CHERRY FIVE

CHERRY FIVE were a one-time spinoff from Italian band GOBLIN who managed to release this gem back in 1975. Vocals are well done, full of harmonies and are convincingly sung in English. The sound of CHERRY FIVE is hard to really peg down, but I draw allusions to many of the classic 70's Ital-Prog contemporaries with a dash of YES and ELP thrown in for good measure. CHERRY FIVE offer some great drum and keyboard interplay... (hammond, moog, electric piano and mellotron). Songs are nicely varied with some softer influences, some jazz Canterbury interludes and some fattier 70's classic Ital -Prog moments. Why not add this album to your gift registry for your wedding...

Intense, is a word that comes to mind when listen to this YES-influenced classic from the seventies. The band simply doesn't slow down for a minute as they rush through the multiple sections in each song. My only complaint is that they should have considered releasing an Italian version (like the MAXOPHONE album) of the album. The English vocals are okay (the accents are fine), but the music is really screaming for some Italian. If you're in the mood for YES-influenced music done with the energy, and optimism, of the 70's Italian prog scene then you will love this CD.

Well this issue was the Italian reply to such romantic progressive albums by YES, representing an Italian derivative work characterized by some cheesy vocals and good instrumental excursions as well: afterwards the band GOBLIN, much more dark-oriented, made his first important appearance (listen to their famous soundtrack for the horror movie by Dario Argento "Profondo Rosso"), but these latter did not reproduce the same sound and the output was controversial. CHERRY FIVE released only one issue and then the keyboardist Simonetti drove his experience into the ensemble by GOBLIN, becoming famous in the late seventies!! Recommended even though it is not completely essential!!

If you're in to GOBLIN, then you should check in to CHERRY FIVE. The band consisted of vocalist Tony Tartarini and drummer Carlo Bordini, with three GOBLIN members (including Claudio Simonetti). I know little of Tony Tartarini, although I do have their self-entitled 1973 album from "L'Uovo di Colombo", and it states a certain "T. Tartarini" had written some of the material for that album, which I presume is Tony (although he wasn't a member of that band). Carlo Bordini had been previously with Paolo Rustichelli, and released an excellent album in 1973 on RCA called "Opera Prima" (which is worth checking in to, although the vocals aren't all that great, the keyboard work is amazing!).

CHERRY FIVE sounds little like GOBLIN, and is more in the YES/ELP vein. All the vocals are in English, and Tony Tartarini definately has a better voice than Carlo Bordini's old bandmate, Paolo Rustichelli, to say the least. Tartarini reminds me more of ACQUA FRAGILE's Bernardo Lanzetti. The album has six tracks, all of same quality, so it's hard picking out a standout. The album is stuffed with lots of great organ and Mellotron (electric piano and Moog are also used). If the wind sounds and music box that you hear between "The Swan is a Murderer Part 1" and "Part 2" sounds familiar, well, it was also used on GOBLIN's "Profondo Rosso".

Of course CHERRY FIVE's one and only album has often been accused and derided as being "derivative". Certainly originality is not on their side, but it's the inspired compositions that matter in my book, and the album has no problem in that department. Great album for those who like keyboard-led prog rock.

".the duck hates you, the goose denies the pool, you find no more birds to talk to / the frogs are silent, the sun is dead / you have been living for centuries without love." (taken from The Swan Is A Murderer).

.another stunning Italian one-shot band from the seventies? Another forgotten name in all that vast ocean of the "italica musica virtus"? Not really! Only a jump back in time to the roots of the legendary GOBLIN! I own the 2002 Cinevox Record reissue which is officially distributed by Pick Up Export, settled in my town, Bassano del Grappa! That's why I could easily buy it ;) !!

The band initially appeared in a format named " Il Ritratto di Dorian Gray" (The Picture of Dorian Gray), curiously the homonymous second track of the Cherry Five album!. That line-up consisted of Claudio Simonetti (son of Enrico, famous pianist and conductor) on keyboards, Walter Martino on drums, Massimo Giorgi on bass guitar and backing vocals, Luciano Regoli on lead vocals, Fernando Fera and Roberto Gardin on guitars. This memberlist was very successful in Rome during the period 1970-1971.

In 1973 Claudio Simonetti, along with Massimo Morante and Giancarlo Sorbello went to London where they met the famous producer and sound engeneer Eddie Odford. They told he was impressed by their demos and decided to produce their first album. But first he had to complete the American tour of that year with Yes. In the meanwhile singer Clive Hartman (alias Haynes, or Heinz?) joined the band within the bass player Fabio Pignatelli and the drummer Carlo Bordini. This new band was called "Oliver" (.another track on the Cherry Five album!).

They stayed on playing concerts and recording session. But Yes extended their American tour and so Odford.the band, disappointed, had to turn back in Italy, leaving Clive in London. At the same time they send some demos to Cinevox label and they signed their first contract. Tony Tartarini replaced the English singer Artman and only then the band's name was changed into "Cherry Five".

The homonymous album was recorded in 1974 (within english vocals) but it had to wait for the release due to the fact that Bordini refused to undersign the contract with the Cinevox label. The remaining members went on and recorded Profondo Rosso as the Goblin! Only after their huge success Cherry Five was released (1976)!

The entire work goes very well from the beginning to the end.I'm impressed, really, didn't imagine such a high quality in instrumental parts.awesome indeed. Not very representative of the usual Italian symphonic prog, but a "forgotten" masterpiece in its essence! No doubt it is a must have in our collections!

