FORSE LE LUCCIOLE NON SI AMANO PIÙ

The best album of all times: very melodic and very beautiful (complex arranged, wunderful alternation). For everyone who loves Yes, Genesis, and for those neo-progminded: to see how it should be done....Better than Banco and PFM (and they were very good indeed)

This is one of my favorite albums of all time. This is not the most complex music, but it is very melodic and beautiful. The Italian vocals, though ocassionally a bit harsh, are generally fitting of the music and solid. The songs flow together and could almost be one continuous track if not for the breaks in between.

The musicians are talented and play well together. This album has some unforgettable melodies and themes and is just generally wonderful to listen to.

I would consider most of Banco's music to be a bit more frenetic overall than Locanda Delle Fate's and probably more complex and intricate as a whole. However, this album stands alone in its sheer beauty.

Talk about a delicious morcel of progressive recording...check this one out. Lots of beautiful, highly romantic influenced prog with great vocals (Leonardo Lasso). Each song is perfect and flows nicely together making this one of the all time best Italian prog releases. In many ways LDF have a "YES-like" approach but do not necessarily sound like them! This is a very well recorded considering the year of its origin and has nice audio seperation. It is very hard to believe that this was their only complete studio work!! Mellow records has released a real jem capturing LDF live which will please all fans of this studio work, but the sound repro is slightly below the best of standards.

This is my favorite Italian progressive rock album. 1977's "Forse Le Lucciole Non Si Amano Piu" is a beautiful masterpiece that few other albums can match. LOCANDA DELLE FATE were a 7-piece band consisting of two keyboardists, two guitarists, a bassist, a drummer, and a singer. Unfortunately, they began their careers as a band just as prog was starting to die in Italy. After the album was released, the band found little to no demand for live performances and little interest for their music. So after a short tour, and a couple of failed singles, they quit. The music here is colorful in a symphonic way, and emphasizes intensely melodic interaction from the various instruments. What really impresses me about this recording is the attention that went into detail. I'm still discovering new melodies, countermelodies, and harmonies every time the CD gets played. Themes are stated, developed, go through variations, and resolved in such a majestic manner that it's tough to compare LDF to other bands. Leonardo Sasso, the singer, reminds me a bit of Ian ANDERSON. His voice is warm, and at times close to operatic. Overall, music doesn't get much better than this!

Well I like to add something about this pretty and controversial album, regarding of the major Polygram, the label under which this ensemble from Piemonte District (Northern West Italy) produced this melodic and quite pop stuff,anyway characterized by a strong Romantic mood as well:probably it should deserve an half star below, at least, whenever you like to compare it to the masterpieces by Banco and PFM;nevertheless this production was over the average and often regarded as an essential Italian progressive rock album of late seventies,cause it represents the bridge between the melodic pop of the early eighties and the complex symphonic genre within the Romantic Progressive Scene of the early seventies. Except on the performance by the Italian vocalist, very different from that one of his reference Mr Di Giacomo from BANCO,which doesn't convince in all the circumstances, all the other harmonic and melodic lines are quite remarkable.The Romantic mood of the album, sometimes dramatic, is memorable!!

HIGHLY RECOMMENDED!!

Not much to add to this one....I just ADORE this album, put the best of Banco and PFM...mixed a bit with Yes/Genesis and Camel and you will have Locanda; no kidding!. Does progressive music can give you more pleasure or get any richer than this..?

Dual guitars, dual Keys, seven members,a vocalist (that put so much passion in his singing that makes your head spin) and the right chemistry between them; because I have to be honest, nobody shine more than the other...and, that is probably what makes this band as great as it was...at least for a split second in time!!!...Maybe?, that is the formula...there is a tip on all this, I guess..... I have read many comments regarding this one, some exellent..other good and some others pretty bad; specially regarding the voice of Leonardo. IMHO, this is a MASTERPIECE!!!!! all the way thru (see my definition of that on GG/"In a Glass House").

While driving today and listening to this CD, I could not stop to think about how come?, is that some bands, will take forever to get this success and there are some others like Locanda Delle Fate that with their first attempt reach a Classic Achievement...I really can not explain that; I just will have to say that is a shame that like many other ESSENTIAL Italian progressive Acts of the 70', they made ONE album and then disappeared in obscurity (their 1999 release is good but will not stand against this one..)

You will regret if a copy of this album is not in your collection..Highly Recommended!!!!..

I never could quite understand the hype of this album. Many regard it as one of the greatist Italian prog albums ever. But I fail to see why. It's not bad, but I know plenty of Italian albums that excite me much more than this one. Musically, they remind me of a laid-back BANCO, even vocalist Leonardo Sasso reminds me of Francesco di Giacomo. But I'd much rather go for "Darwin"! or "Io Sono Nato Libero" (BANCO) over this one. This album, being released in 1977, gives me a reminder why the prog rock scene was in decline at that time, rather than the potential prog rock had at the time (like some of the German bands like ELOY or EPIDAURUS). At least the music is much better than the bonus cut they included on the CD reissue I have, "New York" (originally released as a single in 1978), which was simply awful, because the band was moving toward conventional pop music, and unfortunately it demonstrated some of the less desirable traits of pop. So, of course, the bonus track is something I skip. To me, there are many other Italian prog albums to try first before you come here.

Sounding nothing like BANCO in my opinion, but a little like a mixture of PFM with early GENESIS, this album is a peach. Rich, melodic music with vocals having that very typical Italian male singers' slight gruffness at times (but definitely pleasant on this album).

Waves of keyboards, guitars, flute and vocals flow over you. Listening to the music makes me feel slightly melancholic and nostalgic. I can't speak Italian and don't understand the lyrics, so for the music alone to be able to actually evoke such emotions illustrates its power. I think this is an album for the romantic (not in the love sense). If you enjoy rich, melodic, symphonic rock with vocals then you will like this album a lot.

This highly melodious, very sentimental symphonic rock music may not be to everyone's taste, but I find it outstanding and play it often. I'm dithering: 4 or 5 stars? Oh, to Hell with it: 5! I just can't bring myself to give it less.

This is the best prog album of all time. Music does not get any better than this. Genesis is good, PFM is excellent, but Locanda delle Fate's first album is THE essential album you must get. Melodies are awesome, music is rich, and the voice is... superb! You listen to this music and then you understand what music is at its best!

Locanda delle Fate's album is one of the finest symphonic prog works from Italy. I cherish it as a stunning exposure of well crafted melodies, counterpoints, performed with finesse and emotional involvement. The grand piano is the lead instrument, since it handles a starring role in the intro of main melodies and harmonies; once the other musicians join in, the listener is given a delicious feast of stunning interplay between pianos, moog and string fake synths, flute, and even some effective touches on vibes. the solos on guitar, flute and synth are developed to a subtle degree, never to shatter the overall instrumental balance. Nevertheless, unlike many other reviewers, I won't give it a perfect rating, since I perceive a minor flaw in the album as a whole. I feel that there is some slight formulaic tedency in this album's repertoire, which makes it one step shorter of perfection: once you've listened to and enjoyed the first three tracks, you've already got the whole picture. It doesn't mean that tracks 4 and 7 are not splendorous: they are full of clever chord progressions, counterpoints,... but somehow I find that all those tricks have already been used in the previous tracks, and now are becoming a bit (just a little bit) tiring. One exception is the beautiful brief acoustic ballad 'Non Chiudere a Chiave le Stelle', which drifts apart from the symph pompousity in order to convey a more bucolic ambience. I love Leonardo Sasso's vocal range and singing style: Alusa Fallax's singer (also drummer-percussionist) has a similar range, though his style was a bit less romatically driven. All in all, this Locanda delle Fate's album is one awesome item in any prog collection. In a time when Le Orme and PFM were starting to lose their own identity, BMS was increasingly less productive, and most of all other good-to-great Italian bands had simply disappeared after recording one album (or two), Locanda delle Fate managed to do a terrific thing in a genuine symphonic prog vein.

Am I missing something here? Or have I just become too "discerning" for my own good? As noted elsewhere, people seem to throw around superlatives and over-ratings willy-nilly these days. / As I've said before, the success (for me) of any prog-rock band after about 1973 (i.e., post-"seminal" bands: KC, PF, MB, JT, GG, VDGG, Genesis, Yes, ELP) is how well they "filter" their influences and come out with something at least reasonably "original," if not actually new, exciting or compelling. In this regard, LDF succeeds (for the most part). Although there are hints of JT, Genesis and Yes, the "best bits" occur when the band channels GG (their most prevalent influence). And while the first two compositions are definitely the "busiest," the stand-out, most original track here is Profumo di colla Bianca, a quasi-operatic composition full of nice prog bits and beautifully subtle time shifts. And although the band performs well, I could not get around the drummer, who "lays back" on the beat far too much, rather than driving the music forward. In addition, the album suffers from two near-fatal problems. First, as one other reviewer noted, they tend to get "repetitive" in their use of prog bits and ideas. Second, they are simply "not saying anything new." This is not to say that the album is not interesting (mostly) or listenable (it is). However, it does not add anything to the prog "lexicon," and is too "late in the game" (1977) to qualify as anything other than a good album. I give these guys an "E" for effort - especially for a debut album. But that does not excuse the overall repetition or lack of vitality.

This is a lovely example of the flowing, bittersweet best of early symphonic prog. 1977 was a hard year to compete for best album, but LOCANDA DELLE FATE puts forth an admirable effort. They follow a different path through the prog landcape, unafraid to use simple but sweet sections along with more exploratory tangents to craft unique and genuinely expressive songs. "A volte un istante di quiete" sets the tone with alternating energetic and laidback textures, and a surprisingly warm and organic Moog lead not too far from the closing sounds of "Shine On You Crazy Diamond". "Forse le lucciole non si amano più" has a yearning, almost desperate vocal and some great interplay between the instruments. There are soaring, soulful crescendos throughout, a characteristic shared by several songs on the album, including "Vendesi saggezza". "New York" makes me again wish I spoke italian just be able to put lyrics to its triumphant YES- meets- "Afterglow" feeling. Although the band has some dizzy intertwining breaks during the music, the playing is generally tasteful rather than awe- inspiring; the rhythm section has a looser feel than the usual tightly synchronized prog standard, but I'm still occasionally amazed at the incredible drumming. Lead singer Leonardo Sasso (or is it Alberto Gaviglio? the one who sings the majority of the tracks, anyway) is impassioned and slightly ragged, reminding me of the even more ragged Duty Cirla from ALUSA FALLAX- who must have been at least somewhat influential, as I was just as often reminded of them as of BANCO. Additionally, "Cercando un nuovo confine " and "Non chiudere a chiave le stelle" contain some sparse but effective harmonies. The guitars are well-played and warm, often utilize a fade-in technique to soften the attack (Hackett and Belew fans will recognize this instantly) thereby sitting more comfortably with the synth than is the case in many of the earlier prog bands. LOCANDA definitely establishes a beautiful, signature sound, but it seems that textures and compositions are perhaps too similar from song to song- making them better choices for a 'mix tape' then listening to the complete album when you want that sound. This is one case where the songs themselves earn five stars but the album as a whole only deserves four. Perhaps four and a half...

Generic Prog

No hesitation with the marking here - Good, but non-essential.

Locanda Delle Fate show strong leanings towards early GENESIS in their approach, which can never be a bad thing, and they certainly have technical ability enough to pull this off. There are also flavours of JETHRO TULL, GENTLE GIANT and maybe a whisker or two of CAMEL, although the band do strive to formulate their own sound.

The production is both full and clear, but the structures are uninspired and the melodies, where they are not direct GENESIS lines tend to be vague and directionless. That is not to say that there is no good melodic invention here, rather that there is nothing inherently hummable about the tunes, and it is the overall texture that leaves the impression rather than the songs themselves.

