NEW TROLLS

At the top of the album is "Una Miniera", released in '69. It's a melancholic chamber/symphonic Rock, very much a product of its time. The strings seemingly slow and swell pre-chorus. It's quite the effect. Certainly a solid opener, and cool to bring us into some real heavy Rock then on "Cosa Pensiamo Dell'Amore" next. As displayed briefly at the end of "Una Miniera", the drums from Gianni Belleno are a certain highlight. The start-stop throughout definitely got me, with instruments dropping out to showcase something specific (usually fairly quirky and interest-grabbing). They close everything out with Mauro Chiarugi's increasingly-oscillating organ, performing a lovely classically styled finale [writing this very much wishing I were more knowledgeable on terminology overall].

We get a great taste of their group vocals on "Lei Mi Diceva", released a year prior, not dissimilar in feel to The Turtles' Flo and Eddie to my ears; excellent range, with killer belting. Great track. What feels pretty ahead of its time sonically, just with the way things are mixed, the symphonic elements and percussion being most important, "Quella Musica" is next. Starting in the middle is a steady crescendo of anthemic, wordless group vocals immediately reminiscent to its wildly influential contemporary, "Hey Jude". Thus far, I definitely find this material pretty excellent, certainly understandably great singles/radio material; but I likewise understand, I think, the overall reception thus far, with its reaching into Prog as being relatively surface-level (as one might expect).

We're back into some fine harder Rock on the first 1970 single, "Corro Da Te"; with Giorgio D'Adamo's bass quite prominent, it's really pumping up the energy of the already forward-driving track (FFO Deep Purple). Next is actually their first ever single, the only release from '67, "Sensazioni". Immediately, this has some of the most interesting experimentation of the lot, exploring various distorting effects, all before dropping down low for a swaying verse. It's so groovy! Another one where praising the vocals is my personal cakewalk; the bridge section has more of these wordless vocal 'La'-ing, seriously to really great effect. I am really into this one for sure; seriously solid Proto Prog I'd happily point in your direction.

Evoking a Steppenwolf-bigness (haha), "Una Nuvola Bianca" (1970) is really going for my frisson; so many rich sonic offerings here. And then a surprise ballad? Something in the rhythm approaching the verse(s) reminds me of early Styx, this booming Hard Rock edge; American gruffness, no offense intended to you Italians and your own special gruffness haha. "Annalisa" keeps up this energy at its start, yet another with instrumentation drop-outs revealing really lovely balladry. They certainly do Pop big and goodly, I can attest. Not rescinding my earlier comment on the stylistic complexity of this music, I'm actually surprised how 'THIS IS NOT PROG' some of y'all are; this is an example of really proper, well-written Prog, not sorry. Sometimes definitions are fuzzy, but this is indistinguishable in its rigor and adventurous spirit as any contemporary early Proggers (here, The Nice easily came to mind, per the organ). And this guitar solo! It's like Brian May well before he entered the collective consciousness. Beautiful stuff.

Back into more straight Pop--once again not dissimilar to The Turtles--"Un'ora" brings some serious heft for being a soft pop ballad (soft, here, does not equal quiet). An acoustic guitar is its characteristic winning factor. This element continues on [most played on Spotify by a mile... half a million plays nearly!] "Io Che Ho Te", the most softie ballad of the bunch. As has been a trend, they are masters of these quieter moments, as much as they are with the heavy; one of the best compliments I've not given much consideration before. Either way, this is absolutely the least progressive thing thus far, and ironically my least favorite regardless. We are not left hanging, though: "Visioni" brings back the balls... and the fuggin' groove, man! Very familiar elements, mostly melodic, but I really can't place it. Finally, briefly introduced via Raga, "Davanti Agli Occhi Miei" is a bouncy Pop Rock tune (it's like a hair shy, genuinely, of early Avant-Pop, featuring a lot of cool experimentation). Melodically one of my least favorites, though, despite its other more obvious strengths.