Country Grave Yard is the stunning 8,18 mns long opener. The listener immediately understand that Yes are the main references of the band.then my favourite one: The Picture of Dorian Gray, another 8 mns long track that starts in a very soft and mellow duet between delicate keyboards and acoustic guitar. Soon an interesting and powerful crescendo that reminds me of the similar one in the Close to the Edge track!! A particular song, yet, with catchy atmosphere nice vocals. Not to mention the lyrics which already seem to show all the "horror" imaginery that'll be on the Dario Argento's movies and Goblin' soundtracks! Now it's the time of The Swan is a Murderer (part I and II, 9 mns all), another marvellous one played and sung with impressive musicianship! Nice story and lyrics (just see above, on the top of the review). Oliver.what could I say more? Another highlight (about 9,30 mns), in a darker vein played, it deserves a place in all the mp3 players of all the Progarchives' members! P.S. Particularly great work on bass guitar! The closer is My Little Cloud Land. A more dreamy music for more dreamy imaginery and lyrics: "Camels with a crown, dragonflies and bees, here / Fountains, glance of gold, drop of silver rain, here. This is a holy place, in which I feel the breath of life / I wanna stay here forever, I need a magic tune.".

Conclusion: the music speaks for itself! Five stars are low price for all the pleasure I felt in listening to such an opus! 43 minutes of long pleasure for any good prog-lover!

P.S. Heartfelt thanks to Erik Neuteboom whose sharp recommendations introduced me to the "darker side" of my own country's awesome and immense progrock field!!

Fantastic Italian one-shot band whose album would have garnered a 5-star rating if it wasn't for the English sung vocals. I'm not saying they're awful, it's just that it probably would have meshed better if they sung in their mother tongue. Now, if you're a fan of early Yes circa 69'-70' then your in for a treat. These guys have the sound down pat! They don't copycat Yes songs, but the structure of the songs, especially "The Swan Is A Murderer Part 2" and "Oliver" scream early Yes. Pignatelli's bass playing is as thumping and nimble as Squire's bass playing during the early Yes years, just plain wonderful and Bordini's drumming is killer! Another highlight of the entire album is the sheer breakneck speed of all the songs, you'll have to catch your breath listening. The only rough song in the bunch is the last track, "My Little Cloud Land". It sounds dated even for a prog song recorded in 1975. It's too silly in parts with absolutely ridiculous lyrics. It's not a total waste though, but compared to the majestic "The Picture Of Dorian Gray" and "Country Grave- Yard" it's a weak closing number. But don't let that hinder your purchase of this album. It's an incredible symphonic album with excellent bass and drum playing. Singing is not the strongest, but that's okay they do try their best and it shows. 4.5 stars knocked down to 4.

Strange, I added this band to Prog Archives and now I just noticed that my review has gone .. so here I am back again with this Italian Seventies Progrock gem! Cherry Five is a five pieve formation that included three musicians who later founded Goblin. The music on their eponymous album from '75 is very YES-oriented but the keyboards sound more virtuosic than bands like Druid, England or Mirthrandir. The album is a real treat for all progrock lovers: strong and fluent compositions, very melodic and flowing with many good ideas. The emphasis is on the keyboards like Hammond organ and vintage synthesizers but especially the 'Tronmaniacs' will be delighted! This is one of the gems of Italian progrock from the Seventies, a bit overlooked due to the attention for PFM, Le Orme, Banco and Goblin.

Hard-hitting, Yes-inspired origins of Goblin

The Cherry Five self-titled debut is an interesting album not quite like many of the other Italian progressive bands of the era. Rather than the elegant grandiosity of some the competition Cherry Five is a lean, mean machine with a sound that is breathlessly energetic, rocking, and tight. Curiously, at the time it arrived in the mid-70s the sound was a strangely retro one. Retro in that it sounds amazingly like the first two Yes albums, so much so that if Jon Anderson were singing for this band rather than Tony Tartarini you would think you were hearing extra material from the early Yes sessions of the debut and "Time and a Word." From the driving beginnings of "Country Grave Yard" you will think of Peter Banks era Yes and if you like the pre-Fragile era, you are in for a real treat. These guys are very tight players with nice vocal harmonies. There really is not a weak spot in that sense, the rhythm section is a blast to listen to and the lead playing is exuberant! There is plenty of mellotron and other vintage keyboards to compliment the excellent lead guitar work of Massimo Morante. Unfortunately the vocals are in English rather than Italian but aside from that they are acceptable. Carlo Bordini will blow your mind on the kit with his impressive fills all over the place, sounding a bit like a crazed Bruford in places. The performances are top notch even if the style is derivative, and the sound on the CD reissue is nice and punchy with good bass that will slam your head against the wall. The music here is not looking to break any new ground but rather to have a great time and it succeeds there with boundless enthusiasm. A good album to be sure but recommended mostly to Italian fans and early Yes fans. The members would eventually move on from this and assume the name Goblin, leaving the Cherry Five as an interesting novelty but not an essential progressive title. 3 affectionate stars.

CHERRY FIVE recorded only one album before band leader Claudio Simonetti and a couple of his other band mates went on to form GOBLIN. Interesting that Claudio pays tribute to his 2 previous bands THE PICTURE OF DORIAN GRAY and OLIVER by naming songs after them on this album. He would also borrow musical pieces from this record and put them on GOBLIN's debut. I mention Simonetti a lot because he really is the main man here,his organ,keyboard and mellotron play absolutely shine. The music here is without question YES influenced and flavoured. That's putting it mildly, and I can understand some having a problem with that. For me it's just a pleasure to hear such well played and composed music. There are vocals and they are in English.