So it is to the textures I will turn my attention, as to fans of early GENESIS particularly, this is an album of interest. In places, the production and orchestration surpasses that of the influences, with full bass, which in places reminds me of KING CRIMSON, enthusiatic, loose percussion, dreamy wind instrumentation with TULL/CAMEL styled flute, and a deliciously flowing piano.

On the down side, some of the instrumentation verges on the cheesey, and the vocals seem to get somewhat harsh for the overall sumptuousness of the musical textures. Compositionally, the contrasts between sections is very disjointed in places - something that can be heard occasionally in early GENESIS, but Locanda seem convinced that this is a good technique and a style to develop. Overall, however, this leads to an album which is slightly wearying on the whole, and not one I would voluntarily return to in a hurry.

To end on the positive, Locanda manage to pull off the contrasting sections technique very well in places, and the textures really are so good that they warrant an additional mention.

In summary; Buy if you're curious, you will not be completely disappointed, and I am sure this is a good one to return to on those occasions on which you require something a bit different. If nothing else, it's got nice cover art!

I like my progressive rock to include a generous leavening of beauty along with the pomp and grandeur which (for me) typify the genre, and Locanda Della Fate's FORSE LE LUCCIOLE NON SI AMANO PIU delivers the desired goods in spades. There is pleasure aplenty to be found on this fine 1977 disc, with some lovely piano, restrained keyboards, flute and passionate (Italian) vocals. There is also power here, but it is an understated and dignified power. The guitars sing, rather than scream, and if the drums were punctuation marks, they'd be commas, dashes, brackets and periods, rather than exclamation marks. This pretty music -- a bit reminiscent of PFM -- does not need to "seize you by the throat" or beat you over the head with self-important, pretentious bombast, but urges you to lay back, relax, and let the soothing sounds and melodies permeate your soul, restoring you to a place of peace and calm. This is great music for early mornings, late nights, reading, and loving!

As my fellow reviewer Maani noted, there are some recurring musical motifs to be found here, but if baroque and classical greats such as Handel, Beethoven and Tchaikovsky saw fit to employ such techniques in their timeless compositions, who am I to quibble? (If anything, I find that the sparingly-repeated themes lend this album a certain unity and cohesion.)

Thus, after rocking out to the heavy, room-shaking strains of latter-day Crimson or Dream Theater, you may want to rest your head, and "lend an ear" to something much more subtle. If you don't shy away from beauty in your music, FORSE LE LUCCIOLE NON SI AMANO PIU would be a terrific addition to your prog collection. No, it's not ground-breaking or earth-shaking, but it is nice -- very, very nice!

My second prog record from Italy. My first was Photos of Ghosts by PFM but my first all-italian record. I bought it because Prog Archives is stating the record as a suggestion, and frankly, I've never been decieved by those. I've never been a fan of Italy's music. Are you a fan of italian love songs? Yes? Maybe not? You know how soapy (and unreal) they can be. You know, talking about how fierce the desire in their hearts burns (mostly about a married woman they saw 2 seconds in a bus). That is the climax of annoyment for me. So, when I hear a guy singing like Zucchero in a prog record...Man that po'ed me real hard. I almost threw the record away. I deeply don't appreciate Zucchero's type of vocals; read 'seduction singers'.

This is where it gets positive, don't hang up yet!

This record is MUSICALLY a superb, entertaining and soothing exercise. The most progressive track is Vendesi Saggezza. A challenging track with lots of catchy passages where you smile of satisfaction as hearing the shrewdness of the time changes and the Genesis winks here and there. We clearly identify flavors of early Genesis in 12 strings and Hackett type of playing. We also get a taste of Jethro Tull's flute. But it fits perfectly. The record is really rewarding after many carefulled listens. I really cannot say anything bad exept for the frequent deep fryer emotions. Probably won't bother you as much as I. I just can't stand too much emotion in a voice when it comes to prog. Prog is so often cold and mathematical. In general, the singing vibrates with feelings and the music is a total relaxing experience. But LDF knows how to rock and they show it in almost every song by making short interludes of fast and complex time changes.

A very interesting and thick record that will keep you finding new stuff at every listening...if you don't mind that marshmallow singing. And I apologize to Zucchero for comments on his work, it's not THAT bad. But you do realize that you sing 55-year-old-dreaming-secretary-impossible-love-affairs stuff while sporting a feathered hat and dressing up like Backstreet Boys' beloved A.J.?

I bought the record because of the good critics (in the expensive Japonese version)....and Ididn't liked it, compared to my attentions and allready knowing the classic italian stuff Orme, PFM, Banco.Well a few months later I put on the CD player, and I litterally fallen in LOVE with this record.It's now permanent member on my MP3 and everytime Ilisten to it i love it more.

The first (and only... Homo Homini Lupus is another story...) album of the Fairies' Inn (as we can translate in english) is the summa (was released in 1977) of what the the italian prog scene of the '70 have spanned all over the decade. Dreamy atmosphere, catchy chorus, lushy guitars and an exceptional drummer makes this records a truly gem. A Concept about the end of the age of innocence, the reawake from a dream, the pain about impossibility to dream again in a childish way. After this records become the dark age of italian prog... but it was the better epilogue we could imagine for the only true era in which italian musician have learned something to the rest of the world.

In the other reveiws I read a lot of references but in my opinion Genesis is the most significant, especially Banks-like organplay and Hackett-like guitarwork, even the flute reminds me of Peter Gabriel. The music is drenched in the symphonic rock tradition from the Seventies, delivering very melodic and beautiful songs but the atmosphere is often very mellow. No doubt, this is very good Italian progrock but to me it sounds a bit too subdued.

I´ve just seen the warning about the rating. I closed the message and didn´t hesitate afterwards. This really is a good album, I couldn´t stop listening to it yesterday. The sounds, the voices, the freshness, everything in it sounds very natural and inspiring. The instrumentals, structures, the songwriting and the playing are just wonderful. This album is entertaining throughout. I won´t compare it to no other, this album really stands for what it is.

Just listen to the first moments of "Force le Luccione..". It is pure confidence in a style, everything afterwards flow naturally with no harm to the listener anywhere.

Excuse my english

Collocated in the "final" part of the first phase of italian prog rock, I suggest this album's high evaluations on this site take this point into consideration.

In fact, we are very far away the best expressions of our country's other great prog bands, while in these late 70s years, there was not the abundance of works of the previous years, so... A good work of keyboards, a very good industrialization, but an inferior impact of sound in general, and expecially - to me (maybe others have a different opinion) - a strongly inferior impact on sensations and senses (I would say, despite a false first-hand different impression, less "heart" on music and lyrics, not absolutely comparable to ORME, BANCO, MAXOPHONE, DEDELIND, BIGLIETTO, ALUSA, and so on ..).

Ahh! what a great album!

I was so surprised when I've listened to such an album for the first time! An outstanding musicianship, based on a twin guitar and twin keyboards line-up. Great vocals provided by the duo Ezio Verey and Alberto Gaviglio. What a pity the band arrived too late, on a declining progressive scene (1977).they should have been great! It seems to me to hear to some refences of Genesis and Jethro Tull, a mixture I've always thought it would have been fantastic to reproduce! Locanda delle Fate did it, building up one of the most beautiful efforts in all the Italian prog-rock history! A melodic one, as the italian tradition, but brilliant, fresh and (somehow) powerful!

A Volte un'Istante di Quiete (Sometimes a moment of quiet) is an impressive instrumental opener with catchy melody, sweetness and great contribution from all the band. Pure piano and dreaming keyboards in a dominant position, both well interlaced!

The title track (Perhaps fireflies don't love each other nevermore) is my favourite of the album: another interesting piano intro with a softer first part.then starts all its progressiveness 10 minutes long! They've tried to captivate audience with the delicacy of their well refine lyrics.

Profumo di Colla Bianca (white glue's parfume) is more melodic and introvert than the previous one. But doesn't lack in mordant!

Cercando un Nuovo Confine (Searching for a new border) is an intense soft one with some highlights of poetry! ".You've remained here just a moment, silently watching. and the stars will love you without asking who you are.".

Sogno di Estunno (Estunno's Dream) is a great highlight of the album, soft and powerful at the same time (as all the album indeed!) with some references from Jethro Tull: ".it's strange, you know, the summer with thousands of colours but I cannot see them!...".

Non Chiudere a Chiave le Stelle (Do not key-locked the stars) is another astonishing soft piece, shorter than all the previous (it was the album' single published in 1977).

Vendesi Saggezza (Wisdom On Sale) is the album closer: 9,30 mns of pure great melodic prog: ".I wonder if when the rope will press my neck, mouth wouldn't cry.".

"New York" is a bonus tracks of the omonimous single released in 1977. You can find it on the 1994 digitally remastered cd! This one has good and polite melody, but it's not at the same level of the previous stunning pieces!

This album is great, I recommend to all you out there, Italian-prog-lovers!

I don't know why I never noticed this WONDERFUL Italian symphonic progressive album in the 80's, even in the 90's: what a miss I must admit! Actually, this record must be considered at the same level as the really best progressive albums, like Selling England by the pound, Thick as a brick and Close to the edge. I believe this record is the BEST work of the Italian progressive subgenre. Completely sung in Italian, all the songs are never less than OUTSTANDING!! Seriously, this record belongs to the RARE ones in which EVERY MOMENT is INTERESTING: I cannot think about just one ordinary or boring minute! The tracks are EXTREMELY well balanced, the instruments are very well distributed all through the tracks, and, like Genesis, the instruments work together instead of going into different directions, trying to show off. Among the influences, let's mention PFM's "Photos of ghost": indeed, the numerous mellow flute parts and some floating keyboards bits clearly remind it. The singer can be considered a bit as an expressive & theatrical Italian version of Ian Anderson himself. The electric guitar is surprisingly omnipresent and rather rock, reminding a bit Jethro Tull circa Thick as a brick. One of the main strength is the VERY OMNIPRESENT, elaborated and melodic piano a la Tony Banks: that's why a comparison with Selling England by the pound is not exaggerated. The mini moog sounds very Italian, like the other famous progressive Italian bands of the 70's. There are some very pleasant harpsichord parts, giving a bit the Baroque style to the ensemble. Sometimes the tracks contain delicate acoustic guitars, giving a folkier touch to the song. Surprisingly, the good Hammond organ is rather discreet. The elaborated bass and the refined drums perfectly complete this true masterpiece. The best track is "Vendesi sagezza". especially the VERY complex and refined second part beginning just past 4:00: notice the fully interlocking bit full of clavinet a la Gentle Giant! IMPRESSIVE! The last track "New York" reminds me a bit the band Il Volo. This record should have been named: "Never a dull moment!"

EXTREMELY RECOMMENDED!

I'm only becoming familiar with Italian Prog,but this CD is the best from everything I've heard...Highly recommended to all ItalProg lovers (along with neo/sympho prog freaks).This is a Musthave for every collection,and I hve nothing else to add but :just listen to it!!!!My greatest discovery of last weeks.Evergreen classic

Legendary album that pretty much closes the book on 70's Italian Symphonic prog. Sounding like a cross between PFM, (the majestic keyboards and flutes) and Banco, (the raspy, but excellent singing of Leonardo Sasso and guitars). They don't copy, btw, they just learned from the masters and came up with their own sound. Every track has incredible piano and I must say for an Italian prog album, I actually hear the bass being played! Can't say that for many in the genre :-). Delicate at times, time signatures switch at the drop of a hat and yet they can rock out. The album is a fitting end of an era. It'll be years before any other Italian band that plays this style of prog can compare. A must have gem that would have been 5 stars if not for the last track that, for me, is a tad over orchestrated. That being said, for all the fans of Italian prog, its an essential album! 4.5 stars.

