SOGNANDO E RISOGNANDO

Third album by this Italian prog band that circled around Alberto Radius, Gabriele Lorenzi, and drummer Toni Cicco. Radius and Lorenzi were later members of IL VOLO. "Sognando e Risognando" is said to be their most progressive and best album, but since I hadn't heard their other albums, I can't say how they're like. Anyway, this isn't the most original Italian prog album you'll ever hear, the influences of PFM and ELP are a bit obvious, but if that sounds good, you're certain to like this album. Keyboards include Hammond organ, Moog synthesizer, piano, and string synths, and the band also included a bassist and drummer (I hear some guitar, but isn't the most dominant of instruments).

The album is mostly divided in to suites, so as you might guess, it's basically a couple of extended cuts that go through many different changes and themes. There's also a more pop-oriented number sandwiched between all the extended stuff. The album cover has got to be one of the most tasteless I have ever seen (I am surprised I never heard this album cover causing outrage in Italy). Ignore the tasteless cover, because the music itself is quite decent prog, and I'd recommend it for those who enjoy PFM and ELP.

This third album is my favorite one, mainly because it has the most symphonic rock climates of all four records. The Hammond organ is omnipresent, it often evokes Keith Emerson but also Deep Purple, due to the fiery electric guitarplay. The music is compelling and contains some propulsive accellarations featuring organ and electric guitar. At some moments Formula Tre goes back to the atmosphere of their two albums with a more psychedelic attitude (sweeping drums and ominous keyboards).

Sognando e Risognando aka "Dreaming and Re-dreaming", is the most memorable and compelling work released by Formula 3. It is generally regarded as their masterpiece. I got it in its recent and elegant 2003 BMG papersleeve cd re-issue.

The album's title (and the self titled opener 10,42 mns long track) derives from the omonimous song of Lucio Battisti from his 1972 album "Umanamente Uomo: Il Sogno". And the song performed by Formula 3 is the same one. They re-elaborated the arrangements with those well-know and appreciated trio of powerful and majestic keyboards, nervous guitar (sometimes a la young Deep Purple) and fiery drums. Battisti was also involved in this work being the producer (under the famous Numero Uno label) and not only the songwriter.

The cover art was always like a punch on my head: never understood it. Above all, the most strange thing is the opened chest of the naked woman. No, no sexual allusion in it!

That ugly cover apart, the band's performance is very convincing and varied, with some evident references to ELP but, at the same time, some other pastoral interludes. The best tracks feature in the first half of the album: the self titled track and the long instrumental L'Ultima Foglia (The Last Leaf) which is on about 11,51 mns and is composed of: - L'Albero (The Tree); - Non Mi Ritrovo (I Cannot Find Myself); - Finale.

The second half is also very good but not at the same level, mainly due to the more popish and romantic Storia di un Uomo e di una Donna (Story of a Man and a Woman). By the way the nice vocals of Alberto Radius are well worthy of special mention.

The last one immidiately starts with a strong and proud electric guitar: the third suite titled Aeternum (11,31 mns long) which is formed by: - Tema (Theme); - Caccia (Hunting); - Interludio; - Finale. Another exciting proof from the master hands of this excellent trio.

I strongly recommend Sognando e Risognando to anyone who wants to enter the fantastic world of the italian progrock scenario!

"Sognando e Risognando" is the third and likely most acclaimed album by Formula 3 released in 1972. The album is neither a failure nor an overwhelming success but somewhere in between. Many different interesting parts and some clunkers are seemingly cut and pasted together in ways that are not convincing. It gets you pumped in a few spots but can't seem to completely pull one in for the kill, the various parts sounding lost and not unified. Good ideas seem squandered without the glue, without the good flow that makes for an intense listening session. But it can't be written off so easily as many feel the album works quite well despite.