"Country Grave-Yard" is one of my favourites on this album. I especially like when the vocals come in before a minute with organ and then mellotron. An awesome sound is the result. The vocals are passionately good before the opening guitar melody returns after 2 minutes. An organ solo follows,and check out the bass ! More mellotron waves come and go as themes are repeated. The song ends with honking horns and sirens. "The Picture Of Dorian Gray" opens with some powerful organ as mellotron joins in. Acoustic guitar takes over. This is very pastoral. Mellotron is back until some uptempo organ arrives. Some nice drum work before vocals come in at 3 minutes. More great mellotron and bass a minute later. Guitar is prominant as well as it and the organ come and go. Great tune.

"The Swan Is A Murderer Part 1" opens with some energy as keys and drums lead the way. Vocals come in.There is an eerie calm with wind 3 1/2 minutes in. You can hear a music box playing. This continues into "The Swan Is A Murderer Part 2". The sound starts to build until it's full before a minute. Prominant bass as vocals arrive a minute later. Piano 3 minutes in as drums and piano dominate to the end of the song. "Oliver" opens with piano that gives way to some aggressive organ and drums. Vocals 2 minutes in. The organ and bass are great. A calm after 4 minutes as piano and guitar slowly play. Drums join in before mellotron kicks in at 5 minutes.The organ leads the way as the tempo picks up. A mellotron storm follows. Nice. Vocals are back 9 minutes in to end the song. This and the opening track are my favourites. "My Little Cloud Land" opens with some outstanding organ, drumming and guitar before the vocals arrive. Love the intro.The bass is chunky and I really like the way the vocals soar somewhat each time on the chorus as organ and drums sparkle.

CHERRY FIVE is a nice treat I will bring out every once and a while when I need something symphonic. Excellent.

Cherry Five was a short-lived band that released a sole album: so far, nothing really special since this was the usual fate for most progressive bands in Italy (releasing 2 albums, at most). The extraordinary thing about Cherry Five is the set of circumstances that led to its inception ? it came out of the ashes of a previous act called Oliver, with keyboardist Claudio Simonetti and guitarist Massimo Morante joining forces with the other two musicians. But, before the Goblin era, all four went to England to audition vocalists, but eventually, the role was filled by yet another Italian person who had had his own progressive past as a member of L'Uovo di Colombo. So, the album "Cherry Five" was recorded in 1974, but post-production stopped while the band was negotiating the recording contract, so the album wasn't released until 1976, when a slightly altered line-up of the instrumentalists was already paving a firm career as Goblin. The released album was labeled under an invented name and with scarce information that omitted any mention of Goblin musicians. So, what about the music itself? Let me tell you that this band is one of the least Italian-sounding bands from this progressively prolific country ? their nuclear sound is more oriented to early Yes and, perhaps, Flash, translating their dynamics into the sort of stylish extroversion that was so common among the greater bands from the proto-prog era (Beggar's Opera, The Nice to a certain degree). At times, the instrumental excursions may also remind us of the aforementioned L'Uovo di Colombo, although it is true that the Cherry Five guys deliver a higher degree of energy and a more polished compositional creativity. The opener 'County grave-yard' bears a catchy drive, with a punchy rhythm scheme and guitar arpeggios complemented by electric piano syncopations. The organ and piano solos that emerge later on help to preserve the recurrent power, as do the effective bass guitar flourishes (very Squire-esque, indeed). . 'The Picture of Dorian Gray' starts on a very bucolic mode, with magical acoustic guitar phrases and mellotron layers, until the main body settles in and installs a specific sense of typical Yes-like flamboyance. The album's first half ends with Part 1 of 'The Swan Is a Murderer', which keeps on bringing business as usual ? stylish composition, tasteful arrangements, enthusiastic dynamics in the performances. This part ends with a musical box, ghostly whispers and a wild wind, fading out until it is taken back for Part 2. in this second part, the main musical ideas are taken to an enhanced sophistication, in this way completing the bombastic ambience that had been so explicit until now. All in all, the album's absolute gen has to be 'Oliver', 91/2 minutes of pure progressive joy. Influences from (the ever-present) Yes, ELP and Gracious! are easy to notice in the rockier moments, albeit not being overwhelming either. On the other hand, the more relaxed passages bring some of that Mediterranean sensibility that overall has forged that special essence of Italian symphonic progressive rock. A gem, indeed. 'My Little Cloud Land' wraps things up with a slightly lesser degree of intensity than on the preceding songs, but the bass interventions and synth solos are featured items through the track's development and variations. The piano coda and the gunshot sound emphasize the song's dramatic intentionality. So, this is "Cherry Five" as a whole, an efficient, effective piece of symphonic prog that deserves proper recognition from prog collectors everywhere: it may not be totally excellent, but it is much more than just good.

Existence and the situation of the band that projects in the flow that derives at the dawn in Prog Rock of Italy might certainly be various. The trend of the market seen at the time of 1975 from especially 1972 was active. The existence of Cherry Five that only announces this album in the situation will be able to be called valuable existence in Prog Rock of Italy.

As for an original and expression of feelings part to which the band of Prog Rock of Italy had gone, a lot of unique cultures that the band in other countries doesn't have are involved. The rush power and the throb feeling of this Cherry Five will have been existence in a lot of bands where the diversity existed to which uniformity by the construction of a technical tune in respect to perform was done enough.

Generally, this band is known as an antecedent of the situation that reaches "Goblin". However, the united music characters and technical parts might have had the originality not installed only by Prog Rock of simple Italy. Certain part of composition of sound and tune. And, the impression that "Yes" and "Gentle Giant" are recollected will be given. However, the absorption of an original melody of Italy and music is expressed enough as their tastes.