Thanks Progarchive to help us to discover so great album. The two first tracks and Vendesi saggezza are absolutly incredible, but all the album is pleasant. Delicate piano like Tony Banks, mellow flute between Ian Anderson and Peter Gabriel, expressive guitar like Steve Hackett, all the instruments work in harmony, the singer is good too. If you like Genesis and Camel you'll like this very sentimental and poetical album. To put close to Selling England by the pound.

Locanda delle Fate was an Italian band from Asti that had been playing covers and listening to other prog band's music for a long time before the release of this album with their own compositions. You can find here many influences but all these influences are blended together with a romantic and "original touch" and the result is quite good.

The opener "A volte un istante di quiete" (Sometimes a moment of quiet) is an instrumental track that every now and then reminds me of BMS and Genesis and that shows the great musicianship of the members of the band. Anyway, in my opinion, the inspired lyrics and the wonderful vocals are the strength of the album. "Dragged by a theft of conscience / Dazzled by myths and legends / Our dreams full of miracles / Are not enough anymore / When the light comes." : the title track "Forse le lucciole non si amano più" (Maybe the fireflies don't love each other anymore) is about the contrast between dreams and reality and leads you in a world of quiet where to look for "the illusions and the dreams that nobody buy anymore". The following "Profumo di colla bianca" (Smell of white glue) is about a man that, after having found in the attic an old notebook and some old toys, longs for the dreams and the illusions of the childhood. "A thousand glasses reflect the memories left by a child / I pick up a book of pictures faded by reality / Immense wish of closing the doors on my age."...

The album goes on in his dreamy mood. The music and the well balanced arrangements exalt the oneiric images created by lyrics and vocals: the contrasts between illusions and disillusions and between dreams and reality are described in many poetical ways as in a kind of concept album."Cercando un nuovo confine" (Looking for a new border), "Sogno di Estunno" (Dream of Summer/Autumn), "Non chiudere a chiave le stelle" (Don't lock the stars) and "Vendesi saggezza" (Wisdom for sale) are all wonderful tracks and there are no weak moments. "I don't want explain anymore / You will be greater than Icarus / You will watch yourself flying". After all I think that the beautiful album cover describes very well its contents, probably better than all my words.

On the CD edition there's also a bonus track ("New York"), but it is not at the same level of the other tracks. Anyway, in the whole I think that "Forse le lucciole non si amino più" is a little masterpiece.

I am by no means an expert in Italian prog, in fact I have heard very little but this little gem came to me recently and I've been playing it regularly ever since. A bit Genesis-like in places, it's full of wonderfully delicate instrumental work, mainly in the keyboard department with some splendid piano work, and there is some good use of the volume pedal on the guitar to provide the background textures.

I sometimes have a problem with the overly dramatic vocals in Italian prog and the fact that I don't know the language doesn't help, but it's not a problem with this particular album. The vocals of Leonardo Sasso are excellent and suit the music perfectly.

All in all, this is a thing of great beauty which I heartily recommend to all fans of symphonic prog.

Got this on the strength of reviews on Progarchives. I'm afraid I don't see much here to merit 4 stars or above.

It's very reminiscent in places of Tull and Camel, though that may be more to do with the production than the music itself.

It's not bad by any means. I guess it just doesn't excite me. I like music that stirs an emotion, whether it's anger, excitement, sorrow or whatever. This doesn't do any of that. It's well played but more often than not I'll listen to a couple of tracks and then switch it off in favour of some PFM.

My first Italian prog album, and to this date my favorite, Locanda delle Fate is one of thouse bands that captures you from many angles, top notch musicianship, very emotional, excellent compositions and strong vocals, it seems Locanda was made to make it big time in the prog world... yet this was their only album for 30 years, when in 1999 they released a second album. Much too late, had they not disbanded in the ´70, we might have got another wonderful set of songs. Pitty. Yet, maybe it was for the best. With this, Locanda´s only album, and a great one I might add, they became a fort of lost jewl like Bubu, Dün and Museo Rosembach.

The music is strong yet delicate, with many arragements and a lot of keyboard delights, as there are not one of them here, but two playing at the same time. As I don´t know who is the main keyboard player, or if there even is one, I will say good job Conta and Mazzoglio! Also a stand out is the voice of Leonardo Sasso, whos voice is much stronger than the rest of the italian singers I have heard (so far), yet not less emotional.

The stand out songs are trhe opener A volte un istante di quiete, a delicate instrumental piece with excellent piano, Forse le lucciole non si amano più, a long song full of arregements where Sasso and guitarrist Ezio Vevy (who also sings a bit in this song) have a short but memorable question-awnser type of thing, for me the best thing of the whole song. Profumo di colla Bianca is also a very nice piece rich in small changes and Non chiudere a chiave le stelle, with Vevy as the main vocalist is e beauty.

Highly recommended to any kind of prog fan, there is a bit of everything here, and if you like how thouse italian words sound,full of emotion, then you are in for a tread.

It's a pity that the irruption of Locanda delle Fate into the Italian Symphonic was too late and so they could only gave us this album.

The first three tracks are the best ones and show us a fine and solid work of all the members of the band. (By the way, is not very common a band with seven players, two in the keyboards, like "Banco Del Mutuo Soccorso"). The music is rich and full of delicate sounds, driven by the keyboards and a very characteristic guitar with great influence of Genesis and Yes (I guess that the boys on the guitars have listened the album "Going For The One" a couple of times..). The rest of the album is not so inspired and is easy to find some chords that appear repeatedly, with the exception of "Vendesi saggezza", a song that is a wonderful closing for the album, with a complex mixture of great sounds. Nevertheless, the last three and a half minutes of the song were unnecessary, and without them the song would have been better.

The lyrics deserve a special mention. They are very good, like in other bands of this genre, specially the title track, "Profumo di colla bianca" and "Vendesi saggezza".

The band sounds very different form PFM and BMS, and this is something that enriches and widens the offer of the genre. Recommended for the lovers of the Symphonic Prog.

This is another of my favourite band in the Italian symph genre. The whole genre is synthetized here : great musicianship, some classical relation, beautiful flute play, wonderful harmonies, aerial keyboards. Do you want more ? OK; let's listen to this jewel.

"A Volte un Instante di Quiete" gives me the shivers and I'm writing as I listen. So brilliant. This is truely a magical moment. The song is peaceful during the first part but the rhythm increases pleasantly to end in a Crimsonesque way. Pleasant and complex.

The title track is another perfect song. Vocals are so emotional, piano so in-line with them. I guess that these sorts of emotions are only brought by this genre. What a pity that I don't understand Italian ! The rather accessible intro will contrast with the central part of the song. It really goes in all directions : classical, medieval, superb fluting... If the band summarizes the genre so brilliantly, I would say that the song "Forse Le Lucciole Non Si Amano Più" summarizes "Locanda Delle Fate" in the same way. So, if you are found of this song as I am, chances are high that you'll be bewitched by this band.

Most of the songs are of good lenght (except two) which allows "Locanda" to propose complex numbers. An exception is maybe "Profumo Di Callo Bianca". A soft number featuring very pleasant vocals and a relatively straight-forward composition. The last instrumental part is truely exceptional.

We'll remain in these territories with "Cercando un Nuovo Confine". Just beautiful. The rhythm will change with "Sogno di Estunno". Extremely rocking almost during the whole lenght. A nice break in so much harmony. But we'll be brought back there with "Non Chiudere a Chiave le Stelle" don't worry. Did you say melodic ?

Another highlight of this wonderful album is "Vendesi Saggezza". Again very complex. A mix of symphony and some darker and stronger part reminiscent of Crimson. You can also fully appreciate the druming and bass playing in this song. I've read some mixed reviews about the lead singer, but actually he does a pretty good job IMO. This long piece holds all the elements that I love (and which I have expressed already).

Did you say five stars ?

Right album, wrong time. It´s the only explanation I have for such a beauty did not get the recognition it deserved at the moment it came out. One of the most well crafted algums of the 70´s symphonic scene, Italy or anywhere else. And I still think it´s a pity that this band did not make it as it should. The document they left is, nevertheless, one of the best symphonic prog albums of the decade and it came just in a time prog was dying fast. Oh, I wonder the impact this album would haved made if it would be released some five years earlier! This band would be HUGE! Still, they are in par to other Italy´s greats like PFM, Le Orme, Banco, etc.

It´s hard to review this CD when it is so perfect. Everything fits nicely, melodic and smooth, but never too sentimental or lame. Balance is the right word: melody, instrumentation, arrangements, vocals, all is balanced. The result is a masterpiece of prog music and one of Italy´s greatest albums ever. I won´t review every track, you must get this album and just listen to it carefully. Or not. The music will grab you anyway, or else you´re deaf!

If you want to know a masterpiece in melodic, beautifully played and sung, this is a must have. A timeless gem that more and more people are descovering at last. I myself only found out about it in 2003. Well, better late than never. 5 stars, no less!

Locanda delle Fate had a lovely acoustic sound comparable to the classic era of Genesis, and an "imperfect" singer to match. They have the skill of sounding immediately familiar - both a blessing as a curse, as it turns out; to this reviewer, "Forse le Lucciole non si Amano Piú" is so similar throughout that my initially favourable reaction became exhaustion with the repetitious nature of the album.

"A Volte un Instante di Quiete" really defines the band's operational parameters - the rotation of bittersweet piano and guitar lines that each enhance the other, at times to highlight but rarely to break into an out-and-out solo section. Folksy and traditional progressions keep things anchored and immediately understandable - even, arguably, predictable. The piece hops between metres and paces, often in a way that rapidly recaps the earlier segments of the song. The whole instrumental wraps around central melodic intent, and despite being the most challenging song on the record (no tall order, of course) it should be well received by even the most delicate of prog listeners. That's a very good way to start an album.

Next comes a ten minute, slow-moving croonathon and here is where the listener is forced to adjust to Mr. Sasso's... remarkable voice; the closest approximation I can offer is John Greaves' crooning on the National Health piece, "Binoculars" - a divisive factor to many. Although not exactly the next "The Musical Box", this song is still as melodious and progressive as usual (or rather, exactly as progressive as you can be expected to be if you're a symphonic rock band stranded in 1977) but it does seem somewhat overlong to me, and if you share this sentiment then be prepared for... MORE... OF... THE... SAME.

The remainder of the album (allowing for the bonus cut which lapses into pop drivel - luckily for LdF, I never factor bonus tracks into the score) closely follows the schematic drawn by the opening two cuts - it's all twinkly major keyboard action with slight electric highlights and suave, almost kitsch vocal lines all the way down. If you loved "A Volte un Instante di Quiete" from first listen then I imagine you'll be equally as rapt with the record's remainder - and this will be an easy five stars for you - but otherwise I suspect you'll tire rather quickly.

"Forse le Lucciole non si Amano Piú" is as overstuffed as your average Genesis LP and, although the quality of music involved is consumate and professional, it would be a much more powerful and memorable package had it been quarter of an hour shorter - not because any of the songs are substandard or irritating but simply thanks to the interchangeable nature of LdF's limited range. I'll mark this as "good" because of the breath-taking first song and the promise it carries.

The very best of Italy, or elevator prog?

I remember reading a review of this album where the gent called it the worst kind of "elevator prog." He thought it very insipid and choking on sweetness. Or there's this gem that I just had to quote from a gent on another site because I thought it hilarious: "This is mainstream symphonic artrockish @#%!, with no intention of being progressive whatsoever. Just synth-washed faked happiness and sentimentality. This record alone could have started the punk revolution." [Tovan]

As you can see comparing that quote against all the 5-star reviews here, Forse is an album that generates strong feelings both ways. I'm somewhat in the middle. Let's take the positive first. This is without questions one of the most beautiful, melodic, pretty, lovely symphonic ear-candy albums you will ever hear. It is lush, well-produced, thoughtfully-arranged, impeccably sung and played, near perfect from an execution standpoint. The first two tracks are simply two of the most beautiful songs I've ever heard from any band. Did I mention melody? It's a keyboard lovers dream drenched with delicious runs of vintage keys recalling the finest English prog rock. The guitar playing is superb, a dual attack which I would describe as something between Howe and Hackett, with expert use of the volume-pedal pushing the leads to pure heaven. The vocals are among the warmest and most pleasant in the Italian genre, rich, deep, and enveloping. The percussion, especially in the opening track, is really super-controlled and perfect with a compressed tight sound. Sounding great, isn't it? But there's more to the picture than playing and execution. There's the material.

