The Italian Prog Appreciation den

No it's nothing to do with PA, its the opinion of another RPI writer.  Just an alternate opinion from those of us who usually give our lists here!

Finnforest wrote: Ital-prog's classic-era top 20, just for kicks.  While every top 20 would be different, and I know many of my favorites are missing, there's no doubt great stuff here!  This would be an awfully good starting list for the RPI noob.  Zarathustra (1973) - Museo Rosenbach Banco del Mutuo Soccorso (1972) - Banco del Mutuo Soccorso Storia di un minuto (1972) - Premiata Forneria Marconi Alphataurus (1973) - Alphataurus Biglietto per l'Inferno (1974) - Biglietto per l'Inferno Campo di Marte (1973) - Campo di Marte Io non so da dove vengo... (1973) - De De Lind DNA (1972) - Jumbo Inferno (1973) - Metamorfosi Quella Vecchia Locanda (1972) - Quella Vecchia Locanda Uno (1971) - Panna Fredda Melos (1973) - Cervello Fede speranza e carità (1972) - Jet L'Uovo di Colombo (1973) - L'Uovo di Colombo Collage (1971) - Le Orme Palepoli (1973) - Osanna Ys (1972) - Balletto di Bronzo Arbeit macht frei (1973) - Area Maxophone (1975) - Maxophone Intorno alla mia cattiva educazione (1974) - Alusa Fallax L'apprendista (1977) - Stormy Six

Very nice list.  I have yet to hear 7, 8, 13, 14, 15 (), and not sure about the 2 number 20 albums.  I have an Alusa Fallax album, but not sure which one off hand (have to check when I get home).  I think I've heard the Stormy Six, though I don't own it.

In any case, one through six are certainly part of my RPI top 20, without a doubt!  The rest are up there, at least.

* (edit)  I guess there is only one Alusa Fallax album, so obviously that is the one I have   Guess I need to give it another spin soon




Edited by infandous - March 08 2011 at 07:34

^^^^ Thanks guys for your kind words.  I found some good bio info on the unofficial Balletto website that is linked on the PA band page, and then more material from a book entitled "Il Balletto di Bronzo e l'Idea del Delirio Organizzato" by Gianmaria Consiglio.  I find that understanding the backstory of the albums often brings greater appreciation, and that sure happened with me and "Vero."  Jim, I agree about the picture--a perfect characterization.

^exactly right.  Not sure why the guy freaked out.  I think most people understand talking references or influences does not mean we are stating emphatically that band X = Area.  Doesn't mean they are bad because they aren't Area.

While everyone knows I get a bit over-enthusiastic about RPI, my take and I believe the others who mentioned Area were talking about the "spirit' of the music, the playfulness they possess.  We weren't saying they were clones.  

That is a GREAT and very fitting choice of photo for the bold Nero, loved it as soon as I saw it.  

Chris, very good and useful review of one of those rarities that few of us own. 

Tunnel
Abissi Infiniti Rock Progressivo Italiano

Review by seventhsojourn
Collaborator RPI Team

This album might have you wondering if you're actually listening to Il Volo in disguise as Abissi Infiniti share that band's propensity for lush and melodic light progressive music, albeit with even more of a pop sensibility. 'Nebbia Incantada' (Enchanted Fog) is probably the best example with its lyrical vocals, spiky guitar and electric piano. This song is also one of the more progressive on the album, the other notable one being 'Come Bambini di Sera' (Like Children in the Evening). If not exactly complex, these two songs at least have some semblance of multi-part structures to add interest.

The album's sole instrumental 'Spirale' (Spiral) sounds like a funky version of Yes while the remainder of the songs are pretty but nondescript ballads, mostly dominated by piano and Solina string-ensemble. Having said that if you look below the surface there is certainly a bit of depth, especially in the lyrics. For example the title-track is concerned with the pain and despair of social isolation. Although the protagonist is described as important and has the world in his hands he has no one to talk to, his friends are absent and he has no one waiting at home: 'you want to run away... you want to escape from your destiny, you see a tunnel.'