The relation between about some respects and time can be enumerated if it thinks about the situation by centering on this Cherry Five. Part of creation of composition power of expression of feelings by Claudio Simonetti of keyboard player who will be known later as member of "Goblin" and guitar player's Massimo Morante and Bass player's Fabio Pignatelli and tune to rush. In addition, existence of "Il Ritratto Di Dorian Gray" that had existed as history of activity of music before this Cherry Five. And, the situation of the band that was called "Oliver" that derived from the band might have been in the part gradually exactly revolutionized in the market of Prog Rock of Italy. It is said that the member had already visited Britain as a guess at this time. Perhaps, it is guessed that it is reflected in lyrics all English to which the event at this time is sung by this album.

The existence of Carlo Bordini of the drum player known by the member of "Rustichelli&Bordini" might act overwhelmingly on the band, too. It contributes enough as a Music character of the band ..him.. the part of the nucleus. Part of construction of rhythm that supports band from the under and complete technology surely. And, the song of active Tony Tartarini gives the listener the impression of the axis of the band as a member of "L'uovo Di Colombo". The melody of the song completely contributes to an original tune that is. The flavor and originality that Italian Rock done at this time is good are equipped enough.

The activity of Cherry Five known well as a situation in which it went to "Goblin" for the above- mentioned description did not continue long as a result. The band by this member did not exist when the debut album of Cherry Five was announced because of the relation of the recording of "Profondo Rosso" of Goblin produced at the same time. The absorption of exactly good symphonic and the unique culture are uniting valuable existence. the Music character that Cherry Five didThe throb feeling and the rush power united overall might be overwhelming.

As for "Country Grave Yard", the theme of an original melody in close relation to six rhythms is impressive. Expression of feelings melody in close relation to straight rhythm. The part, the song, and the chorus of the keyboard and the guitar produce the sense of relief. Solo of the keyboard in close relation to the part of complete Rock is overwhelming. And, the composition with the tension that makes three rhythms a base is calculated from the part of ensemble of the band well. The rhythm and the melody developed one after another are tunes for them.

"The Picture Of Dorian Gray" starts in symphonic and a pastoral part. And, it is partial of the construction of a complex melody that is reminiscent of a few "Yes" and "Gentle Giant". Part of flavor that Rock to rush straight from 16 notes is good. The melody and the throb feeling are expressed enough. The part of the melody and the unison with a bright keyboard the guitar is impressive.

"The Swan Is A Murderer Part 1" produces the melody and the dash feeling of good symphonic. The melody with expression of feelings while taking the element of the chamber is constructed. A tune advanced as the rhythm of the shuffle is multiused will have a complete symphonic and classic element.

"The Swan Is A Murderer Part 2" shifts from the part of Intro with the tension to the part with the dash feeling. The band expresses ensemble exactly in union. The processing of the song and the chorus is complete. There is a flavor of good Italian Rock.

"Oliver" makes the tension with a good melody of the guitar and the keyboard. The composition in which a complex melody and eight rhythms developed one after another are not felt is splendid. The dash feeling and the tension continue. And, the melody with the anacatesthesia that appears during the tune and the line of Bass expand the width of the tune. It is possible to listen to very original development that is. The part of the dash feeling and five rhythms visited again heads for the top.

As for "My Little Cloud Land", ensemble of the band is splendid. It is expressed as a part where a melody that gives the sense of relief and original development are given. The music character of "Yes" and "Gentle Giant" might be reminiscent. However, the listener is told the element of complete Italian Rock enough. The continuousness of a complex melody and the rhythm in technical respect has good composition power.

Generally, it is known well as a band to reach "Goblin". However, the music character that they had constructed showed a high technology with originality enough. It is likely to always belong to a valuable position as an album of the band only announced.

The Cherry Five is an Italian prog album of a band with a strong Yes fascination and English vocals.

The biggest asset of the band is its musicians, who create energetic pieces with an amazing interplay between rhythm section, virtuoso guitar licks and keyboards. More then once they evoke the 71-72 Yes period, a good thing as far as I'm concerned, especially if it's done with so much bravura. The album's weakness comes from the vocalist, not so much due to his voice but because of his unremarkable and rather cliché vocal lines. I blame it on the choice for English lyrics. It's never easy singing in a foreign tongue of which you don't entirely master the rhythmical and harmonic qualities. Had he sung in Italian I'm quite sure this album would have been a lot better. For comparison, one only needs to look at the sub-par English-sung albums that PFL, Le Orme and Banco released.

A good album for fans of the Yes Album and Fragile, but the too obvious comparison doesn't entirely flatter Cherry Five. Recommended tracks: Country Graveyard and Oliver.

Although there is only one Cherry Five album it is rightly regarded as an important record amongst Italian prog fans. Partly because it's such a good album in its own right, but also because three members would go on to form Goblin, a band that are best known for their film soundtrack work. In fact a band never existed called Cherry Five, this being just a name given to the project at a later date, the album being initially shelved and not released until a year or two later by which time Goblin were already up and running.

Six songs although you could probably consider The Swan Is A Muderer Parts 1 and 2 as one song in its own right, being split where side 1 would have ended on the original vinyl version, fading in again for side 2. This being the case, all tracks are around the eight minute mark give or take. Musically they play fairly complex, very lively and inventive prog and anyone familiar with early Yes (no doubt most people here) cannot fail to spot the similarities. The album is dominated by the fine keyboard work of Claudio Simonetti thought there's still plenty of space for the excellent guitar of Massimo Morante. Although I doubt they would have been an influence, bits here and there, particularly on opener Country Grave Yard remind me of Welsh psych rockers Man.