To speak to the complaints of the gent I quoted up top, I do see some problems with the material. The songs are a bit mushy, a bit cheesy, a bit sentimental. It is not particularly challenging. It lacks the fierce bite and daring bravado of the "most Italian-flavored" Italian classics from the prime 72-74 period, it lacks a bit of that authenticity, sounding more like stately English or German mid/late 70s symphonic. It's an album that starts very strong with the best songs towards the front and drags a bit on the second side. The mood of the songs have a sameness to them, mostly an uplifting new-agey vibe without any kind of darkness to provide some drama. This album is perhaps the polar opposite of France's "Arachnoid." This album is like being hugged by the good witch in the Wizard of Oz. None of this is really a deal breaker for me, I'm just saying that I can understand what the guy above is talking about even it I don't agree with him.

So the question of whether you should buy this is very simple. If you love quality happy melodic symphonic that will wrap you in pretty music, you simply cannot go wrong with Forse. Love Camel, Rousseau, Tai Phong, Druid? Then you'll probably eat this up. If however you are looking for difficult prog, or for the more authentic classic period Italian sound, or if you like darker themes, then Forse should be avoided. As I said I fall in the middle. I do like to listen to this pretty album on occasion but to me it falls well short of my favorite Italian albums. 3 ½ stars.

10/10 Masterpiece

Ok well here we have by far the most spectacular Italian prog album ever, and possibly the best album ever at that. Forse le lucciole is a masterwork with some of the greatest melodies and musicianship you can ask for. Each and every song is great in it's own way, with the title track being the real stand out epic song. When I first heard the title track, "Forse le lucciole..", I had to pause the song at it's most beautiful moment because I got so emotionally stricken I had to step back and listen again. This entire album is full of ridiculously good moments. Leonardo Sasso just has the best voice in Italian music, and the passion put forth in these songs is just unbeliveable. If you have not listened yet, please get your hands on this album and give it a try, you will not be dissapointed! The best ever!

There is a fine line between John Tesh and LDF.This is extremely light airy symphonic prog,not for those of you interested in the heavy,classic early 70's variety.Except for the first song which is pretty decent the rest is entirely forgettable(Thank God!)New-age is an adjective that comes to mind immediately upon reviewing this.This might be the most over-rated album in all of PA.I'll give it 2 stars,tops.There is so much wonderful Italian prog out there,leave this one alone.

In the past when I was a kid, I always confused the Locandas but now I'm pretty sure that the old is better. In reality, while Quella Vecchia Locanda are much more influential, LOCANDA DELLE FATE are mainly a 2nd generation influenced one.

Also noticeable is the fact that unlike other Italian bands of the 70s which never left aside the inputs received from British acts, like Tull, Floyd or Genesis, LOCANDA DELLE FATE are rather impregnated with the sound of another, a bit older, peninsular act, Banco Del Mutuo Soccorso. And since I'm not a big fan of BMS, I confess that I look at LDF with a certain reservation. But LDF keep their own trumps and those appear mainly in the moments when they go instrumental or when they replace the operatic/dramatic vocals, BMS-styled, by soft and bucolic ones.

Overall, the band shows a fair capacity, thanks to members' skills, fine arrangements and neat songs; all along this album, "Forse Le Lucciole Non Si Amano Più", one will check that guitars, keyboards and flutes do a good job but nothing to make you lose the homebound. It's just an honest release, provided with hearable tracks; progressive indeed, but showing no novelty and that's all.

The instrumental opener, 'A volte un istante di quiete' brings good winds and many promises not achieved. Instead of growing, album decays with the title-track, a lengthy song, spoiled by boring vocals that even some fine instrumental parts cannot save. Next song, 'Profumo di colla bianca', maintains the same trail of previous one but now the singer seems a bit more contained and we may appreciate the nice tunes, a blend of jazz passages and symphonic chords able to amuse the listener.

'Cercando un nuovo confine' is just a plain prog-related song, while 'Sogno di estunno' is a prog one and where exceptionally the nervous vocals fit averagely when backing the frenzy parts of the song. 'Non chiudere a chiave le stelle', the shortest track, is full of beauty and enchantment, the poignant vocals and acoustic strings accompaniment set the song in a high pitch. 'Vendesi saggezza', a kind of mini-epic, has splendid instrumental sections and forgettable singing parts. 'New York' closes the album leaving the sensation that this track was aimed to become a cheesy radio hit.

As previously stated, some fine instrumental moments and some sparse smooth vocals save the album lodging this release a little over the average mark. Rating: 3 stars.

LOCANDA DELLE FATE arrived fairly late on the Italian scene with this record being released in 1977 when Prog was on all accounts on the way out. Some refer to this album as the last great RPI album of the seventies, and for good reason. They were a seven piece band with lots of instruments involved and an emotional and gifted singer as well leading the way. It surprises me when I read that this is elevator music or lightweight because to my ears this is dynamic in it's own way. Sure there are pastoral tracks and passages but the prominant and well done drums with those often chunky bass leads tell a different story. Then add the two organists and two moog players along with clavinet and guitar and well if you listen you will hear an array of complex sounds all intertwined. It took me a long time to understand this album but now that I do the music is as gorgeous as the album cover. I should mention that on the Gnosis site this is rated number 14 overall when it comes to albums that came out of Italy.

I love the way it starts with the instrumental "A Volte Un Istante Di Quiete". I really like the piano, guitar and drumming in this one, as well as the flute led section 2 1/2 minutes in. "Forse Le Lucciole Non Si Amano Piu" opens with piano as reserved vocals come in. An emotional start. The vocals and sound gets more passionate after 1 1/2 minutes. I like the guitar 3 minutes in. "Profumo Di Colla Bianca" has these spacey synths to begin with as drums beat casually. Vocals a minute in as the organ floats in then piano. A fairly relaxing song. "Cercando Un Nuovo Confine" features lots of acoustic guitar with fragile vocals early before piano arrives. I really like the vocal section 1 1/2 minutes in and later at 6 minutes. Some nice flute as well.

"Sogno Di Estunno" opens pleasantly until the guitar and aggressive vocals change the mood. Synths and piano are prominant during the calm sections. "No Chiudere A Chiave Le Stelle" is laid back throughout with relaxing vocals a minute in. "Vendesi Saggezza" opens with piano and synths. Vocals begin fairly restrained but get passionate quickly. The guitar 2 1/2 minutes in with flute and drums is the best part on the whole album. It goes on until about 3 1/2 minutes. A powerful section. One minute of heaven. Back to vocals, piano and synths. A nice full sound with guitar 7 1/2 minutes in. I like the first and last songs the most.

Without question a classic, and it's one of those albums where the album cover is as famous as the music inside.

The epitome of overrated Italian progressive rock. A strong vocal presence in the vein of Banco. Musically proficient, but they have that _sound like_ factor going on, as in _they sound like Banco_ or _they sound like Genesis_. If that doesn't bother you, then by all means check it out. I enjoy a lot of Italian Progressive Rock like PFM, CELESTE, PICCHIO DAL POZZO, LATTE E MIELE, LE ORME, AREA and BANCO's _Di Terra_ album(entirely instrumental). Locanda Delle Fatte sound like all of the above, but with a strong vocal presence leaving little room to stretch out.. Nothing original here and definitely in the second string of Italian prog.rock bands and one shot albums. In the same league as Il Volo, Errata Corrige, Maxophone, etc. There aren't many one shot albums by Italian bands tha tickle my fancy, save the first DEDALUS cd. For fans who wish to collect Italian obscurities only - you may be pleasantly surprised. Locanda Delle Fatte, however, didn't do a thing for me(actually grew more agrivated on repeated listens). I rank this band in the overrated file alongside with Spain's MEZQUITA and the USA's YEZDA URFA. Try the sample of Locanda Delle Fate titled _Forse Le Lucciole Non Si Amano Più_ on this website. The whole album sounds like the title track.

01. A Volte Un Istante Di Quiete Thrilling start with the piano, so the whole band intrumental in this long and delicious. The line of low Luciano is brilliant and the guitars of Ezio and Alberto make a perfect couple too, the battery is another highlight of Giorgio. Of strong melody and full details of the opening track is an example of what is to be the disc, melodic, complex, beautiful and wild at the same time.

02. Forse Le Lucciole Non Si Amano Più Here we begin the most beautiful songs of the progressive world, and largely responsible for this is the Leonardo Sasso who owns one of the most beautiful voices that is no record in world history. Here we have all the features of the opening instrumental track, with the advantage of voice. The full complexity of keyboards, bass and drums, perfect, and the thousands of scattered instruments, flutes, many keyboards, guitars and guitars. The middle of the song, vocal support 'macabre' like talking to the main character, beautiful guitar orchestra. Simply perfect!

03. Profumo Di Colla Bianca Beginning enigmatic! Some sounds of 'air' to the bottom of everything, everything starts with the Hammond, perfect voice, pianos and more. It is a great advantage to have two tecladistas and even more when the two know what to do. Flutes give epic touches to everything, and make the beauty increase further. An instrumental piece, full of sound 'engraçadinhos' and at the same time, sensational, an organized mess. The final session instrumental is another example of virtuosity in defense of the song.

04. Cercando Un Nuovo Confine Stop all that about Un Nuovo Confine begun! The initial guitar and vocal, but with this I would die happy and satisfied, but still has the piano and vocal. The music itself is something unimaginable, the final result with his guitar playing in unison and always sensational voice, I question melodic fella 's memorable souvenirs. I wish it had more bands that sound.

05. Sogno Di Estunno The beginning with flute and piano, the low bass drum near the grave of the battery, is increasing ... This here is the explosion of the band. Synthesizers, pianos, mellotrons, moogs, is the paradise of the keys. The beauty comes out of loudspeakers, invades the room and creates a series of experiments without even leaving the place.

06. Non Chiudere A Chiave Le Stelle Mellotron and guitar, little by little the band will start feeling the desire for more of a classic Italian beauty. Here are the main voice of Leonardo, are Ezio and Alberto, who also managed to print a unique beauty to the song. What band My God! That band.

This disk has thousands of different versions, and have no idea if this version I have is the original or not, I know I have a CD released in the 90 which has two bonus songs, but it is difficult conseeguir a informção certa.Sinceramente I wanted most bands that had followed the course of Locanda Delle Fate, and then they even had the bar guentando another pouco.Se you do not feel touched by the sound of the guys you just do not have heart!

www.progshine.com

How beautiful...This songs all are very impressing.

Very impressed and shocked. When I listened to the song Forse le lucciole non si amano più for the first time, I can't help weepin'. Clear melody might run around my brain and heart. With hoppin' to a CD shop I've bought the album. Oh, the sleeve is as dramatic as the song.

Anyway, back to a discussion about the group LOCANDA DELLE FATE. As almost all of Italian Progressive rock fans say, LOCANDA DELLE FATE is one of the most beautifully-melodious groups of all Italian progressive rock ones. Of course I should agree this opinion. The mysterious and anonymous but very famous in Italian progressive rock freaks band released only one studio product...regretfully.

The content of the only one album...as expected, there are full of brilliant tunes and melodies in it. We can NEVER complain and hesitate to say about this. I can say the melody born by them is the most beautiful in the world of Italian progressive rock. But sadly I'm afraid the beauty is overwidened and their rhythm or power are shrinked. Otherwise, they might try harder to make Italian progressive style into their beautiful melody, and I can hear they should overforce and the style should get to be exaggerated. The style is, I consider, a bit inappropriate for their identity.