True Rate: 3.25/5

In 1971 the band unleashed its most famous release CONCERTO GROSSO PER I NEW TROLLS which was basically ground zero for the classically infused Italian prog that exploded onto the scene soon thereafter. The music on the album was written by Luis Enriquez Bacalov, the Argentine film score composer who collaborated with a number of Italian bands during the early 70s prog boom. Fortified with orchestral arrangements and ambitious musical workouts, NEW TROLLS adopted the symphonic aspects of The Moody Blues along with the rock infused energy of The Nice and delivered one of Italy's most famous classical crossover rock albums of the era and one that announced to a nation still suffering from a 60s beat hangover that the times have a-changed and that the wild prog 70s had arrived.

The album featured two long tracks that filled each side of the original vinyl edition. The opening title track featured four suites ranging from a violin led orchestra introducing the show on "Allegro" and continues with dreamy vocal led progressive rock on "Adagio." "Cadenza" provides a haunting mood setting with a frenetic violin solo whereas it all ends with "Shadows (per Hendrix)" which displays a more acid rock heavy psych approach complete with an unhinged guitar freak out at the end. Throughout it all are elements of folk music with Jethro Tull-like flute performances and although the band had graduated to full-blown prog, the beat aspects in the drumming pattern still found their way into the mix. This was very much a transitional album from the 60s psychedelic rock trends to the wild and fully developed prog that bands like PFM, Banco and Il Balletto di Bronzo would deliver the following year.

The second side is a NEW TROLLS composition and features the 20 1/2 minute "Nella Sala Vuota, Improvvisazioni Dei New Trolls Registrate In Diretta" which is the cream of the crop on the album as it pushes the prog rock characteristics even further with a series of cadences and motifs that morph and offer basically what amounts to songs within songs. The keyboard performances are feistier as is the rock guitar, bass and drum rhythmic drive. On this one the band delivers a reckless abandon and simply goes for it as opposed to the more structured and reserved compositional flow of the A-side. Side B offered more exploration in meandering through various moods with shifting dynamics and a greater emphasis on soloing. While the keyboard excursions are pleasant i could live without the seven minute drum solo at the end though. Luckily the track resolves itself with a feisty band performance ending that matches the intensity of the drummer.

Sure this isn't the best prog album of the 70s but it surely is one of the most historically relevant and it's also fairly unique sounding as it perfectly capture that in-between stage between the psych-fueled 60s and the unleashed prog excesses that would very quickly follow. The musicians perform all the movements perfectly and although there is some downtime here and there which keeps the album from being perfect, nothing is so bad that it's not listenable. Much of the album is the perfect mix of classical and rock and for a rough draft of Italian prog so to speak, it's actually a brilliantly designed album. Excellent Hammond organ work, dynamic flute and guitar parts, more than competent drumming with Nico Di Palo's vocal style passionately delivering high register operatic walloping wails.

Named after the fact one of the members had been in a band simply called I Trolls, this updated version proved to be innovative enough from its very beginning stages and even opened for The Rolling Stones on their 1967 tour based on the release of a mere single called "Senzioni." The band released its first album SENZA ORARIO, SENZA BANDIERA (No Time, No Flag) in 1968 which is considered to be the first Italian rock concept album forged by the poetry of Richard Mannerini and then reworked by the Italian singer / songwriter Fabrizio De André which crafted a single themed album where all the tracks ran together much like progressive rock albums that would follow. The music was written by Di Palo and De Scalzi with the exception of the track "Signore, io sono Irish" by Gian Piero Reverberi. Despite this being a concept album, i'm still not really sure what the concept is supposed to be about!

