records which meant a stealthier production job for their sophomore release.

One of the most startling differences between QUELLA VECCHIA LOCANDA's debut and IL TEMPO DELLA GIOIA is the absence of the madman violinist Donald Lax who was one of the key components of the debut. In his stead, the more relaxed Claudio Filice is quite subdued and the band follows suit making album number two a much mellower romp through the prog universe with longer tracks that develop into intricate parts but eschew the frenetic youthful energy that permeated the eponymous debut. Another distinct feature of IL TEMPO is that is includes the guest sax player Rodolfo Bianchi who adds some rather jazzy touches strewn about although never taking center stage. There are also some beautiful choral moments.

At its core QUELLA VECCHIA LOCANDA's general musical approach centers around complex classically driven piano and keyboard parts that break into heavy rock enthusiasm less often than album #1. As mentioned Claudio Filice doesn't compete in the sheer madman approach of Lax and even on tracks like "Un Giorno, Un Amico" where he lets loose, he still sounds quite inhibited which ultimately affected the entire band's performance. While this may sound like a bad thing, it's a testament to how the members of the band were a cohesive unit and worked together within the confines of every member making IL TEMPO DELLA GIOIA, which makes it a true GIOA (Joy) to listen to. Each of the five compositions has a distinct identity and offers each musical instrument to have a day in the sunlight.

While initially i was disappointed by the approach of QUELLA VECCHIA LOCANDA's mellow second album since it clearly makes less of an impact, there is no doubt that this is the same band with the same compositional approach of beautifully designed symphonic Italian prog of the era. While the sheer intensity of the debut has been dampened, the focus has shifted to more melodic driven symphonic touches and instrumental interchange. Once again the members play tightly constructed pieces that flow together perfectly. This album is almost exclusively instrumental with only occasional dynamic vocals from founding member Giorgio Giorgi whose vocal prowess matches any of the operatic greats of the day. Despite playing second best to their debut, IL TEMPO DELLA GIOIA is still an excellent slice of early 70s Italian prog not to be missed.

 Il Tempo della Gioia by QUELLA VECCHIA LOCANDA album cover Studio Album, 1974
4.13 | 381 ratings

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Il Tempo della Gioia
Quella Vecchia Locanda Rock Progressivo Italiano

Review by nikitasv777

5 stars Quella Vecchia Locanda have proved themselves expert musicians. ''Il Tempo della Gioia'' one of the all-time great Italian prog albums with classical influences. Second album by QVL, genuinely unique and beautiful. This is very melodious music with use of flute, piccolo, guitar, keyboards and violin, and with clarinet and sax. Music varies from the simple to the grandiose. Tunes with unexpected tempo changes, with breathtaking collection of violin solos. This is beautiful and subtle music. Amazing sound! Once the album finishes, a sensation of 'want more'. ''Il Tempo della Gioia'' - an excellent example of the Italian scene. I have absolutely no hesitation in giving this album 5 stars.
 Quella Vecchia Locanda by QUELLA VECCHIA LOCANDA album cover Studio Album, 1972
4.15 | 394 ratings

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Quella Vecchia Locanda
Quella Vecchia Locanda Rock Progressivo Italiano

Review by nikitasv777

5 stars Quella Vecchia Locanda were formed around 1970 as a quintet. QVL only released two albums in their short career. Album 1972 year regarded as a classic in its field, with an original fusion of classical influences and the use of flute, piano, organ, spinet and violin in evidence. It all blends so fantasticaly wel with guitars, bass and drums. The album is about a deformed boy shunned by the community because of his diversity. At 34 minutes the album is short but perfectly formed and still sounds very good. Album is a classic and I unreservedly recommend it to you. I cannot give this album anything other than 5 stars.
 Quella Vecchia Locanda by QUELLA VECCHIA LOCANDA album cover Studio Album, 1972
4.15 | 394 ratings

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Quella Vecchia Locanda
Quella Vecchia Locanda Rock Progressivo Italiano

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

5 stars QUELLA VECCHIA LOCANDA has so much more of a beautiful ring to the ears than the rather plain sounding English translation 'This Old Inn' which found this band from Rome carrying on the Italian progressive rock tradition of taking on a cutesy band name in the same style as Premiata Forneria Marconi (Award-winning Marconi Bakery) and Banco del Mutuo Soccorso (Bank of Mutual Relief). This quintet formed in 1970 and enjoyed a rather vigorous live setting that helped them become one of the more remembered Italian prog rock bands of the heyday in the early 70s. Their eponymously titled debut emerged in 1972 after a rather pop-oriented beginning which while almost completely faded into history left traces only lingering about on a various artists compilation titled 'Progressive Voyage' (The track is titled 'Io ti amo' or in English 'I love you.' While they would hone their prog rock chops in no time and be ready for the big time, there's no doubt that the pop aspects of this band carried over to their proggier side and allowed them to dish out some of the more melodic flow of compositions in the Italian prog rock scene.

