IO SONO NATO LIBERO

Banco's third album in their essential trilogy is a eulogy to freedom and has a very political context, frankly left-wing; a discussion on a pop disc about a political prisoner was probably a bit of a provocation; but this left-wing dimension might have been present with the previous album Darwin as well, as in a catholic country... With a double door visual (no jail or prison doors) as artwork, I'm not that sure it's very related to the freedom

While the original quintet is still together, we notice that the sound mostly based on the two keyboards is now definitely taking a more guitar-ey feel with the addition of future guitarist Rodolpho Maltese (here as a guest) so the balance is achieved (2 on each instrument). Also invited are two percussionists.

Opening on the Song For A Political Prisoner (a track getting on the case of Pinochet and other South American 70's mostly fascist dictators), it is clearly meant to be the album's centrepiece and was given the time and care for it. The middle guitar solo from guest and future member Maltese come in a bit as intrusive but certainly impressively enough, the same way that Emerson's piano and Pebble were abruptly changing subjects. The following Rompete (don't break mine >> balls) is their live concert favourite and calls for audience participation. Nothing extraordinary, just an acoustic song without too much sophistication.

The flipside opens on Citta Sottile, probably the most unusual on this album, but still rather "normal/standard" compared to some of the weirder (not a compliment) tracks on the second side of the second album (see my review of Darwin!). But this "spatial" piano difference is much more enjoyable in here, actually it could be the other highlight of "born free". The following Dopo is requiring more than basic understanding, but the mastery of the Italian language to "get it". The second side of the album concludes on the lesser track Traccia, of relation to the closing short but amusing tidbit of the debut album.

The last album of BMS's trilogy, ISNL is not unusually acoustic as some seem to point out, but a fine finale to the Banco trilogy, which showed its best side on Darwin's opening side. Most of the rest of BMS music so far ranges quite highly, and from these three albums, I think it's unfair to talk of ELP alone when describing Banco's music, as I can hear some Crimson-clad

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