In case anyone was wondering about the connection between the generally soft dreamy music and the rather warlike artwork, a little explanation might be in order. Throughout the album the Italian lyrics refer to wizards, swords and bewitched lakes, and the lovely picture of 5th century Romano-British figures on the cover reinforces the conceptual feel. The album closes with a brace of tracks that are based on Arthurian legend, the first of which, 'Merlino' (Merlin), is inspired by the supposedly devil-begotten magician. 'La Grotta di Cristallo' (The Crystal Cave) then tells how Uther Pendragon conquered Tintagel Castle from Gorlois, Duke of Cornwall. And with the help of Merlin, Pendragon tricks Lady Igraine into sleeping with him and she conceives Arthur: 'Now alone in the cave you try the magical arts in the fire, that with mean deceit gave to King Pendragon, merry knight, a bride, Igraine, and caused the death of the traitor duke.'

'Tunnel' is an obscurity that will probably be of interest only to serious RPI collectors, and even then it might be quite far down the pecking order. However the vinyl copy is something of a rarity and Mellow Records are sold out of the CD, so it might be prudent to buy this one when you see it.

Edited by Finnforest - March 05 2011 at 14:25

Great new addition by Todd

From Progarchives.com, the ultimate progressive rock music website

Leo Nero biography
After the breakup of IL BALLETTO DI BRONZO in 1973, keyboardist Gianni Leone pursued a solo career under the name of LEO NERO. This resulted in two albums: the progressive "Vero" in 1977, and synth-pop-oriented "Monitor" in 1980.

Young keyboardist extraordinaire and mastermind behind Il Balletto di Bronzo's seminal 1972 work "Ys," Gianni Leone tried to pick up the pieces after the band imploded following the success of "Ys" and the resulting excesses. Intact for a short time as a duo, Leone and BALLETTO drummer Gianchi Stringa played live a few times in 1973, with Leone performing all the instrumental parts on his keyboards. This experience laid the groundwork for his solo career, for which he changed his moniker to Leo Nero.

Leone composed the songs for "Vero" in 1974, and most of the tracks were recorded in New York in 1975. The album wasn't released until 1977. As expected, the album is keyboard oriented, and Leone plays all the instruments. Although the album is nowhere near the magical frenetic contortions of "Ys," nevertheless this is a very good album, one that should please fans of the genre. "Vero" is a concept album, centered on the feelings of loneliness and fear that Leone felt after the dissolution of IL BALLETTO DI BRONZO. The entire album is filled with a melodic melancholy that never quite lifts. The compositions on the first half are in a more singer-songwriter style and could almost be considered as multiple parts of a longer work; in fact, several themes are repeated throughout the album. The second half is the more progressive part, with songs such as "Tastieri Isteriche," "Il Castello," "Una Gabbia Per Me," and "La Discesa Nel Cervello" that hearken back at least in spirit to "Ys," although certainly not reaching the same level.

After the release of "Vero," Leone veered in a commercial synth-pop direction. His second album, 1980?s "Monitor," is frankly of little interest to progressive fans. (His backing band for part of that album was called Optical Band, which gives the title to one of the pieces he continues to perform, "Optical Surf Beat.") He continued in this vein throughout the 1980s (as evidenced by some demos which were recently released).

However, in the 1990s Leone reentered the progressive scene, first by contributing to the wonderful album by DIVAE (1995) and then by reforming Il Balletto di Bronzo (himself being the only returning 1970s member, using the rhythm section from Divae)....After the breakup of IL BALLETTO DI BRONZO in 1973, keyboardist Gianni Leone pursued a solo career under the name of LEO NERO. This resulted in two albums: the progressive "Vero" in 1977, and synth-pop-oriented "Monitor" in 1980.