Although I said as above, good work is so good. I wanna give 3 stars to the album.

One of those generally (and typically) over-acclaimed Italian "masterpieces", LDF's sole studio album is a textbook example of why I'm not part of the mob screaming genius to the massive prog output out of the peninsula. Don't get me wrong, FLLNSAP is a good album and a typical Italian product of its generation (but the second wave instead of the first), but we're a far cry from Jumbo, Picchio Dal Pozzo, Perigeo, Flea/Etna, Celeste or QVL (my personal Italian faves), but also from BMS, PFM and LO. Like too many "Italian classics", I find that their music is too wordy, which is often the case when there is a full-time singer that doesn't play an instrument (thus making the group a septet with a dual keyboard attack), but unlike many others, this remark only applies to some of the tracks on this album, as there are some (wish for more) wide-open spaces for instrumental interplay.

The trouble is with this album is that it's got written all over it "derivative from the first wave groups beit from Italy or England" and in that regard can be compared to Druid, Fruup or Yezda Urfa and more. I'm not saying that this inspiration job (no matter over how many artistes) is so obvious that it becomes insufferable; but it is noticeable enough that you hear right away the moments when LDF is actually being themselves, and t is during those (too rare) occasions, that their music is at its best. Starting on a very interesting instrumental that promises much (maybe too much) for the rest of the album, the very next piece has a Yes-crossed-BMS aura (especially the Howe-like guitars), even though the flute is simply haunting (Vevey is simply all over the melodic lines in this alnum). The following tracks are always carrying over that same flaw (just shuffle around the names in the influences brackets), especially on the most aggressive track of the album Sogno Di Estunno, where they cross Yes and GG. On the whole, besides the opening track, the splendid (but lengthy) closing Vendesi Saggezza is probably the album's best track.

As usual with bonus tracks on Italian prog album, it doesn't have much to do with the album, but surprisingly enough it doesn't stand out like a sore thumb (like in Paese de Ballocchi for ex) and it is fairly well recorded. A distracted listen wouldn't probably detect its different source, but since prog is not about background music.. Soooooo, there is no doubt that LDF's lush and complex Italian symphonic prog should please the vast majority of progheads, and Forse is the textbook example of those single shot Italian "pearls" made to please those ultra-symphonic music fans. Just not for me

A product of a second wave of Rock Progressivo Italiano, Locanda Delle Fate's debut (and only studio album during the 70s) never really grabs me. And if you read all the other slightly sceptic reviews for this album, you'll notice we're all pretty much in agreement as to why.

What you'll find on this album is remarkably pleasant; most often mellow, by-the-book symphonic prog. The rich, subtle arrangements of Genesis, with democratic distribution of guitar and keys in intertwined, delicate arrangements. You know?that slowly moving melange where you find dynamics in a smaller scale rather than in the bigger structures. Add to that some of Camel's syrupy feel-good melody-making and dreaminess à la The Snow Goose taken a bit further, played with silken gloves and almost fairy-tale timbre and motifs at times. The more Italian bits are the prominent, gladly rollicking piano that enriches so much of the peninsula's music. There is some nice flute interplay to be found as well. All in all, not much to complain about objectively, if you're interested in this type of sound. Lush and warm for the most part, often complex and intricate arrangements to enjoy along the way, with this laid-back, romantic atmosphere likely encountered before in (for example) PFM's or Banco's lighter compositions if you've dabbled in the sub-genre before. Leonardo Sasso's vocals even remind me a bit of Francesco DiGiacomo at times, only less intense and operatic. And to add another positive thing, the textures can be a real treat with the full sound dual keys and dual guitar can provide.

It is truly disappointing then, that as the album unfolds, things never really change. You're just drenched in a seemingly endless assault of what's mentioned above. There is absolutely no album dynamics, but just this sweet, symphonic, gluey mass to wade through. It's just boringly flat. Even worse is that when given time, you'll start to notice how uninspired some of the melodies and motifs are. They feel like routine, based on instruction more than the heat of the moment. And I miss the joy that could have been such a great complement to this music. And when the band honestly tries to stir things up a little, with some heavy guitar riffs and a little contrast, there is this clearly noticeable conflict present; a will to break out of the mould as well as being eager not to disturb the oh-so-precious flow already established. And in holding this sacred, the album loses a lot of energy and ear-opening effect to preserve a tedious consistency. Where is the drama!? As a result, the album easily drifts away from you and takes place as nice background music, but nothing else.

Locanda Delle Fate is obviously a group that had the potential to make something great, with the assembled musicianship present, but this, the safe way, wasn't the way to realise that. I certainly understand the raving reviews about the heart-wrenching beauty and romantic grandeur, but if you scrape a bit on that glossy surface, you'll perhaps realise the flaws of the concept as well. A bit too derivative, a bit to flat, a bit too uninteresting. And far from an essential RPI work.

Choose for yourself.

3 stars, by a hair.

//LinusW

Questa e piu bella musica

When I got my first LOCANDA DELLE FATE (Inn of the Fairies) release which was precisely "Forse le Lucciole non si Amano Più" (Maybe the Fireflies don't love any more) and due to the reviews I read in Prog Archives, I was expecting a typical Italian band with strong GENESIS influence.

Because I'm a huge fan of the Charterhouse School guys, searched for the classical sound, but to be honest I found absolutely no connection between LOCANDA DELLE FATE and GENESIS, so I re-read all the reviews and saw how YES or GENTLE GIANT were also mentioned, again couldn't find a single similarity or influence with any of the usual suspects, not even with the Italian Symphonic bands (Except for the language of course), but instead of disappointing me, this uniqueness made me respect them more, the music is so beautiful and original, that this guys have to be the real deal.

In first place, and despite the band counts with two keyboardists with two Hammond organs, the emphasis is placed in our old friend the piano, yes it's true that they have spectacular synth sections, but the piano is the instrument which carries the weight of the music, unlike any British pioneer and very few Italian Symphonic bands who enjoy the pomp and spectacularity of the Moog or the haunting beauty of the Mellotron instead of the acoustic sound of the Grand Piano.

Then I read that the vocals are similar to the ones by Francesco di Giacomo.....Sorry, but Leonardo Sasso has a totally different range, even when is obvious that the man has studied music, his voice is lower and raspier than BANCO'S virtuoso vocalist, but at the same time stronger and much more emphatic, ideal to play dramatic material.

But lets go to the music (please take care with the translations, most of them are literal because my Italian is rusty), "A Volta di un Instante di Quiete" (After an instant of silence) is a strong and brilliant opener, with strong Classical connections based in an impeccable piano performance and the pomp of Progressive Rock provided by the rest of the band. The flute works as a reliever between the initial and final vibrant passages, a magnificent opener that prepares the listener for great things.

The title song begins with an amazingly beautiful piano introduction that immediately links to a vocal passage where Leonardo Sasso makes a demonstration of energy and sensibility with his unusual range, but when everything seems soft, the drums and guitar announce a change. Without modifying the initial atmosphere, the instruments are added in a dance of sounds and moods, it's impressive how they add an almost Medieval flute to a Prog power ballad, absolutely heartbreaking.

Around the middle the band radically morphs into a frenetic passage where the keys add a strange Rock section at insane speed, just to return to the initial sound, .Special mention to Sasso, who provides all the power he's capable of working, the backing vocals create complex structures. Elaborate song with a beautiful melody.

If in the previous songs we could find beautiful melodies, "Profumo Di Colla Bianca" (Perfume of White Glue) is not the exception, the piano and vocals work as if both were a complex new instrument, one linked to the other as siamese twins, but because we are talking about a Prog band we can find elaborate guitar performances and sober drumming.

But despite all this excellent characteristics, what impresses me more of LOCANDA DELLE FATE is their sense of fluidity, the music flows gently from start to end in the only logical way it cans, any change could make them loose logic and coherence, but this contradictions never happen, everything is carefully crafted.

"Cercando Un Nuovo Confine" (Searching for a new Border) is the first time when I find some remote GENESIS influence in LOCANDA DELLE FATE, even when the song is so typically Italian in atmosphere, melody, instrumentation and vocals, Ezzio Vevy adds a Hackett touch in his guitar and a bit of Peter Gabriel in the flute, but not enough to consider it even a moderate influence, just a distant remembrance..

"Sogno di Estunno" (Dream of Summer Autumn) begins with a pastoral intro based in flute and keyboards but soon morphs into a strong vocal track with Leonardo Sasso providing a breathtaking performance. But the changes have to exist in this band, and as usual they jump to a Classical oriented passage with a brilliant piano and flute interplay, this time I find some ELP resemblance, but as usual it's only distant, because the sweetness of the music is hard to compare with any other band.

"Non Chiudere A Chiave Le Stelte" (Don't Lock the Stars) is a short and romantic acoustic interlude that links "Sogno di Estunno" with the powerful "Vendesi Saggezza" in which Leonardo Sasso gives one of his most memorable performances, adding not only his usual strength but also a sentimental touch unlike in any previous track.Even when the band moves from soft and melancholic mood to elaborate and complex musical passages, the voice remains as a constant. The final section is absolutely breathtaking and frantic adding a new sound to the song

The album ends with "New York" a strange song with a different vocalist that this time clearly reminds of GENESIS, even when less intricate and more fluid, good and unusual closer.

While writing this review I noticed a couple of things: LOCANDA DELLE FATE is a classical Italian band, with less complex arrangements than most bands of the region but obsessed with creating incredibly beautiful melodies and even when here's influence from some early Symphonic classics, this is more the logical consequence of two bands playing the same sub-genre, rather than one trying to sound like the other, because their music is absolutely unique, even for Italy.

The rating is clear for me, if we are talking about a unique album with no weak moments and outstanding music, I can't give them less than 5 stars.

An Essential masterpiece of Progressive Rock that deserves more recognition.than it gets.