Given the album was released in 1968, SENZA ORARIO, SENZA BANDIERA was still far from the symphonic prog classical powerhouse that the band would release in 1971. This debut was still rooted in 60s beat music with psychedelic overtones such as the Hendrix inspired guitar sounds of Nico di Palo who would soon become one of Italy's most popular guitar heroes. Despite the 60s connections, NEW TROLLS was definitely innovating the beat pop music by offering symphonic elements even as early as this debut album with busy keyboard contributions orchestrating a classical-tinged backdrop and likewise the band was displaying the romantic vocal style that would become the staple of classic Italian prog in the 70s. The entire band contributed vocals and crafted some tight harmonies as well. Despite the progressive pop tendencies, the compositions themselves weren't very complex and based on the bluesy beat hooks that were popular during the era.

This is a rather mellow album that despite some sort of concept that will be decipherable by speakers of Italian pretty much flows from beginning to end like a very very long orchestrated pop song. The album is less than 27 minutes so it's not excessively long lasting but the musical ideas are fairly sparse with only the nascent prog ideas sprouting. The album comes across as Italy's answer to The Moody Blues' "Days Of Future Passed" only without the interesting compositions that take it anywhere exciting. The album is actually a bit boring as it seems like the same acoustic guitar strumming and music motif is extended throughout the entire album's run. Various moments do offer contrast but generally speaking, the musical flow is a bit of a one tricky pony and gets monotonous fairly quickly, a stark contrast to where NEW TROLLS would take its music just a few short years down the road. Sure it's a classic for planting the proper seeds in Italy's fertile music scene but as an interesting album in its own right it's just not very captivating.

2.5 rounded down

The opener "Dies Irae" starts with the violin in the foreground, then the rhythm section and the other instruments come in blending baroque music and rock while the lyrics try to convey a message of hope. The beauty of life remains, even in misfortune, and you have to look inside yourself to discover that there's world in a grain of sand and to find the eternity in an hour... A kind of hymn to life!

The long, complex "Oggi non sono spento" (Today I'm not off) begins by a long instrumental section in a jazz rock vein with Latin rock elements. You can hear a dynamic rhythm section, suggestive organ waves and an electric guitar solo that could recall Santana until the pace slackens and melodic vocals invite you to reflect about the mysterious adventure of life and urge to enjoy the day keeping the flames of your inner fire always burning...

"Cambiamenti" begins in rockier way, then the rhythm calms down and there's a softer section where melancholic soaring vocals on an acoustic guitar arpeggio express a love for life that is stronger than regrets and disappointments. Every rose has its thorns, lies or unfaithful relationships are just thorns that can't erase the beauty of life... Then the rhythm rises again for the finale where the lyrics invite you to get up and fight to change the world and make it better.

The short, dreamy instrumental "Trullo Lungo" closes the first part of the album with a good display of keyboards in the forefront. The title refers to a picturesque village in Apulia where the band found a moment of relax and inspiration documented by some pictures that you can find in the booklet...

The second part of the album opens with the brilliant "Cherubino", a lively piece about a kind of psychedelic, beautiful dream where the borders between heaven and hell get blurred, sacred and profane meet each other and the cherub who stands the guard to the tree of life lower his sword and let your soul fly free, in harmony with the universe...

Next comes the gorgeous instrumental "Opera Suite", a challenging piece that blends with freshness and gusto some classical influences with the powerful energy of a rock band. Here the musicians are able to express in an effective way all their pleasure to play together...

"Io..." (I...) is a melodic ballad about time passing by. The music and words conjure up the image of a peaceful landscape at dawn and try to express the desire of a better world where men respect each other and the environment, a world with a soul that can make the dreams come true. Life is short, so "carpe diem" and try to not waste your time...

The beautiful instrumental "Ostinato" closes the album with a perfect exercise of style, blending again in an impeccable way classical forms and rock rhythms. The title refers to a musical term defining "a short repeating element, usually only a bar or two long, though the term may also be applied to such longer repetitions as occur in a chaconne or passacaglia..." (quote from the New Penguin Dictionary of Music). Anyway, this is an ostinato "sui genris" and there's no room for boredom, it's really a gran finale!

On the whole, a very good album!