The title suite is first and we hear stately keys building to an early symphonic bliss with majestic saturated electric leads over the top, a hell of an opening. The next part gets a bit funky with an American hippie blues rock sound which is twisted further in the third part combining hard rock bursts with more passive sections. It fades to a silence before the final part which is a short dreamy e-guitar oddity. "L' Ultima Foglia" starts with a strange sound like wind behind some drum fills. The organ and e guitar come through with some nice heavy lead that gets better as the song moves on. The second part is a bit on the heavy and bluesy side with the rich organ sounds and heavily distorted guitars. The finale brings in some acoustic guitar and dramatic synths for a good proper close. "Storia" begins with lovely acoustic and piano leading to the warm vocal. This one is more conventional and pop sounding reminding me a little bit of the sound on their next album. Drums and bass appear but the pace is very slow. A bit of electric here and there but this is largely a mediocre track. "Aeternum" is last and is much heavier out of the gate with organ and guitar melded together with a punchy rhythm. This part will return after a brief mellow interlude. After that part is an interesting keyboard solo using several different keys. I'm no expert but I believe I heard moog, mellotron, and piano all employed. It gets classically flavored in the piano section. They emerge from this with some e guitar leads panning across the stereo and again will return to the section from the beginning. A rising then falling synth blanket closes the piece.

While not a bad album it just fails to connect with me in the magical way of so many other Italian albums from this period. I know because I just can't find that much to say about it, not usually a problem for me when reviewing this genre. It is not one that I would put high on my list of essential Italian albums but more in the middle part. There are far more emotional, interesting, and compelling compositions out there than this. But we do agree on the album cover Andrea and Ben!

01. Fermo Al Semaformo You knows what will come when the music starts not short? Usually what comes next is mortifying. And that is what we have here. The band begins with a guitar smart, and of course, with a variety of keyboards, doing all that climate that only Italian to even the bands. The guitars of Alberto has a special tone that first part, almost percussive, at times with the battery.

02. Sogno The original keyboard riff is a hit, the battery at the beginning of Tony whole 'confusion', the guitar comes with a very heavy pitch, but without exaggerating. Vocalizations somewhat 'strange' appear among the macabre riffs giving an impression of 'mass-to-any-thing'. The keyboardist Gabriele has to unfold in many to see the role of all the keyboards that decided to put in the sound, never succeed.

03. Con la Stall I Buoi Here the voice first appears in a ballad full of sound and voice effects on (which by the way is very beautiful) as if in a cave. Then the guitar riff starts a killer for the whole band into the wheel. This song has a chorus and interesting, as all three vocal folds by the end of each verse. A battery of ground very nice just damned the opportunity to pack in a band and rock theme entitled to vigorous guitar break and everything. 04. Risognando Risognando just the first part of the disk (E Sogno Risognando) which strangely is not all parties in a single track would be as usual. Here I think the guitar at various times as a cuíca (laughter). L'Ultima Foglia

05. L'Albero Battery in command, keyboards vertigo and 'full', the Hammond makes miracles. This time who commands the entire range of the guitar is Alberto, doing all the melodies, while the keyboard is the perfect bed, just waiting for the time you come into action on a solo worthy of respect. The track is full of climates and face all the time.

06. Non Mi Ritrovo The beginning of battery is not so nice, I do not know whether intentional but here the ground seems to be wrong at any moment (laughs). What's next, yes, climate variations and has Jasons well, filled with layers of keys and a guitar fuzz and interesting. Here is what will a jazz-fusion and interesting.

07. Finale The end of the second part (L'Ultima Foglia) has guitars, leaving the mixture very interesting, the various' orquestrações' the band make a great contrast.

08. Storia Di Un Uomo E Di Una Donna The single track 'loose' has so low of truth (which I have no idea of who the plays), has voice and interesting, rather serious, with beautiful background vocalizations and a melody pretty well. It is the most 'normal' despite the vocal background. Aeternum

09. Tema The last part of the album (Aeternum) is starting a space rock from the underworld, sensational, this time the guys broke everything and in a way unparalleled, instrumental and very well established compound. But it is only an introduction to Part pirada voice, with voice and guitar doubled in focus. But the most interesting are the same voice, those who remind me of the PFM Storia Di Un Minuto.

10. Caccia Strange part of drums, the song had changed its rotation, which makes it very interesting.

11. Interludio This is sensational original piano, a classical piece worthy of the great, reminded me Jürgen Fritz (Triunvirato), Keith Emerson (E, L & P) and Jhon Tout (Renaissance), and that only radical in the choice of the passages. When the band enters the battery is embedded in a very strange, indeed, throughout the disc, some synthesizers appear here, the guitar as if they were single, two walks by boxes of sound the same way as did Brian May (Queen) only that a more modest. And a cool riff. The final part of the song is completely delusional and space. Unless the piano final.