There was definitely a long hiatus in my desire to sink my teeth into this marvelous RPI masterpiece, mainly because so many lustrous reviews have already been consecrated to the brilliance of this recording. But I got a bit anxious and decided that it was time to take a shot at it. While certainly breezier than the conventional rawer forms of the celebrated Italian Prog School, this jewel takes firmly its place on the pantheon of progressive classics. Why do you perhaps impudently ask? The gentle symphonics are majestic both in breath and scope, simple emotional ornamentations where everything gels to perfection, complex sections (what a fabulous drummer!) and extensive interplay. This can happen easily as there are 2 guitarists and 2 keyboardists who interweave with immense facility, gilding the arrangements with a wide spectrum of classical, jazz, Italian folk and rock frills, seemingly guided by confident impunity. The rustic elegance of the instrumental opener (isn't that the way all prog albums should start?) "A Volte un Instante di Quiete" coronates the disc with immediate class, savvy guitar and graceful piano on one side, shuffling rhythm section holding the wheel and Hammond and flute on the other side. Devastatingly effective, what a buzz when the gentle synth fanfare enters the fray, recalling classic early PFM and slings the listener straight to heaven when the guitar parallels the theme, riding shotgun with class and fervor . This juxtaposition is not just with the playing but also with the constantly shifting moods and the sonic mindgame being formatted by their muse. Absolute killer track! Bravo!The whopping title track is next , this time introducing Leonardo Sasso's warm and melancholic voice and blending well with the erect Michele Conta piano, the shimmering fragility is chilling , a harsh guitar riff and a blazing synth conspire to elevate this even higher , the vocals getting bolder, an adventurous series of slurpy licks on guitar. Some harpsichord like sounds (the brilliant clavicembalo) adorns this arrangement with impossible delicacy, letting this monster grow at its natural pace. The playing delves ever deeper into the elaborate emotional qualities so specific to Italian Prog, the piano doing supremely well warding off the sultry flute and ushering in the grandiose theme once again. Bravo 2! "Profumo di Colla Bianca" keeps the Ferrari pedal to the metal, not relenting a bit , now proposing a sibilant swirl that warmly envelopes the soul, pungent bass, seductive drums and a masterful piano (what a glorious instrument when well played , too bad it took me so many years to realize it fully!) pushing the melody along confidently. Sasso's splendid singing is more emotive yet still subdued at first, a dab of floral flute, some jangling guitar bits and beeping Polymoog patches. The music is eerily tasty and stylish, certainly some of the best RPI anywhere and we are just 3 tunes into the album!!!! Bravo 3 ."Cercando un Nuovo Confine" stays more into more traditional terrain, a pastoral romp that gets possessed at times but well within the dreamy streams of folk, a rural escapade into the Italian countryside. "Sogno di Estunno" is definitely rock, juicy guitars spurting nicely amid the flute follies, quieting down to get the mind reeling and, on a dime, reverting to getting the blood boiling anew. The Jethro Tull winks are obvious but the whistling synth solo comes as a pleasant surprise, the dripping piano Aqualunging forcefully. At the risk of repeating myself, the Giorgio Gardino drums are tantalizing, both in creativity and oomph!, a truly gifted percussor. Bravo 4 "Non Chiudere a Chiave le Stelle" glows with intense fire, a passionate ballad like only the Azurri can dish out, tender vocals and frail embellishments, a devastatingly gorgeous slice of prog. Bravo number 5! The stormy "Vendesi Saggezza" is a nearly 10 minute mini-epic that spans all the inherent qualities expressed by the musicians, where suggestive guitar leads, twirling flute and ominous backbone riffs keep this firmly anchored in the "tradizione", nothing fluffy or vapid, just a fine example of resourceful music that tries not to plagiarize or ride some nebulous fad, thus standing the test of time. Butterfly synths bubble with finesse and grace, solidly held by the drum control and macheted by some flowery guitar soars. Bravo 6! By this stage, there is little doubt we are in the presence of a gold mine album for all time. My hands hurt from the clap! (no not the STD!) "New York" is a short bonus track that fits well within the mood, a genial little marvel that perpetuates the glee with hardly a hint of weakening the effort; in fact the colossal chorus is to die for, an upward spiraling vortex of utter beauty, a high pitched voice (Ezio Vevey?) Bravo, the 7th ! . Definitely a keeper, a must addition for any serious prog collector, pizza and pasta lovers and anyone with a heartbeat. Sorry Johnny ! 5 dewy petals

This is another good band from Italy.

The lush opening tells me that this is not the type of hard rocking bombastic symphonic prog from Italy which has been my daily fare during the last weeks. Locanda Delle Fate drags the tempo down and consentrate their effort on understated lush, pastorial melodies. Melodies which slowly penetrates your skin and stays there.

The music is based on baroque and chamber music. Well, their music is basically chamber music, based on vocals and tangents (piano and keyboards) as it is. There are some flutes and guitars too here. Chamber music, this is.

The vocals is the strongest point of this album. The deep, opera influenced male vocals here is excellent. Oh, the vocalist's name is Leonardo Sasso. Praised be his abilities. The rest of the band too is excellent. So is the rest of the album. There is no real killer tracks here. But songs like Profumo di colla Bianca and Forse le lucciole non si amano più is really superb. But this album has this typical X factor lush feeling which seperate normal symphonic prog from Italian symphonic prog. An X factor you don't find in English, American, Scandinavian or any other European symphonic prog scenes. This album is one of the reasons I am exploring the Italian scene for more gems.......... gems like this album.

4 stars

Forse Le Lucciole is a classic RPI title that wasn't made for me I'm afraid. The predictable style and smooth production drowns out all challenge, adventure, inspiration and character that I expect from progressive rock.

It's by no means a bad album, but it just doesn't have the qualities to move me. It is an album styled after the sound of post-'74 Genesis, meaning smooth, lush, silky and pleasantly melodious if you want to be positive; sticky, edgeless and bubble-gum prog if you feel negative towards it. The instrumental opener might be the most effective of all tracks for me. It has the same characteristics as the other songs but it doesn't come off as poppy as the remainder of the album. Not that there's something wrong with the vocalist but his melodies are a bit too obvious and mellow.

The main cause for disappointment comes from the typical late 70's production. I prefer albums with an organic rocking sound, Genesis' Foxtrot for instance, or any other 1972 UK or RPI album. The polished production standards that infested the second half of the seventies greatly reduced the prog-excitement for me. It took the bite out of the albums from that time, a time that already suffered from a severely diminished inspiration and creative depletion. The glossy sound created bland and sterile sounding albums lacking in dynamics and intensity. I call it the "Alan Parsons-syndrome".

Forse Le Lucciole is a professional album and I can sure understand the 5 stars ratings from other reviewers but for me this rates far lower. The musicians are talented and the compositions are skilful, but I lack personality, stamina and passion here. This is one of those albums that always makes me reach for a fix of Nirvana or Led Zeppelin to compensate for the emotional power that this album so clearly misses.

The wonderful world of Italian prog features many hidden surprises and unknown gems, amongst them Locanda Delle Fate, who may just be one of the genre's most mysterious. They released one album whilst the Italian prog scene was at it's height in the 1970's, 1977's 'Forse Le Lucciole Non Si Amano Piu', and even then it came when the scene was starting to lose it's appeal in the face of punk rock. The album itself is coated in layers of lush, sumptuous keyboards and synthesizers, encompassing within the first few bars of the album's opening song all that is beautiful about the Symphonic side of prog, and the album is hailed as classic by both fans and critics of the genre. Why they only released one album remains a bit of a mystery, and they did re-appear briefly in the 1990's, with a belated follow-up that utterly eschewed the symphonic prog sound of their debut in favour of a straight-ahead commercial pop sound, thus rendering it a Locanda Delle Fate album in name only. However, despite their relative anonimity in the wider world, and their ill-fated comeback, their debut is still seen as one of the jewels of the Italian prog crown, regularly mentioned in the same breath as PFM's 'Per Un Amico', Banco del Mutuo Soccorso's 'Darwin!' or Le Orme's 'Felona E Sorona' thanks to it's fulsome, keyboard-castle sound and fluid guitars that combine to create a rich sonic tapestry of beautifully-played symphonic-prog. Fans of Yes, Genesis, Grobschnitt's 'Rockpommel's Land' and Starcastle's first two albums will find much to admire here. STEFAN TURNER, LONDON, 2010

In three words, 'a beautiful album.' Not necessarily daring, nor wild, but truly accomplished.

Locanda Delle Fate's Forse Le Lucciole... is a cohesive and thoughtful collection of songs that displays fine musicianship all around, and the usual wonderful melodrama expected from classic RPI. One of the more soothing albums out there, it's not going to be your cup of tea if you like a lot of grit or agression in your prog.

Opening strong, with the two best tracks, 'A volte...' and 'Forse...' we have a promising two-punch. The stirring piano and tight kit work throughout 'A volte' make up one of my favourite moments in progressive rock, and it's the perfect instrumental introduction to the band. Melodic and richly textured, it's a treat for keyboard lovers - as is the rest of the album. 'Forse...' starts in ballad mode and we get our first taste of Leonardo Sasso's warm voice. It isn't until halfway through the song that he allows some fire to enter his performance, and it is all the better for it.

Generally, the harder moments are reserved for guitar and drums, and are scattered throughout each song, but are produced so cleanly that they loose some edge. Whereas flute is mostly employed for quieter moments, the wall of keyboards are used to add effective texture or to take the lead. While never becoming frenzied, there's always something interesting going on from the synths, moog and the piano especially,

As has already been stated by many, this album looses some steam in its second half, despite some memorable guitar toward the end in 'Vendesi saggezza' and the great 'Sogno di Estunno' (my pick of the second half) with its energy, concision and excellent transitions.

Perhaps the chief issue for many with the record, is that it can be a little treacly overall - basically the whole collection of songs have so many moments of beauty that is can overwhelm you.

Only 4 stars if you like gentler progressive music, otherwise a 3.

(As a side note, bonus track 'New York' doesn't really fit the feel of the rest of the album.)

Yet another of the many one album wonder bands from the Italian prog scene, in common with many of them Locanda Delle Fate was a victim of bad timing. Whereas earlier one album wonders had suffered from explosive growth of the Italian prog scene swamping the market, Locanda Delle Fate brought their album out after the peak had well and truly passed - and so fell victim to changing fashions.

It's a shame, because Forse Le Lucciole is one of the most achingly beautiful symphonic- influenced prog albums from the RPI scene. Like many bands at the time, Locanda Delle Fate seem to have been attempting to craft a sound which retains a progressive spirit whilst being broadly accessible, and Forse Le Lucciole has so much to love. Not just one but two dedicated keyboard and synth players, with one of the most gorgeous piano sounds to grace a prog album I have ever heard! Not just one but two guitarists, one of whom (Ezio Vevy) also plays a mean flute! And how about Leonardo Sasso on lead vocals, surely one of the most emotive and enchanting vocalists from a prog scene famed for its wonderful singers?

Yes, it's not super way-out-there experimental. But as one of those odd little albums that bridge the classic old styles of prog's golden era with the more accessible approaches taken by the neo-prog generation, it's a true beauty. Perhaps they don't do an enormous amount that's 100% original, but who could possibly care when they do what they do so well?

Beautiful, Romantic Symphonic Prog

For all of us who love Harmonium's SI ON AVAIT, Locanda Delle Fate's FORSE may be one of the closest approximations I've come across. Lush, pretty, orchestrated, unassuming, this is perhaps at the far "soft" end of the RPI spectrum. While the album certainly makes for pleasant background music, it is very unremarkable when taken in this way. There is absolutely nothing on this album you haven't heard elsewhere. But on more careful listening, there are many very tasty choices, nicely delivered instrumental performances, and plenty of emotion.

Like alot of RPI, Locanda Delle Fate borrows heavily from early Genesis' soft side. Volume swell guitar solos a la Steve Hackett, big key pads, quiet pastoral scenes, even occasional flute all will delight the seasoned Symphonic Prog fan. There are a few tonal touches that reveal that this a 1978 album rather than 1971, including flanger use, a grittier guitar distortion, bigger reverbs on the cymbals, etc. But happily there are no electronic cheese noises that destroy some of the 78/79/80 albums.

My favorite song is "Sogno di estunno" which is relatively short but complex, more ambitious from an instrumental point of view, and holds just a bit more tension. But even this tune highlights the album's weakness, Leonardo Sasso's lack of melody. Clearly, I am going against the common opinion here and I must explain myself. While the vocals certainly have a nice melodic contour, Sasso has his typical ways to create phrases and really varies very little from this. There are no specific melodic motifs that makes one track separate from the others. Most vocalists do this to some degree, especially on verses. But whether it's Yes' "I get up, I get down," or Genesis' "Hey baby, with your guardian eyes so blue," there are melodic figures that are instantly clear even when whistled. Harmonium's album has this sense of melody. FORSE does not.

Bottom line, this is beautiful lush prog. Finnforest mentioned "ear candy" and this is yummy in that regard. But I can guarantee that Locanda Della Fate didn't start as a songwriters collective. A nice addition, but non essential.

Locanda delle Fate was a bunch of young musicians gathered in Asti, Italy, at the second half of the 70's, determined to play Progressive Rock of high calibre, despite the style was dissapearing in the country around the time.They were a seven-piece group with dual guitar and keyboard deliveries, which finally the had the opportunity to record a sole album on Polydor in 1977 entitled ''Forse le lucciole non si amano piu''.