All songs flow from one to the next as we journey through the eyes of the poet narrator (De Andre) to create a single seamless work as he crosses the world with eyes and ears open to everyone he encounters-mostly the poor and downtrodden, but each with their own story. Opener Ho Veduto (I saw) is one of the stronger songs-bolstered by solid horns-and is a vague take on horn driven US rock of the early era like Electric Flag and Chicago. Third song Signore Io Sono Irish (still in their live setlist from time to time to this day) is a sad lament for a man who lacks his own bicycle. Moody Blues vibes flow from the end of Signore Io Sono Irish into Suzy Forrester, a song that would have sat comfortably on any early album by the Arthur Lee led Love. Al Bar Dell'Angolo has a cool distinctive horn riff and counterpoint vocals-catchy. Side one is over too soon.

Side two opens with the jaunty Duemila, a song where the band shows hints of what is to come musically. Already Di Palo is a force to be reckoned with vocally, and he and De Scalzi show strong compositional skills. The song breaks down before building to a fantasy orchestral ending. As before this is the bridge to our next stop on the poet's journey, Tu Ricordi Joe? (please refer to the great translations by Andrea in the first review of this album). Padre O'Brien and Tom Flaherty are plaintive and orchestrated, with some flickers of the NT sound to come. We finally arrive at the end, Andro Ancora, a revisiting of the opening song Ho Veduto. The listener gets reminded of the themes uniting the album, and also reminded that this was the best song on the album. And with that, we are done in a scant 27 minutes, a short even for the era album.

Overall, this isn't a collection of songs like the self titled follow up, but a single cohesive work, a tour through the world and an observation on really varied examples of the human condition. Great use of horns throughout. Easily identifiable as a 60's product, this is valuable as a single work, the first rock opera in Italy, and barring Days of Future Passed, one of the first concept albums in all of rock. DeAndre would show up later in 1980 in collaboration with PFM, so some may not be aware of his dabbling in Italian proto prog back in 1968.

Three stars for RPI fans, and for its importance in Italian rock history in being more of a complete work of art than just a pop album. For prog fans, unless you are into really early roots of prog, you might be disappointed.

2.75 stars

Although many will point you to their debut album collaboration with Fabrizio deAndre as the early one to get, this album will satisfy the prog fan a little more tangibly, as the elements of what became their distinctive sound are scattered heavily throughout: self written and self played material with strong melodies, excellent harmonies, searing guitar work, strident and powerful hard rock lead vocals that would make you turn your head in a crowded bar to say 'what was that?'. Arrangements start to get more complex and hints of what is to come from this band are becoming more evident.

From the opening song Una Miniera, a string driven ballad that hints at symphonic prog to come from more familiar Italian bands, (about a 1956 mining disaster in Belgium that killed 130 Italian miners) there is a strong melodic core to their work. Melancholic in the vein of some early Procol Harum, but not overwrought. The strings abate for a quick three second rock finale. Second song Cosa Pensiamo dell'Amore buzzes along in a lurching rhythm that is one of the stronger proto prog songs here-space is given for organ, drums bass and guitar to get playful before we are ushered out with a coda tribute to A Whiter Shade of Pale. Lei Mi Diceva starts off like a manic Monkees riff before quickly settling into a hybrid early Uriah Heep/Aphrodites Child bubbling bass propelled burst-nimbly played. Bassist Giorgio D'Adamo is a monster on much of the album. The much maligned Quella Musica follows, a syrupy ballad that most would pass by quickly until....halfway through the song it stops and transitions to a wordless vocal jam reminiscent of 1967-68 Beatles, complete with burning extended guitar solo and a some barely audible yelling and histrionic vocals just underneath the main vocal, subliminally setting an air of barely controlled chaos--urging the proceedings forward, nearly imperceptible, but it puts this into 'truly an anthem' category. Very subtle but effective trick. Great song in the long run with a fascinating brittle drum sound throughout the beginning. More early Deep Purple circa 1968 comes in on the raucous Corro Da Te, the B side of the single Una Nuvola Bianco. Hendrix influenced in elements. Side one comes to an end with their debut single, Sensazioni, that despite its 1967 trappings is powerful and very catchy. Odd that one of the better songs on the album is from that far back. Elements of Gloria by Them launch the song along until a Gentle Giant a capella section drops in out of nowhere. The song goes back to its theme and jams until the too soon ending. Overall, side one holds together pretty well and is much better than one would expect for a collection of late 60's singles.