12. Finale To close the disc with a theme just short body. This disc is mostly instrumental, and actually has 3 separate pieces in all tracks, the 3 are 1-E Sogno Risognando, 2-L'Ultima Foglia, 3-Aeternun, and of course also has Storia Di Un Uomo Di Una E Donna.

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This is another good album from this Italian band. Still, I was expecting a bit more of it after reading the reviews previously posted. Their third album is less psychedelic than their first two opus, but it is still quite different from the traditional Italian offering.

The music played is darker, heavier. The easiest reference that I can find is obviously ELP: you can find a combination of classic piano, but bombastic organ passages as well which will remind you of this great band.

No regressive music here since they were contemporaries. But a deep similarity. There are little breathless moments, few opportunities to say: wow! In general, the album flows nicely: one mini suite after the other.

Little weaknesses either: this is a well balanced album which could please a broad range of fans: ELP ones, heavy prog ones as well as the genuine Italian amateur.

This is a pleasant but not an impressive album. Three stars.

The activity of the band in Italy in the first half of the 1970's might have had the flow that those music overflowed completely as a main current at the same time as enlivening the chart. In the flow to which the band in Italy takes a progressive element and the music character is created, it is also true that a lot of bands that were called "POP" and existed attempted the conversion of directionality for the music character.

Especially, the activities such as Banco, New Trolls, and Osanna might have pulled the flow of a complete revolution and the fashion for the situation of the music of Italy of the 70's. It is not an exaggeration to say that the appearance of PFM might have completely decided the establishment of the field of the one music character for Prog Rock of Italy and.

It will have been one of the bands that had gradually reacted to the flow that belonged to a progressive music character of Italy that the situation and the change in the music that this Formula 3 had done also had rushed into in the 70's. And, the flow and the situation that reaches this album for Formula 3 will be able to catch the part where the height of an inevitable revolution and creativity was remarkably shown in the flow of various bands that derived in the 70's. And, indispensable existence of Lucio Battisti for this band and help of Numero Uno might have been created with the overwhelming sense of existence as not only this band but also priming of various music.

Formula 3 has been formed in 1968. "Questo Folle Sentimento" of the single is announced in December, 1969. It was time when Numero Uno had started exactly in full scale at this time. Prog Rock of Italy might have had the flow that had exactly rushed into at a real dawn in the 70's. It became concrete by announcing 1st album attended with the work of Lucio Battisti in 1970. The music character of Formula 3 was accepted at once in the home country and it had the fact to enliven the chart. "lo Ritorno Solo" is announced in 1971. And, "La Folle Corsa" prepared to participate in "Festival della canzone italiana" is announced. The activities of men who had been contributing to the situation of the music of Italy including their 2nd albums might have infiltrated gradually. And, the support of Lucio Battisti and the activity of Numero Uno might have been shown as already important existence for Formula 3.

It might be a work with which the element that the music character that they did in this album is exactly good the main current, the fashion, and the culture of Italy at that time is blocked enough. The part of Beat Rock and psychedelic that was able to be listened in their initial works is an element with the composition power of an overwhelming tune it is refined further. It is ..album that attempts to introduce symphonic.. finished. It is said it was not popular too much for. The music character done in this album is continued, and however, they participate in "InternationalSongFestival" in Brazil and acquire the victory splendidly. It had details from which all almost their albums were announced in Brazil at the following. This album might be one attainment point with the album that remarkably exactly reflects complete simultaneously where the element of Prog Rock of Italy that Lucio Battisti thinks about appears for Formula 3.

"Sognando E Risognando" has the flow of the suite that consists of the composition of four. Melody of guitar with which expression of feelings overflows. And, the synthesizer that produces the anacatesthesia. Arrangement of drum that intermittently produces tension. It might be a very complete tune in Prog Rock located in the main current in Italy at that time. The arrangement of the organ with chorus's melody and tension might be splendid. And, the melody quietly sung with which expression of feelings overflows. The composition power to reach the guitar in close relation to it and the top shows a complete part. The thing to take charge of the chorus part might be a point where a possible part is good this band. The tension is always continued and the band combines.