No surprise, the album went totally unnoticed at the time, despite the excellent music quality.Their style came as a cross between PFM, MAXOPHONE and SENSITIVA IMMAGINE, characterized by the long instrumental passages, the expressive vocals and the great symphonic arrangements in a classic Italian Prog style.Filled with harmonic flute parts, lovely piano interludes, HACKETT-like guitar leads and magnificent work on keyboards (organ, harsichord, moog synths), Locanda delle Fate offered series of tracks of sheer beauty, not very original, but played with passion and energy.The instrumental parts are absolutely professional with dominant emphatic breaks and bombastic interplays often to leave their place to softer moments with a slavation feeling, based on romantic guitar solos and smooth piano lines.This was actually another great Italian band, which knew exactly how to accomondate a balance between vocal-based moments, bombastic interplays and delicate melodies and their only goal was to deliver their beloved rock style around its fading time.

Two commercial singles followed in 1998 by a reduced five-piece line-up under the shortened name La Locanda, before the band split up due to the lack of interest.

One shot Italian winner, a classic of the Italian Prog scene without question and a masterpiece for all Italian Prog followers.Highly recommended also for all lovers of Classic 70's Prog, who do not expect to listen to something groundbreaking.

Wistful symphonic progressive rock dazzles at every turn on Locanda delle Fate's 1977 album Forse le Lucciole Non Si Amano Più. While the piano is the primary instrument, there are plenty of other sounds crafting various textures that give the band a consistent sound throughout the album. I am not sure how any lover of Genesis or Kansas would find this Italian gem unenticing.

"A Volte un Istante di Quiete" A dazzling piano introduces symphonic sumptuousness that is similar in style to Kansas. It steadily differs in style by becoming awash in synthesizer and easing into a steady rhythm before driving back into wondrously convoluted progressive rock.

"Forse le Lucciole Non Si Amano Più" Touching piano paves the way for pensive singing. The slightly heavier instrumental section features swelled guitar and synthesizer leads before the bass dances with the nimble piano. The band offers frantic clavinet and electric guitar passages, again in the vein of Kansas. Svelte flute contrasts with the boisterous vocals. This extended song concludes satisfactorily.

"Profumo di Colla Bianca" Whistling synthesizer and chunky bass work around light electric guitar in a pleasing progression. The stately vocals appear over a distant organ and dreamy piano. Whimsical sounds plop in the middle of the piece before the swirling organ ushers in the main theme. I especially appreciate the drumming on this majestic opus.

"Cercando un Nuovo Confine" Silky guitars provide a lovely backdrop to a sweet song. Solid drums and bass provide the backbone, while piano and flute flesh out the sound.

"Sogno di Estunno" This briefer piece alternates between forceful rock music to meditative, tranquil passages. For under five minutes, this song travels all over the place without wandering.

"Non Chiudere a Chiave le Stelle" Much like early Genesis, this song is pastoral folk music with layers of guitars and peaceful singing.

"Vendesi Saggezza" Gruff vocals grate through gentle piano flourishes. The album's third and final extended piece visits all the elements that have appeared throughout this fairylike journey.

"New York" This English-titled bonus track is an initially pacific tune that soon becomes like an anthem.

It was interesting to look quickly through the reviews of this album: one either praises it (often with five stars) or wonders what's the hype about. That reflects well my own reception, because I remember enjoying the music a lot right away, but on the long run I consider it rather mediocre and surpriseless. Even all too typical product from the late period of symphonic prog's era coming outside of England. This ALMOST could have come from Western, Middle or even Eastern Europe, with another language, of course. Well, maybe not Eastern Europe, with this kind of romanticism and song orientation. But one could find unknown bands from countries like Netherlands, Belgium, Sweden or France who made keyboard-oriented, accessible and poppish symphonic prog in the latter half of the seventies - and who have remained quite little known. Quite rarely those are quite this polished in production but they may be more exciting. Perhaps this album/band also gets extra points from being Italian. No, I don't mean this wouldn't sound very Italian indeed. Many have compared it to BANCO and I'm not one to disagree.

This is very easily enjoyed prog: there's a nice little amount of complexity (some tracks are approaching ten minutes), but most of all a lot of melodies and safety. Multiple keyboards include both Chopin-like pianism and wallpapers of synth. The sound is bright and clean, and the rhythm section sounds very competent too. The vocalist is a cross between the tenor of Banco and the pop star Zucchero. But as it often turns out to be: the easier it is to enjoy at once, the harder it is to remain excited by it. Nevertheless, this is very recommendable listening to anyone looking for accessible, melodic symph prog.

One of the most common problems of the Italian Prog scene was the problem of "one-album wonders", bands that gave us listeners a single masterpiece album and then vanished into the air. It is so common in the scene that it is a fear known throughout the entire fan and genre base. Locanda Delle Fate is one of those bands. The album is a unique masterpiece, a sensation of Prog-rck music that takes much inspiration from Genesis and the Romantic-period. Their almost classic in their style, but only almost, as the rock-ish side is no less than amazing.

A Volte un'Istante di Quiete opens with a very catchy and dynamic piano riff. Then guitars and rhythm section join in to create a sum greater that its parts. A nice dialog between the keyboards and the guitar ensues, before we come back to a lone piano on the 1:10 mark. Then a new motive ensues, and a new dialog between instruments. The band utilizes here the two keyboardists to the extreme, with some clever and elegant lines that complement each other. 2:21 and we change the atmosphere to a very ethereal one, led by a very nice flute, reminding me a bit of Camel (but only a little bit). 4:32 and we come back to our first motive, meeting it new and reborn. We then slowly venture towards the end with an amazing quadrolog from the guitars and keyboards.

The title track opens with a magnificent piano line, with vocals joining at the 30 seconds mark. Sasso sings beautifully, and the melodies in the background reminds a little bit of Genesis. 1:38 and it goes rock-y, with some great keyboards and guitars work, and the bass is great yet again. Sasso comes back and continues with his demonstration, reminding a bit of Banco's Vocalist in his talent and the ability to show emotions. Great bridges connect between the verses, each one better than its predecessor, moving between the rock and the classic, with an emphasis on the romantic. The bass lines are precise and minimalist, yet so amazing that it hurts. Jethro influences join the mixture. A great masterpiece and one that by itself puts Locanda Delle Fate in the same league with Il Balleto di Bronzo, PFM and the like. We're back to the beginning sound, finishing a full circle, before changing again.

Profumo Di Colla Bianca opens ethereal, simple, with no hubris whatsoever. After a minute Sasso sings over a lone Hammond, a bit later joined by a magnificent Grand Piano, before the rhythm section joins in. the music flows from place to place, letting us marvel at the stations along the way, but takes us at the exact right moment to the next one. Again we are presented with a very Hackett-y guitar, before the vocals return. The ending section is almost rock-ish, even outside of Locanda's classical standards, before coming back to a long piano.

Cercando Un Nuovo Confine starts with a nice fingerstyle guitar with vocals as sparkles that join the mixture. Some modest piano joins in, before we change to a bit more rhythmical music. The flute beginning at 1:56 is unique, and the music turns even more bass and drums based as we continue. They just control this track, this piece, even though they are sometimes covered by so many melodic levels. In certain instances throughout the song, the vocals harmonize each other, taking us all the way to heaven.

Sogno di Estunno comes next, and shows that even Locanda can do rock. It is pure rock, except for the instrument selection- flute as lead instrument, synth as second. At 1:14 we are presented with an interlude led by the piano and synth, before going rock-ish yet again. The transitions are mind-blowing, showing Locanda at their best. It is not a simple track, but it is way more communicative than one would guess. 2:48 and it goes a little spacey, before adding back the rock elements.

Non chiudere a chiave le stele is a great little ballad, showing a softer and tenderer side to the rock-ish Locanda of the earlier track. The fingerstyle guitars are magnificent, giving us a bit of an Italian Genesis, dueting with each other under some amazing vocals.

Vendesi Saggezza opens with some melancholic keyboards and guitar lines, before even melancholier vocals are added to the mixture. It slowly grows brighter, more optimistic. Drums join at 1:20, and bass becomes dominant 10 seconds or so later. 1:50 and it changes again, combining the early sound of the track with a more rock-ish feel, and adding a great guitar-flute duet to the mixture. Some great use of distortion ensues, serving as a base to the overdrive guitar and to the flute. We come back to vocals, this time over a rock-ish surface, before drifting away into a quicker sound. The music just continues to flow, and then we're presented with a great guitar solo, with the amazing voice of Sasso controlling and coordinating everything. 6:17 and we're changing again, enjoying a great keyboards work joined by some even greater synth work. The guitar underneath is exceptional as well. We change moods, we change atmospheres, we change rhythms at exactly the right moments, and it feels so natural, so fluid, so right.

New York closes the album. It opens quietly, gently, with nice instrumentation below the voice of Vevy, only to turn into a very anthemic piece. It feels right, and great, but for me there's not much else to say about it. A nice track, but that pales in comparison to the magnificence of the earlier ones.

And so the album ends, with a great feeling, but not a magnificent one. It is a masterpiece album, but far from being essential. 4 stars for being an excellent addition to Any Prog-Rock collection.

(my first PA review! Forgive my excitement) The only flaw in this album is the year of publication: in 1978 progressive music was already losing appeal throughout Europe, particularly in Italy, so this work was ignored even by those who, few years before, would have paid more attention. Locanda Delle Fate's only album is actually as good the other masterpieces of the genre (a word I personally wouldn't use for more than 6-7 albums). The music proposed is a symphonic prog with piano and keyboards in first place, well supported by guitar and flute, continuous changes of rhythm and melodies, and most of all, a sweet romantic attitude, marked with a veil of sadness, that costantly emerges along the entirety of the tracklist. Highlights of the album are certainly the instrumental opener "A Volte un Istante di Quiete", sort of presentation of Locanda Delle Fate's technical abilities; the title-track and "Vendesi Saggezza", the longest songs, structured as mini-suites (no more than 10 minutes long) where piano and voice touch the highest level of pathos and creativity. Musicians are all inspired and gifted; Leonardo Sasso's voice is not technically perfect but, as well as other Italian prog singers like Claudio Canali (Biglietto Per l'Inferno), compensates with a great dose of passion and expressivity, with some resemblances with Ian Anderson. "Forse Le Lucciole..." will probably appeal to fan of Genesis and Renaissance above all, but any prog listener could hardly resist the delicate, melancholy atmosphere that permeates these seven tracks. Well aware of the meaning of a five-star rating, I cannot give a lesser one: in my opinion, this is one the highest marks ever reached by Italian progressive scene, unmissable in a good collection. (it's not even expensive to buy, if you're interested; surely not a slight...)

A very polished album of piano-based progressive rock music with a kind of combined RENAISSANCE-GENESIS Foxtrot/SEbtP-era feel to it.