QUELLA VECCHIA LOCANDA only released two albums in their short career with this one being released on the Help label and then finally getting picked up by RCA for their second album 'Il Tempo Della Gioia.' While they only released two albums, both are quite distinct in their style despite both firmly placed in the category of classically infused rock with folk and jazzy touches. This debut album lacks the production prowess of the second album but for my ears is the more interesting album of the two as it unleashes a powerful youthful exuberance and enthusiasm that 'Il Tempo Della Gioia' lacks as they began to slip into a comfort zone but a very beautiful one i must add. The band's main leaders were lead singer and flautist Giorgio Giorgi, guitarist and clarinetist Raimondo Maria Cocco, keyboardist Massimo Roselli and percussionist Patrick Traina who all played together in the earlier pop rock phases of the band but for their more adventurous prog years added Donald Lax to dazzle with his violin skills that added a unique gypsy swing and Paganini element to the band's overall sound that set them apart from many of the purely symphonic rock contemporaries of the day.

'Prologo' bursts onto the scene with a scorching duo between the violin and piano with the guitar bursting in and finally the drums and as the intro cedes into the more symphonic leaning rock segments, the instruments all go crazy on each other. Lax plays both acoustic and electric violins and sometimes delivers frenetic assaults reminiscent of the Mahavishnu Orchestra and at times reminding of the folkier side of the prog rock scene from such bands like Comus or Spirogyra. While not unique to QUELLA VECCHIA LOCANDA, the band mastered the dynamics shifting of soft sensual classical piano oriented pastoral segments with the heavy guitar laden rock sections that allowed Roselli to unleash his best Keith Emerson inspired keyboard wizardry. Certain tracks like 'Un Villaggio,Un'illsione' display Lax's playing around with Bach, Brahms, Corelli and other classical masters and weave them into a more Paganini performance that would be reworked into the rock fusion compositions that start out with classical intros and slowly morph into the heavier guitar, bass and drum action accompanied by the passionate vocal style of Giorgi who had the perfect vocal style for this type of music magic.

It may only last slightly over 34 minutes in duration but the debut album by QUELLA VECCHIA LOCANDA is one of the best offerings the early RPI scene had to offer. These eight tracks are chock full of passionately strewn classically infused rock sophistication very much at a level of the other greats of PFM, Banco, Il Balleto di Bronzo, Le Orme and the rest. The music is as perfectly constructed as the stunningly beautiful album cover and covers so many grounds in such a small amount of time that i can easily put this one on rotation and listen to it repeatedly without getting bored for one second. This band mastered the melodies, the Tull inspired folk feel, the ELP keyboard prowess, the medieval chamber aspects, the freak gypsy folk and the symphonic heavy rock. Chock full of brilliant dynamic shifts and progressive time signature workouts without sacrificing some of the most intricately designed melodic developments, QUELLA VECCHIA LOCANDA is one of the Italian greats of the era. For my money this debut release is one of the absolute best examples of this era of Italian progressive rock that rightfully deserves all the high praise and positive criticism that it has received ever since.

 Quella Vecchia Locanda by QUELLA VECCHIA LOCANDA album cover Studio Album, 1972
4.15 | 394 ratings

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Quella Vecchia Locanda
Quella Vecchia Locanda Rock Progressivo Italiano

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars This is a nice blues rock album with a lot of input from classically trained musicians and composers. The presence of flutes, violins, and clarinet make it a little more interesting. The drums and bass play make it sound rather dated.

1. "Prologo" (5:01) plays like a prog epic with its many, many small themes, sections, twists and turns, classical and rock. Fine musicianship and vocals, but just a little too busy and nonsensical to me. (9/10)

2. "Un villagio, un'illusione" (3:53) after the radical twisting and turning of the opening song, the fairly straightforward and steady arrangement of this one is a bit of a surprise. (7.5/10)

3. "Realtà" (4:14) has very delicate, nylon-string guitar opening with matching vocal, before a heavier LED ZEPPELIN- like blues rock chord progression takes us into a chorus. Repeat one more time and then the song shifts into a still gentle, almost folk-classical instrumental section. Return to A-B format for the final minute or so. Beautiful song. (9.5/10)

4. "Immagini sfuocate" (2:57) opens with demonic sounding organ play, moving into a sustained crescendo within which flutes, electric bass, violin, and guitar add their spice. When we finally come out of the worm hole, we find ourselves in classic blues rock in the vein of SPIRIT or RARE EARTH. (8.5/10)

5. "Il cieco" (4:12) opens with a dated rock sound feel but then moves into a softer, flute-dominated section in the second minute. Piano and percussion bring us out into a kind of JETHRO TULL "Locomotive Breath" sound and style. The final 30 seconds are spent in more plaintive classical mode. (8/10)

6. "Dialogo" (3:43) another classically-infused blues rock tune that breaks for an interesting final minute of vocal 'dialogue'. (8.5/10)

7. "Sogno, risveglia e" (5:16) Easily the best song on the album, for its classical themes at the beginning--played on piano and strings--which then set up the entire beautiful song. Solo violin and flute take over the largo melody play in the third minute before the violin tracks fire it up a bit. At 3:30 vocalist sings over his piano, alternating with strings' input. The song returns to the gorgeous spacious piano theme for the final 45 seconds. (9.5/10)

An album that does a fairly competent job of melding classical music instruments and compositional styles and themes with rock instruments and formats. It would have been better if the rock compositionship was a little beyond fairly simple, straightforward blues rock formats.

A near-masterpiece of classically-infused blues ("progressive") rock.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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