RIFLESSIONI: IDEA D'INFINITO

There seems to be some confusion regarding this group, as there were actually two bands from the same geographical area of Italy around the late '60s and early '70s that were called Dalton. The former band, formed in 1967, was a beat group from Brescia. Multi- instrumentalist Mauro Pagani later joined in 1970, but this version of Dalton disbanded when Pagani subsequently joined PFM. The latter Dalton, from Bergamo, was formed in 1972. This was more of a prog rock band and released its debut album Riflessioni: Idea d'Infinito the following year. Keyboards player Temistocles Reduzzi has erroneously been credited with having dissolved the '60s Dalton, and of then reforming the '70s band. However there seems to be no connection between the two groups. In any case, the latter Dalton released Riflessioni on the small Music label in 1973. This must be a contender for the title of shortest vinyl album, as it clocks in at just over 28 minutes in length.

The album opens with the impressive Idea d'Infinito. This is a mid-tempo song with a stately rhythm featuring Ian Anderson inspired flute-play along with several interesting synthesizer and guitar tones. There's a particularly nice double-tracked synth part near the end of the song. The first of several little ritornello between tracks then leads into Stagione Che Muore. This song pays more than a passing resemblance to In The Court Of The Crimson King (listen to the main flute refrain), but don't expect any of the pyrotechnics of the King Crimson song. It does contain some great guitar licks and nice organ in the background, but no Mellotron unfortunately. Cara Emily is a tender ballad featuring piano, acoustic guitar, flute and synth. This track strikes me as the kind of song on From Genesis To Revelation. All five band members are credited with vocals, which are excellent throughout the album; some wonderful passionate singing in the great Italian tradition. So far so good, but the second half of the album doesn't live up to the standard of songs on the first half.

Track 4, Riflessioni, just sounds like the band jamming in the studio. It's certainly played with gusto and I'm sure it was fun, but it's lacking in interest I'm afraid. Un Bambino, Un Uomo, Un Vecchio has a very psychedelic-pop feel. Again, not of any great interest. The last track, Dimensione Lavoro, has more than a touch of Deep Purple about it. It's the only track on the album that's over 5 minutes in length (actually 6.42). This one starts with a brief drum solo before organ, synth and flute set the scene for the main riff to kick in. This consists of loads of whirling organ, raw guitar, Ray Thomas flute and a nice descending synth line. There's a short interlude with the guitarist trying to sound like Jimmy Page, then the Purple riff sees out the album. Great track.

This album isn't a classic although I'd say there are enough good moments to keep most RPI fans happy. Despite its short length it still manages to include a couple of fillers so it wouldn't be in my RPI top 100. The first half is very pleasant and the album then finishes strongly with its most progressive track, so I'll give it 3 stars.