Line-up / Musicians: - Leonardo Sasso / lead vocals - Alberto Gaviglio / electric guitar, 12-string guitar, acoustic guitar, vocals - Ezio Vevy / electric guitar, 12-string guitar, acoustic guitar, vocals, flute - Michele Conta / piano, electric Piano, synthesizer (Polymoog), harpsichord, clarinet - Oscar Mazzoglio / Hammond organ, Fender electric piano, synthesizers (Moog, Polymoog) - Luciano Boero / bass, Hammond organ - Giorgio Gardino / drums, vibraphone

1. "A volte un istante di quiete" (6:31) opens as an up tempo, piano-based rock song sounding quite a bit like a peak-era Jon TOUT-led RENAISSANCE song. The band plays quite nicely together--nicely tight band. The synth lines in the fourth minute are almost straight out of the finale of GENESIS' "Supper's Ready" and the guitar sound that joins in later is also quite Steve Hackett-esque. The fast-paced jazzier section that takes over at the 4:40 mark returns the band more to a RENAISSANCE/ "MacArthur's Park" sound. (9.5/10)

2. "Forse le lucciole non si amano più" (9:48) opens with a piano and vibes duet, establishing melody that the vocalist soon uses. By the end of the first minute the full band has joined in, establishing a fairly slow, methodical pace and sound. The instruments amp up into a little harsher ground at the 1:40 mark before falling back into support for the husky-voice male singer (Leonardo Sasso). Chunky bass (think John Camp) with well-integrated drums lead into an instrumental section with electric guitar 'power' chords and harpsichord in the lead. The more aggressive, jazzier section in the sixth minute feels a little discombobulated from the multiple vocal lines--very theatric--but it's working in a dramatic way. (8.5/10)

3. "Profumo di colla Bianca" (8:25) opens with a collection of sounds and riffs that make it sound like it comes straight off a YES album--Relayer or later. When things calm down for the vocal to enter at the one minute mark it feels all Italia(--all Banco). The next sections--instrumental and vocal--magically blend themes and sounds from the early years of both GENESIS (Gabriel era) and KING CRIMSON (ItCotCK). A more piano-based section returns to the beautiful realm of Italian melodrama--which is then carried forward and enhanced by an interesting section that feels like a blend of THE ALLMAN BROTHERS and STARCASTLE. Very interesting and deftly crafted song. (9.5/10)

4. "Cercando un nuovo confine" (6:41) opens delicately, beautifully, like the "play me a song" part of Genesis' "The Musical Box." In the second minute, piano, mellotron and background singers are added to the foundational acoustic guitar and electric guitar arpeggi. Then the song bursts into full rock dynamics in an almost ELTON JOHN way but then quickly settle back into more Genesis-Renaissance domains. An new theme is introduced at the three- minute mark that is piano-led, enriching the dimensionality of the song in a Tony Banks kind of way. The vocalist becomes more forceful but it sounds strained and makes the song suffer (in my opinion). And then the song quiets down, moving more toward the opening in its delicacy--though the piano continues tinkling away for a bit. The vocal harmonies in the final minute are nice. (8.5/10)

5. "Sogno di Estunno" (4:41) opens with flute and piano playing melody line in unison while bass and drums build in support. When Leonardo's vocals are introduced, the mood becomes more assertive, even aggressive. But then a delicate Genesis-like section ensues before it, too, is absorbed in the aggression of the next vocal-lead section (verse 2). The instrumental section that follows is peppered with soli from Arp synth and piano before Leonardo returns. It is my opinion that his voice is just to gruff for these beautiful instrumental weaves. I also believe that the piano is too dominant. One can see how these songs were created (and could be performed solo) by the piano, but it should have been mixed down a bit in the final mixes--to allow the weave of instruments to seem more even keeled. (8.5/10)

6. "Non chiudere a chiave le stelle" (3:34) opens with a pretty multiple guitar- and all-arpeggi-based weave which is soon joined by the gentle voice of a different male singer than the previous songs. Nice, gentle background harmony vocals used as well. Thought the song never really 'goes' anywhere, it is nice--and probably would mean much more to me if I knew what he was singing about. (8.5/10)

7. "Vendesi saggezza (9:37) is another piano and chunky Jon Camp-led song with Leonardo's gruff, aged-sounding voice in the lead vocal spot. The instrumental section in the third minute is quite nice--even powerful--and helps the next singing section by bringing in quite a sophisticated weave with it--or could it be that Leonardo Sasso's voice is mixed a bit further back in the soundscape? Whatever, this is the first time on the album that the instrumental dynamics has felt perfectly mixed! The GENTLE GIANT-like section that opens at the 6:20 mark is a nice twist--and then the next section at 7:10 is pure GENESIS perfection. (9.5/10)

4.5 stars; A near-masterpiece of progressive rock music.

In the ever more saturated crevices of my musical hippocampus, I was sure I had long since reviewed this memorable Italian one off, perhaps in fact the quintessential representative of that all too common phenomenon in the 1970s. I had it pretty much mapped out - a sparkling instrumental followed by an equally effervescent title followed by largely interchangeable and unmemorable albeit pleasant pieces culminating in an unabashed crooner anthem bonus that perhaps highlighted their strengths best. After years shelved, I have returned to it while listing it for sale, and, while my impression hasn't changed much, I do need to fill in a few blanks.

If albums be judged as sequences of robust and oh so romantic - the title translates to "Maybe the fireflies don't love each other anymore" - vocals and eminently pleasurable arrangements of keyboards, guitars and flutes, "Forse de Lucciole..." is top drawer, no question. I am not saying this is an invalid way to assess an offering of substance such as this, just that in and of itself it is not enough for me. Given the emphasis on melody here, it's shame how few are more than ephemeral, here now gone in 10 seconds. Is this fair? After all, music is meant to be savoured in the here and now, isn't it? Who cares if you can't hum 2 bars after it's over when you are buoyed for 40 minutes? I get this argument too, but part of my enjoyment is in scaling the lattices and gaining a 30,000 foot view of the production, and unfortunately with LOCANDA little is gained from the exercise beyond the exercise itself.

While others have offered GENESIS comparisons to which I cannot vehemently dissent, I am inclined to think of another one off, "SENSITIVA IMMAGINE', but I do prefer the latter because they are equally charming while offering more indelible compositions. In case I have been no more succinct LOCANDA themselves, I want to clarify that I have the utmost respect for this passionate exercise as well as for the overwhelming appreciation it garners in the prog world. 3.5 stars rounded down.

The story of this Italian prog band is the story of many that came a bit too late to the prog party which reached its apex in the early 1970s and started waning around the 1975 timeline. LOCANDA DELLE FATE which translates into "Inn of the Fairies" and referred to a closed brothel in the band's native Asti in Northern Italy, formed in 1977 and featured the already established tried and true romantic symphonic prog established by the bigwigs such as Premiata Forneria Marconi, Banco del Mutuo Soccorso and countless others who rode the prog train.

Despite the decline in knotty complex prog music that had left an indelible mark on the rock music world, some bands decided to swim upstream and craft their own masterworks in the vein of those who came before even while the most popular prog bands including the Italian greats started watering down their compositions with more accessible pop infused banality. When it comes to airy fairy symphonic prog, a trend that was popular with certain English prog bands like Genesis as well as the more subdued Italian bands, perhaps none was more so than LOCANDA DELLE FATE with its one and done album tenderly titled FORSE LE LUCCIOLE NON SI AMNO PIÙ which in English means "Maybe the Fireflies Do Not Love Each Other Any Longer."

This septet featured a double whammy with both twin guitar and twin keyboard attack which gave the music a rich tapestry of contrapuntal prog majesty with much of the melodic development initiated by arpeggiated piano rolls and a procession of moody subsections that wend and wind into beautifully intricate motifs of symphonic prog splendor. Despite the core trio of Oscar Mazzoglio ( keyboards), Luciano Boero (bass) and Giorgio Gardino (drums) forming the band after dissolving a prior band fixated on cover songs from bands like Led Zeppelin, Deep Purple, Black Sabbath and even Blood, Sweat and Tears, the music of LOCANDA DELLE FATE was indecisively as prog as one could possibly hope for in the late to the game year of 1977.

While firmly placed in the traditional symphonic prog of the Italian scene, LOCANDA DELLA FATE displayed a much mellower version with less bombast and jittery workouts than that of the wild and untamed early 70s provided. In fact in many ways FORSE LE LUCCIOLE NON SI AMNO PIÙ is more like an album of sappy ballads all dressed up with clear and concise progressive workouts inserted at key moments with occasional outbursts into more energetic rock episodes. Lead vocalist Leonardo Sasso provided the perfect romantic lyricism without missing a beat and although the album is dominated by the rich tapestry of keyboard sounds that include everything from the Hammond organ, Fender electric piano to Polymoog synths and a harpsichord, the addition of the flute and vibraphone gives this album a pastoral sensuality unlike many others, especially from the late 70s.

This is truly an album that took me a looooong time to warm up to. For those who enjoy the more upbeat and brutal versions of Italian prog, this one can come off as a bit to schmaltzy and overweening for its own good upon first listen but after time and a shift of focus to the intricacy of the compositional fortitude, my respect has elevated severalfold as the album is subtly brilliant while remaining defiantly chilled out however there are moments that generate some true rock bombast albeit never to the point of breaking into the knotty sinew crushing riffage of bands like PFM or Banco. While this band was masterful at nurturing soothing melodies, so too could this group of masterful musicians break into extremely complex outbursts of instrumental gymnastics.

This is one that i have to be in the right mood for and while LOCANDA DELLA FATE hardly makes my top listing for favorite bands of the Italian prog scene, there's no denying that this one shot album has certainly stood the test of time in which it evolved from the commercial dud upon release to one of the more respected albums of the entire Italian prog 70s. Due to the resurgence of popular in all things prog in the 90s, LOCANDA DELLE FATE was revived and released "Homo Homini Lopus" in 1999 and regrouped again for yet another album titled "The Missing Fireflies" in the year 2012 that tried to duplicate this early style. Despite all these attempted comebacks though, it's clear that this early offering is the album that showcases the band firing on all pistons.

Released in their year of founding, Forse Le Lucciole Non Si Amano Più (1977) was their sole LP until their reformation in 1999. A beloved record of the broad yet clearly identifiable Rock Progressivo Italiano idiom, Forse is a landmark Second Wave Progressive Rock statement. As such, Locanda Delle Fate had pulled from what came before, but produced music fit for the time, in some cases (frequently more than the host of their contemporaries) even raising the complexity and interest (of the norm). Not perfect, but excellent nonetheless.

"A Volte Un Istante Di Quiete" is Prog eccellenza, kicking us off with symphonic mastery of space and form. Throughout, there are callbacks to my ears to Gentle Giant and Genesis. To avoid typing it once more, our title track is next. Balladic and sweet, it begins with vocals and once again feels deeply rooted in Foxtrot-era Genesis. Things pretty quickly pick up and brighten. It is one of those situations where it's just interesting hearing this sort of older-sounding instrumentation in the late-70s. Not a big fan of Leonardo Sasso's voice, but the melodies are good and rich.

Sasso immediately has a much better performance, in the least, on "Profumo Di Colla Bianca". A shoutout is really due to Conta and Mazzoglia on keys and synths. It's not like they carry the whole band, but they are so vital to the sound of Locanda, it's not even funny. They're very good at what they do, and you won't get a much better example of that than here. Giorgio Gardino on drums is the other certain highlight to the whole affair. Such a great player. Overall "Profumo" is a wonderful composition. This was nicely juxtaposed with the quieted "Cercando Un Nuovo Confine". This is one of the first tracks that, given the style of piano, really shows its age. How do you spell 'AOR' anyways? Decent song, but naturally well performed, at least.

If I had my eyes closed, was unaware of what was on and "Sogno Di Estunno" began, I would have sworn it was Camel! Very cool, and ultimately, it is cool, because they are, in fact, contemporaries in a truer sense than we might think ('we' specifically those most familiar with the classic and most popular English Prog groups). This is quickly revealed to be yet another example of pure Second Wave excellence. Stupendous performances on this awesome, edge-of-your-seat composition. To me, on the level of Happy The Man; but classically Italiano, no doubt about it. A surefire highlight. Another stark juxtoposition is in the soft, near-acoustic "Non Chiudere A Chiave Le Stelle". Pretty, but offers little when compared to the lot.

And with a third 8+ minute composition to spare, we have "Vendesi Saggezza". Ah, Italians, you said? The bass here sounds somewhat like Chris Squire: bright and melodic. Another that I feel, compositionally, can be placed squarely in the late-70s. Things eventually rise and brighten further around minute 4. Great performance here. Picking up even more around minute 6, this is... forgive me... 'where the fun begins!' haha. Big build, then it falls back to still epic proportions. Again, clear lineage traceable to Genesis, to my ears. And finally, "New York". This is one of the better vocal performances [not Sasso? but then who?], and once again, we are in 'epic' territory (to clarify, in the way in which it's composed), bouncing from soft and feeling to the more grandiose (though not at all over the top).

And indeed, it's rather easy to realize how long this album is, at just short of an hour... Rewarding still, well balanced and well constructed, this album is.