Unusually for an RPI album the vocals are sung in English and Tony Tartarini is a decent singer. Drummer Carlo Bordini (yes it is he who was later involved in the Rustichelli & Bordini project) and bassist Fabio Pignatelli are a busy rhythm section, driving the music along, often at a fair pace. Best track is The Picture Of Dorian Gray with its Hammond organ opening descending into some lovely acoustic guitar before finally exploding into a very Yes like piece. No doubt this song was named after another band that had featured Simonetti, Il Ritratto Di Dorian Gray, a band who's importance is more to do with which bands its members went onto than anything they achieved as a unit, but that's another story.

Overall an excellent album and one that all RPI fans will no doubt come to sooner or later.

To my mind--and ears--these guys are great musicians crafting intricate yet beautifully melodious songs à la a cross between ELP, FOCUS, GENESIS, THE ALLMAN BROTHERS, YES and GENTLE GIANT. Great keys, great acoustic and electric guitars, great vocals (YES- and KANSAS-like harmonies, lead sounds a bit like Uriah Heep's DAVID BYRON or Grand Funk's MARK FARNER), solid bass and drumming, really tight compositions and performances. The highlights, for me, are the awesome vocals--lead and harmony. They are so well integrated with nary a wasted note or word yet are every bit as much important to their songs. Favorite song is "The Picture of Dorian Gray" with "Country Grave Yard" and "Oliver" close behind. One of my top ten all-time RPI albums.

In fact the name of this 70's Italian group was Oliver, one of the few Italian bands to sing in English.Hailing from Roma they had an all-star line-up of drummer Carlo Bordini from Rustichelli e Bordini and later Goblin members Fabio Pignatelli on bass, Claudio Simonetti on keys and Massimo Morante on guitars.Oliver even traveled in England to audition a singer, eventually Clive "Artman" Haynes became the lead vocalist for a short period, but he was sacked and the band recruited Tony Tartarini (aka Toni Gionta from L' Uovo di Colombo) for the vocal work.The sole album of the band was recorded in 1974, but didn't see the light before January 76', eventually released under the name of Cherry Five.

Oliver were heavily influenced by the British Prog of the 70's, most notably from YES and GENESIS, and the fact they were quite talented resulted to challenging and complex arrangements with tight performances, but actually they did never escaped from the sound of their heroes, so not much was left to the imagination of the listener.Six nice and well- performed but unoriginal compositions is what this quintet left behind with strong symphonic leanings and a few Classic Rock and jazzy touches here and there, but the resemblance to YES' style becomes a bit annoying at moments.Of course the high level of the compositions makes the album far from boring.Lovely Classical-influenced interludes and solos performed on harpsichord and piano ala RICK WAKEMAN, strong organ leads, careful use of Mellotron, STEVE HOWE-like guitar workouts and deep bass work with evident lines from the work of CHRIS SQUIRE transform into complicated orchestral songs with shifting moods and sufficient instrumental passages.Tony Tartarini was known as an accomplished singer with L'UOVO DI COLOMBO and in ''Cherry Five'' he just prooves to be a decent frontman with an expressive and slightly GABRIEL-esque vocal color.

The rest of the story is more or less known.In 1975 Carlo Bordini, afraid that a contract with Oliver's label Cinevox could hurt his career as a session musician, refused to sign, and jumped off board along with Tartarini, propably this was the reason the album was not released in time.The rest of the crew moved on after changing their name to Goblin and had a succesful career with a more personal and unique sound.

''Cherry five'' comes as an equivalent to the works of Acqua Fragile and is likely to please more fans of British Prog than Classic Italian Prog due to the English lyrics and the strong British Prog influences.Pretty unoriginal but well-played Prog, that deserves a recommendation.

One of the country's few internationally-renowned outfits, the cult Italian group Goblin made their name producing stylishly creepy synth-prog soundtracks for legendary filmmaker Dario Argento, the director of such horror classics as 'Profondo Rosso'(1975) and 'Suspiria'(1977). However, before undertaking their collaborations with Argento, Goblin had previously produced an accomplished symphonic progressive rock album under the name of Cherry Five that was issued on the Italian Cinevox imprint during 1975. The album arrived several months after the group had returned home from London, the five-piece having failed to win a record deal from any of the British labels, and as a result exhibited a strong British influence obviously inspired by the likes of ELP, Genesis and Yes. It would provide a stark contrast to their later material as Goblin, with the 'Cherry Five' album featuring vocals and lengthy song-suites, yet would also provide a hint towards their blood-drenched future with such titles as 'The Swan Is A Murderer' and the Oscar Wilde-tribute 'The Picture Of Dorian Gray'. For those not in the know, Dorian Gray was a character in one of Wilde's only horror yarns, showcasing the Italian group's early affiliation for the genre that would eventually come to define them. Though this album was issed under the Cherry Five name, many see it as a Goblin product and, despite the stylistic differences, rightly so. The bulk of Goblin's work came in soundtrack form, yet they did release a pair of non-soundtrack albums during the latter half of the 1970's in the form of the excellent 1976 album 'Roller' and the less impressive 'Il Fantastico Viaggio Del Bagarozzo Mark' from 1978. Both albums exhibited streaks of Goblin's soundtrack work, especially 'Roller', yet also added strong elements of synthesized progressive rock, their sound flushed with snazzy keyboards and eerie effects. 'Cherry Five', with its intense instrumental flourishes, strong symphonic flavour and, at times, dazzling quickfire solos, makes for an exhilarating listen, especially so for Goblin fans, though those who enjoy the early-seventies work of the major British progressive rock groups should also find much to their liking. The album's highlights are many - almost every song is worth the price of admission thanks to an interconnecting musical flow that cleverly links one track to the next both stylistically and thematically - yet it is both the richly-drawn opener 'Country Graveyard' and the lengthy, jazz-tinged 'Oliver' that truly stand-out. Alongside the seminal soundtracks adorning both 'Profondo Rosso' and 'Suspiria' and the 1976 'Roller' album, this self-titled oddity remains one of the Italian group's key releases. Fans of symphonic prog in general are also in for a stylish, whirlwind-paced treat, the only disappointment being that Goblin/Cherry Five didn't make more full-on progressive rock albums. STEFAN TURNER, STOKE NEWINGTON, 2012