The sounds of a forgotten dripping cavern being pried open starts side two: a little bit of Beck's Bolero and later Yardbirds powers the sound of the side opener, the aforementioned Una Novola Bianca where the band is sounding increasingly assured of what they can do in a studio and how they can write an arrangement that starts to deviate from the traditional pop song. Song two also opens with a trippy soundscape before Annalisa takes off in a crashing dizzying climb before the song gives way to an acoustic guitar driven power ballad, a radio friendly unit shifter that just can't help dipping back into some more prog sounding areas. Dances nicely between proto prog and pop within the same song comfortably. The same can't be said for Un'Ora, one of the throw aways on here-an overwrought string powered sappy ballad designed to please the suits at the label. Io Che Ho Te is more in a Beatle-ish vein with faux mellotron from the strings and winds but is another one that is a disposable string driven ballad. Visioni brings us back with heavy organ and psych guitar leading to another one of the catchier songs on this album-you will find yourself singing along with this one rather quickly. Very psychedelic pop sounding but a great song. This leads to the finale, the even catchier Davanti Agli Occhi Miei leads the call with a dervish guitar riff and vocal response that should have been a huge hit across Europe-this one you definitely will be singing in your head in traffic. Not prog but just a great rock anthem.

HInts of Vanilla Fudge, Deep Purple, early Traffic, late Yardbirds and some 1967-1968 Pink Floyd are in here-so do not expect a full on prog experience, this is the sound of a band in transition from formulaic pop to some more adventurous territory.

In the end, this is marred by only two clunkers on side two. Valuable as a window into the power of quickly evolving Italian pop scene, and for people who are really into New Trolls. For fans of RPI that have a soft spot for that late 60's early 70's transition from psych to prog sound. For more traditional RPI and prog fans, this is probably non essential. Me? Loved it from front to back. Was lucky to recently run into original first pressings from Italy of this and the first album on Cetra for semi reasonable prices-antique treasures!

3.25 stars for RPI fans. 2.5 stars for proto prog heads.

The album opens with promising short instrumental 'Paganini', then comes 'Per ogni lacrima' (For every tear), a piece about the healing power of friendship and love that starts with a sparkling, classical inspired, organ passage. Unfortunately, after a minute the music veers to AOR and could remind of New Trolls' albums like Aldebaran rather than Ut.

'La luce di Vermeer' (Vermeer's light) combines melodic vocal parts and bolder instrumental passages. It's a good piece where the lyrics invite you to look in a different way at people who serve time in prison because not all of them took deliberately the career of evil but some where just doomed by an ill fate and a difficult social condition. Even those branded with the sign of Cain should deserve another chance and bit of respect...

The following 'Oltre il cielo' (Beyond the sky) is just a melodic ballad dealing with the need to overcome the consequences of the traumatic end of a relationship while 'Rispettare può salvare' (Respecting can save) is a reflection about the never ending conflicts in the Middle East and the troubled situation in Palestine. The softer parts evoke a comet over Bethlehem and the hope that sooner or later men will learn the mutual respect and live in peace...

'Do Ut Des' (Give and take) is a beautiful piece, featuring many brilliant classical inspired passages and lyrics inspired by an absolute love for Music. Next comes 'Sarà per noi' (It will be for us) a touching, romantic ballad with beautiful harmony vocals. Then the dreamy 'Siamo ancora qui' (We're still here) tries to express the feelings and the emotion of the musicians on stage, even after many years of career...