Young keyboardist extraordinaire and mastermind behind Il Balletto di Bronzo's seminal 1972 work "Ys," Gianni Leone tried to pick up the pieces after the band imploded following the success of "Ys" and the resulting excesses. Intact for a short time as a duo, Leone and BALLETTO drummer Gianchi Stringa played live a few times in 1973, with Leone performing all the instrumental parts on his keyboards. This experience laid the groundwork for his solo career, for which he changed his moniker to Leo Nero.

Leone composed the songs for "Vero" in 1974, and most of the tracks were recorded in New York in 1975. The album wasn't released until 1977. As expected, the album is keyboard oriented, and Leone plays all the instruments. Although the album is nowhere near the magical frenetic contortions of "Ys," nevertheless this is a very good album, one that should please fans of the genre. "Vero" is a concept album, centered on the feelings of loneliness and fear that Leone felt after the dissolution of IL BALLETTO DI BRONZO. The entire album is filled with a melodic melancholy that never quite lifts. The compositions on the first half are in a more singer-songwriter style and could almost be considered as multiple parts of a longer work; in fact, several themes are repeated throughout the album. The second half is the more progressive part, with songs such as "Tastieri Isteriche," "Il Castello," "Una Gabbia Per Me," and "La Discesa Nel Cervello" that hearken back at least in spirit to "Ys," although certainly not reaching the same level.

After the release of "Vero," Leone veered in a commercial synth-pop direction. His second album, 1980?s "Monitor," is frankly of little interest to progressive fans. (His backing band for part of that album was called Optical Band, which gives the title to one of the pieces he continues to perform, "Optical Surf Beat.") He continued in this vein throughout the 1980s (as evidenced by some demos which were recently released).

However, in the 1990s Leone reentered the progressive scene, first by contributing to the wonderful album by DIVAE (1995) and then by reforming Il Balletto di Bronzo (himself being the only returning 1970s member, using the rhythm section from Divae). The 1996 live album from the reformed Balletto entitled "Trys" features not only the entire "Ys" album, but also several of the best Leo Nero pieces as well, this time performed with the band. In fact, the band continues today to play liberally from the Leone repertoire, whether from Leo Nero or Il Balletto di Bronzo. Thus the past and future of Leo Nero and Il Balletto di Bronzo are intertwined, both with the genius of Gianni Leone at the center.

[Todd]

I'm sorry you feel that way Mandi.  I believe the team does a good job carrying out our duties and voting based on what the sub definition and our experience dictates.  If you feel otherwise, you can always register a complaint with the Admin team.  Last, this is not really the place for an evaluation dispute, so if you want to continue to discuss it, please move it to a PM. 

1967/ 1976 wrote: Which is your opinion about ENIMA (http://www.progarchives.com/forum/forum_posts.asp?TID=63259&KW=enima&PID=3464837#3464837)?

Mandi, they were rejected back when you suggested them, don't know why I didn't record the decision in the suggestion thread.  I'll ask the newer team members to listen also and see if they agree.  I'll PM you about it. 

Finnforest wrote: I was recently asked for some ideas of RPI influenced or mixed with classical music, for a next step beyond RDM.  I figured I share my reply here in case others are interested.  Feel free to add your own ideas. Of course nothing is quite like RDM.  But here's a few for RPI fans who like Classical music influence.  Of the classic bands, try Quella Vecchia Locanda, Capsicum Red, Latte Miele's debut is a must, and Paese dei Balocchi.  Special mention to Luciano Basso's first two albums.  On the darker, more sinister side, there is the gothic church organ suites of Jacula and also newcomer Three Monks.  In the more avant-garde corner there is Opus Avantra.  And finally of more modern titles, there is Armonite (with two electric lead violins and no guitar!), the modern symphonic of Greenwall, and the Le Orme influenced neo-prog outfit called Mindflower.  I hope this provides a few clues in the great music hunt!  Take care.

Three more goodies to look into. Thank you very much, Jim. :D
I would have also mentioned the two Concerto Grosso albums by New Trolls. I absolutely love them.
Btw, that Mr. E. Jones review and rating made me feel all warm and fuzzy inside. Nuova Idea need a bit more propagada.