The sole Cherry Five album sets itself apart from the rest of the Italian scene with the wide spread of UK prog influences it displays - indeed, vocalist Tony Tartarini sings in English, an oddity for all but the most internationally successful Italian bands at the time. At points some of the quirky instrumental passages remind me of Gentle Giant, whilst The Picture of Dorian Gray is nothing less than a loving tribute to Yes. (Seriously, put Jon Anderson on vocals and it sounds like something from The Yes Album.) Overall, not as original or groundbreaking as the strange waters that some of this crew would sail under the Goblin flag, but still an interesting entry to the annals of the less well-known Italian prog bands. Look it up if you are interested in the roots of Goblin.

Another example of how prog had become, by the middle 1970s, more than simply a trend or even a "movement". It was by any fair estimation the preeminent direction and sound of modern rock music, which is to say not simply new versions of what the Beatles had already done, but rather a ridiculously, even dangerously ambitious quest to stretch the rock 'n roll format to the point of near collapse. Thank God for punk, some would say, for having saved true rock from these ill-suited and pompous players. But it was too late to deny the deep and almost overnight impact ELP and Yes and Genesis and anyone else with the balls to follow those guys had on almost everybody. By 1975, Prog had become more than widely attractive, it had taken on the inescapable gravity of a black hole.

Of course it was all over as fast as it had emerged and most 'prog artists' flew from the genre faster than a spooked monkey, looking ashamed at their embarrassing, indulgent past and running toward the clipped gleam of the New Rock. The Cherry Five project is an ideal example of the peak of that prog era ~ The Grand Age, if you will ~ with three members of this Italian unit going on to create the more modern and cinematic Goblin who in turn would influence everyone from John Carpenter to Zombi. But it is here that us shameless prog trainspotters get to have our taste of this group at a hungrier and less polished stage, as on eight-minute 'Country Graveyard', oozing with classic Anglophonic instrumentation and vocal arrangements, jazzy grooves, swing, and smoky Hammond leads. A bracing first cut. Familiar 'The Picture of Dorian Gray' shows the Yes influence and is quite good though 'The Swan is a Murderer' part 1 & 2 falters a bit as it thuds along. 'Oliver' on the other hand is a treat with an expansive bass ground, sweet keyboard breaks and an acrobatic performance packed with changes; a great moment for this quintet and worth the price alone, and we end on trippy 'My Little Cloud Land'.

Cherry Five is right up there with all the other guys that, for an all too short moment in popular music, let their hair down in a way never envisioned for the adolescent and untrained rock 'n roll style, and their original album is a must for any fans who love not just the chart-topping prog, but also Greenslade, Yezda Urfa, England, Cathedral, and all the other quiet masters who, luckily for us, left behind a small sample of how to make the impossible possible.

The Italian progressive rock supergroup Goblin found great success as writers of eerie and spooky soundtrack music beginning with their debut album "Profondo Rosso (Deep Red)" and continued with the much bigger hit "Suspira" and beyond but the group that would become Goblin actually began under the moniker Oliver when in the early 70s keyboardist Claudio Simonetti, guitarist Massimo Morante, bassist Fabio Pignatelli and drummer Walter Martino all met and recorded some demo tapes together. After a happenstance encounter with Yes producer Eddie Offord, they managed to score interest and a tour with Yes which in a roundabout way led to a contract back in Italy with Cinevox. For unknown reasons the record label changed the band's name to CHERRY FIVE upon release and the band released this one release under that band name until they were approached by Giorgio Gaslini to provide soundtrack music for his "Profondo Rosso" flick upon which they changed their name to Goblin and the rest is history.

CHERRY FIVE is the perfect place for Goblin addicts to begin their journey of understanding the roots and influences of Italy's premier soundtrack spook masters. This 1975 album perfectly reflects how these guys were followers in the footsteps of the greats like Yes, Genesis, King Crimson, Gentle Giant and Emerson Lake Palmer and how they combined elements of their influences into their own vision. At this stage the then known CHERRY FIVE were not quite successful masters of musical alchemy and unfortunately this release reeks of elements of the aforementioned prog bigwigs without properly simmering them down into a cohesive broth. As all of the major influences were English, CHERRY FIVE went against the grain in the mid-70s Italian scene and chose to sing in the English language possibly hoping for the international success story as fellow countrymates PFM.

This album starts out immediately with prog pomp run amok. It begins with a fast and furious Steve Howe inspired guitar riff with a bass line and Emerson keyboard run to match, however the first lineup change of Carlo Bordini on drums in no Bill Bruford. Also i feel that the lyrics in English sound a little stilted, however when Tony Tartarini shuts his mouth and lets the instrumental prowess of the band shine through all is good although there is never a doubt that this music is 75% Yes influenced in the composition department and the other 25% or so being dedicated to Gentle Giant type complexities, Emerson keyboard worship, Genesis theatrical dynamics with symphonic pomp and to a lesser extent King Crimson-esque excursions into a more heavy jazz-related type of prog.