The swinging 'Sporca politica' (Dirty politics) is a kind of ranting against the politicians who waste the money collected with taxes in their games of power but in my opinion the committed lyrics and the carefree music are neither here nor there and this is probably the weakest point of the album. The closer 'Can't Go On' could be considered as a bonus track since it's just the English version of 'Oltre il cielo' sung by the special guest Fergie Frederiksen from Toto.

On the whole, in my opinion this is a good AOR album with some hints of prog that should be of interest for fans of bands such as Toto but that is not essential in a prog collection.

With riffs off a Sabbath album splattered across much of the proceedings, you can sense the band is starting to fracture into two distinct factions right in front of your eyes: a heavy rock angle (they are really good at this), and a more introspective classical angle (the Concerto Grosso approach). The ten minute guitar meltdown of C'e Troppa Guerra would not be out of place on the first Wolfmother album (a little known hard rock classic), but at its core oozes complex Black Sabbath. (Electric Wizard fans take note).

That is probably as far as some prog fans will read, but this album is way more complex than a simple 70's metal romp. Acoustic pop friendly songs, frightening orchestrations, classical keyboard exercises, guitars having a conversation (literally talking) in Paulo e Francesca, sprightly Italian folk melodies, slow melancholic symphonic ballads-the differences between keyboardist Maurizio Salvi and guitarist Vittorio De Scalzi could not be more prominently displayed. Somehow it works.

Reference points: Not easy. They are kind of their own self contained beast. Some ELP and Black Sabbath collide, but not necessarily in the same song. Side one is near perfection in Italian rock that appeals to all, not just RPI fans (Nato Adesso being a great example of the synthesis of the two styles) , and side two is the aforementioned guitar meltdown centerpiece.

This was their swan song until the semi successful reunion later on Concerto Grosso 2. NT Atomic System and ? (yes, ?) who turned into Ibis are on the horizon after the split.

For fans leaning towards the heavier side of RPI. But if you are an Italian prog fan and don't have this album, seek it immediately. 4.5 stars

Released in 1971, NEW TROLLS's "Concerto Grosso Per I" is the first album that was made by an Italian band and combined Classical music with Rock music; this is one reason why this album has influenced many artists, especially in Italy...

The opener "Tempo: Alegro" is rather short and features a very TULL-like flute. This song is a rock version for a collection of famous classical motifs.

Next is "Tempo: Adagio". Though the orchestral arrangements are very string-dominant (Other people may like it, but in my case it's a minus), there are great vocals on this one.

Coming right up is "Tempo: Cadenza - Andante Con Moto". The first minute and a half or so is pretty much a violin solo, but then again those strings come (which IMHO is bad). This one is barely a rock song - except the drumming though. Nice harpsichord and vocals over the strings and violin in the second half. Disheartening end with yet again those orchestral strings leading the listener out.

"Tempo Shadows (Per Jimy Hendrix)", yes there is a JIMMY HENDRIX reference here (with a misspell)! a soft but efficient Blues/Psychedelic (?) song that is sometimes influenced by early Jethro Tull (that influence pops up now and then on the album). Actually, this is one of the better moments in the album, but the song doesn't really belong, considering the concept of the album. The guitar solo tribute wraps up the end of that part of the album.

"Nella Sala Vuota: Improvvisazioni Dei New Trolls Registrate In Diretta" opens as a bluesy Hammond solo for the first two minutes. JETHRO TULL influences also come through in the second quarter of the song in the form of a breathy flute. After the break in the middle of the song, the music returns. Nice Hammond work is followed by a loud sound of an electric guitar solo which is then followed by an impressive (and long) drum solo. The drums finally build up the song back to its base, to allow the rest of the band to join in for the end. The musicians' skills are outweighed by the distractions of the engineering limitations of that era.

I like the first half of the album better than the second, though I do think it doesn't compare well with the other Rock Progressivo Italiano legends.