Personally i find the first track "Country Grave Yard" a bit put offing as it seems like it's trying too hard to make a statement throwing all the influences in your face at light speed but ultimately fails to gel into a cohesive original piece. While the second track "The Picture Of Dorian Gray" slows things down a little, it is so reeking of early Genesis that i expect Peter Gabriel to start wailing in at any moment. The true surprise is on track three "The Swan Is A Murderer Part 1" when a sudden break in prog influence worship cedes into a glimpse of the future a la Goblin when after a highly energetic drum circle effect and ELP keyboard pomp suddenly changes near the end of the track into a soundtrack type of setting that reminds one of not only "Rosemary's Baby" in musical structure but of all the Goblin soundtracks that follow. This soundtrack theme continues into the intro of "The Swan Is A Murderer Part 2" before it fades into another Yes inspired prog rock theme.

While this is an insightful specimen of history intrigue, i can't say i love this album as much as others due to the fact that is so derivative of the previous greats and not distilled into a proper amalgamation thereof. Even Tartarani's vocal style evokes a reference to Jon Anderson without his range of vocal prowess. While this album is by no means bad as it delivers some outstanding musicianship in the process, i can't help but be grateful that the main players in this band found a niche in their horrific interpretations of movie soundtracks as i feel the Goblin years more than blow this early incarnation away manyfold. Anyone interested in the early years of Goblin will totally be into this however. The year 1975 was a wild year for this band as they released an album under the moniker CHERRY FIVE, but also one as Il Reale Impero Britannico (exposing their Anglophilic tendencies) as well as the debut under the more recognized entity Goblin. Musically excellent. Creatively mediocre. I'm still glad i own it.

3.5 rounded down

Before Goblin made their rounds with their eerie horror-themed prog and extensive soundtrack repertoire, there was Cherry Five. Although they'd soon go on to re-brand, it's great that they put out this sole album as this incarnation, because it's really something of a classic!

What we have on display here is well-done symphonic prog that puts the "rock" back in progressive rock. While not being a heavy album in the slightest, there's still a youthful exuberance that permeates the whole record that stands out, giving it that extra bit of rock n' roll edge. I suppose that the "closest English equivalent" to Cherry Five's work would be "The Yes Album". Positive, upbeat music with active, in-your-face bass parts and blistering keyboards (someone had been studying up on their Rick Wakeman!). More Yes comparisons can be drawn, but I don't feel that it does Cherry Five much justice. The vibes are similar, but there's a different, more down-to-Earth element that comes across on this album. Another commonly addressed tidbit is that the vocals here are sung in English, which was atypical of Italian bands. Surprisingly, though, they turned out quite well. No embarrassing accents, and the delivery is convincing and powerful.

Really, I have nothing much more to add here than praise. "Cherry Five" is a concise, well-paced, well-arranged, well-performed collection of songs that are fun to sing, dance, and air-keyboard along to. I'd also highly recommend this as something to put on while going for a drive out in the country; the upbeat pace is perfect for the open road. There are plenty of other buttons that it hits, though. The interplay in the band is superb. It never feels like there's any competition between players, even in the busier sections; Cherry Five really comes across as a tight musical unit. There's even a bit of storytelling that goes on, notably on the opener "Country Grave Yard", which is spellbinding, but never outlandish. Although the whole album is consistently strong, I think that a standout section would be the instrumental opening of "The Picture of Dorian Gray". The way it builds from pastoral tranquility to a frantic prog workout is really something!

Personally, I'd give this a 5 (maybe even 6) star rating any day of the week. And although a personal favourite does not a prog masterpiece make - well what the heck! An album this groovy deserves some extra recognition. I'd recommend this endlessly to fans of joyful music, and especially Yes aficionados looking for something fresh. Great tunes and excellent vibes!

Review Nº 391

Cherry Five was an Italian progressive rock band which is considered a precursor of the project of Goblin, another Italian progressive rock band. In fact, the group named Oliver has been created by Claudio Simonetti and Massimo Morante. Both went to England in late 1973 to audition a singer, the Englishman Clive "Artman" Haynes, or Clive Heinz as he was then known. He was briefly in the band, recording only some tracks with them. He was sacked then, and didn't appear on the album. With a new singer and the addition of a bassist and a drummer, the band recorded their self-titled album what was to become their first and only album in the 70's. The band's name changed to Cherry Five.

Despite be an Italian band, Cherry Five isn't so particularly representative of the Italian progressive rock sound, really. The reason for this isn't only in the choice of the English language, but in the fact that Cherry Five acted quite technically for many of the Italian standards and the arrangements are by no means as nested or bulky as with many compatriots. The album is a genuine rarity due to the great world success that Goblin achieved with some of their soundtrack works, and it's in many collectors' want lists. The album is characterized by multi-layered keyboard sounds, a colourful mixture of the former analogue keyboard instruments. Sung in English, Cherry Five was strongly influenced by the likes Genesis, Yes and Emerson, Lake & Palmer, especially in the fluid keyboard parts and powerful bass sound.

"Cherry Five" is the eponymous debut solo studio album of Cherry Five and was released in 1975. The line up on the album is Tony Tartarini (lead vocals), Massimo Morante (guitars), Claudio Simonetti (keyboards), Fabio Pignatelli (bass and acoustic guitar) and Carlo Bordini (drums and percussion).

This pre-Goblin outfit should have great appeal to everyone who loves the typical 70's sound. As I mentioned before, the lyrics are unlike most other Italian progressive rock bands sung in English and it works very well. The music here is ballsy symphonic progressive rock of a more traditional kind than the horror soundtracks that they later would make as Goblin. There is a hint, just a slight threat, of what madness Goblin would get up to on the tracks that closes side one and opens side two. But, that's almost an aberration in the midst of this joyful Yes/ELP fest. Cherry Five is evidently fond of four part vocal harmonies that are evident in early Yes. This, of course, makes further comparisons with early Yes, unavoidable. However in their defence, the musicians are excellent and their arranging skills are superb. Melodic and rhythmic counterpoint is staggeringly complex at times and it's during these fleeting moments that glimpses of the real Cherry Five come through the thick pea soup of ELP and early Yes hybridization. Even bassist plays like Squire.

"Cherry Five" has six tracks. The opener "Country Graveyard" is very representative for the album. Tight, energetic and complex progressive rock based in strong themes and arrangements with lots of Mellotron, organ, 70's synths and guitar. Some of the breaks in "The Picture Of Dorian Gray" sounds a bit like Genesis. At the beginning recalls Genesis, but soon it develops in the course of a stylistic life of their own. The catchy vocals also arouse some memories of American bands. In the meantime, very slight Yes reminiscences flash out. The two-part "The Swan Is A Murderer" goes in a similar direction. It's obvious that the Italians had dedicated to the less complex variant of progressive rock music. Thus, the energetic sound unfolds an unexpected dynamic and doesn't move in the spheres of filigree sounds of many of their contemporaries. It has some very intelligent use of harpsichord. The almost 10 minutes art musical "Oliver", which I assume was written during the time when the band was originally known as Oliver, is a true kaleidoscopic. It's a pure progressive joy with several influences, mainly Yes and ELP, with massive keyboard firing from all instruments, an excellent polyphonic performance with confident vocals by the singer Tony Tartarini. The organ has an obvious ELP influence. "My Little Cloud Land" has less intensity than the preceding tracks. But, in general, all the instruments are featured through development and variations all over the track. Maybe less good, but it closes the album well enough.

Conclusion: "Cherry Five" isn't a typical Italian progressive rock album and is likely to please more to fans of British Prog than Classic Italian Prog due to the English lyrics and the strong British Prog influences. But, despite of that, this is a very strong album, and next to PFM's "Photos Of Ghosts" it will probably be one of the easiest and best places to start if you're not familiar with Italian progressive rock, yet. The album offers some nice long tracks with plenty of keyboard instruments, nice guitars and useful vocals. However, this isn't a stone classic of symphonic prog, but it falls into the upper end of the "damn that's good" category that demands dragging out every once in a while. It's quite different from Goblin, but just as tasty in its own way with pretty decent vocals. If you're a lover of the Italian prog rock in general and you enjoy such bands like Genesis, Yes and ELP you must give this album a try. You'll not regret, surely.

Prog is my Ferrari. Jem Godfrey (Frost*)

The eponymous debut album by Cherry Five was recorded in 1974 with a line up featuring Tony Tartarini (vocals), Claudio Simonetti (keyboards), Massimo Morante (guitar), Fabio Pignatelli (bass) and Carlo Bordini (drums). It's a good work where the influence of British bands such as Yes or Genesis is apparent but the choice to sing in English was not a great idea, especially on the Italian record market of the seventies... In fact, this was supposed to be the first album by Goblin but it was put apart and released only after the band had reached the success in 1975 with "Profondo Rosso" and a different line up. As a consequence, the album was released in 1976 on the Cinevox label under the name Cherry Five to avoid confusion with the new Goblin's course...

The opener 'Country Grave-Yard' starts by a frenzied, hurried pace. Then the rhythm slackens and darkness comes down... This piece tells the Gothic story of a wayfarer who, passing near a cemetery in the middle of the night, sees a fire above a cross and the ghost of a child creeping out from a grave, seeking for a breath of life. The fear takes hold of the unfortunate traveller as he begins to perceive a loathsome smell...

The following 'The Picture Of Dorian Gray' was inspired by Oscar Wilde's novel of the same name. It starts by organ and an acoustic guitar arpeggio, the mood is dreamy but the dream ends when the music and lyrics conjure up the image of the protagonist stabbing his picture... For him the blade is like a key for safety, a way of seeking shelter, peace and rest into the depths of the earth, the last punishment for a damned man who lies now in a purple sheet of sins and shame...

'The Swan Is A Murderer' is divided into two parts, probably just because of the length of the old vinyls. It closes the first side of the LP and opens the second one by telling the dark fairy tale of a beautiful, wicked swan that, having killed a prince leaving him in a pool of blood, is condemned to live alone and without love, hated by the other birds...

The long, complex 'Oliver' depicts in music and words a strange character, a dandy who, to show his beauty and power, takes for a walk a lion on the leash through the streets of Paris ignoring the people laughing at him. Strange? All in all, French writer and poet Gérard de Nerval walked a lobster on a blue silk ribbon leash through the streets of Paris to make fun of middle-class pretension... 'Why should a lobster be any more ridiculous than a dog? Or a cat, or a gazelle, or a lion, or any other animal that one chooses to take for a walk? I have a liking for lobsters. They are peaceful, serious creatures. They know the secrets of the sea, they don't bark, and they don't gobble up your monadic privacy like dogs do. And Goethe had an aversion to dogs, and he wasn't mad!' (Gérard de Nerval quoted by his friend, Théophile Gautier, in "Portraits et souvenirs littéraires", 1875. In Théophile Gautier, "My Fantoms", translated by Richard Holmes). By the way, Oliver was also the previous name of the band, then changed into Goblin...

The dreamy 'My Little Cloud Land' ends the album by drawing in music and words visionary images that seem coming out from a Roger Dean's picture. In a land that lies on a little cloud you can dream of camels wearing a crown, rabbits falling in love with pink butterflies, dancing sharks, speaking crocodiles, flying cats, boats floating on a lawn of daffodils... It's a holy place, in which you can feel the breath of life and live forever listening to magic tunes (mainly inspired by Yes, I would say).

On the whole, this is a good album even if it doesn't shine for its originality. Anyway, I'm sure that fans of bands such as Yes or Starcastle will appreciate it.