"L'Ultima Foglia" ..consisting tune.. has finished from the composition of three. The drum with a free part in the flow that produces the tension twines. The guitar of Alberto Radius with a transparent feeling might be unique. The melody is continued and it shifts to the flow with the dash feeling with the synthesizer. Ensemble of the band might exactly raise the quality of the tune. The melody of the guitar advances with the organ the tune is pulled and with the tension. How an idea that this Trio is abundant and high-quality performances are done might be understood. A part aggressive the melody that flows to the flow of a steady drum in the space is produced. The part where width was given to the composition of the tune while following the idea that has been done before might be splendid. The performance of the flow that shifts to Solo of the guitar and the band that moves freely is reformative. The flow from a grand piano melody is received in the last part of the tune and it advances toward the top.

The song by which you may put "Storia Di Un Uomo E Di Una Donna" on a gentle melody twines. Working of Mogol-Battisti has acted on this tune well. Chorus's usage and melody of song. And, originality twines and is produced to the element of a good ballade. Original processing of the arrangement in close relation to the progress of Chord and the usage of the sound might be splendid.

"Aeternum" is a tune that consists of the composition of four. And, this tune was a tune that they had performed in the music festival of Brazil. The organ and the synthesizer that produces an original melody and the tension produce a good start. Flow that shifts from theme to melody of gentle song. And, the continued original tension. Shift from melody to grand part that looks like fanfare. The tune advances from the part with the impression of the solemnity attended with a beautiful piano melody. The tune gradually becomes intense and the band combines. A flow advanced as a very progressive part is produced might be splendid.

The music character of this Formula 3 can be caught as a band located in a surely progressive situation in a lot of bands that supported it at the dawn of Prog Rock of Italy. And, it might be true that it was a work that should be able to say one the top this album for them in the situation of Italy of the 70's that is becoming a main current.

While I do think this is slightly better than their debut there are whole sections (especially the vocal ones) that are disappointing. Not a fan of the album cover either (haha).

"Fermo Al Semaforo" builds with sounds including synths. The guitar before 1 1/2 minutes reminds me of Conny Veit. "Sognando" sounds really good with the keyboards and guitar making that happen. Vocal melodies join in. "La Stalla Con I Buoi" features reserved vocals and acoustic guitar. It kicks in around a minute before settling again before 2 1/2 minutes. Kicks back in a minute later with some nice guitar. "Risognando" is a short piece with little happening. "L'albero" opens with sporadic drumming. It kicks in with some distorted organ before 1 1/2 minutes, guitar follows. Synths come in then the tempo picks up. Organ 4 minutes in before it turns pastoral a minute later to end it.

"Non Mi Ritrovo" opens with drums as organ then guitar join in. It settles into a good groove. "Finale" opens with piano before it settles. "Storia Di Un Uomo E Di Una Donna Aeternun" opens with acoustic guitar and piano as reserved vocals come in. Drums and bass follow. Not a fan of this one. "Tema" has an aggressive intro before it settles a minute in with vocals. Not a fan of this one either. "Caccia" opens with synths as drums eventually join in. It's building and blends into "Interludio". Piano takes over. Guitar before 3 1/2 minutes. Synths are back. "Finale" features lots of atmosphere as synths build.

Lots to like here, but not enough to make it 4 stars i'm afraid.

"Sognando e risognando" is the third album by Formula 3 and was released in 1972 on the Numero Uno label with a consolidated line up featuring Tony Cicco (drums, percussion, vocals), Gabriele Lorenzi (piano, organ, Minimoog, synth, bass, vocals) and Alberto Radius (electric and acoustic guitar, bass, vocals). It marks an evident change in the band's musical direction that here turns from the song-oriented psychedelic rock of their first two albums to a full fledged progressive rock and more complex structures. As for the art cover, don't be mislead: the provocative, macabre subject elaborated by Caesar Monti, Gianfranco Marabelli and Wanda Spinello does not represent the content of an album where horrific, gloomy atmospheres do not prevail at all...

The opener, "Sognando e risognando" (Dreaming and dreaming again), is a suite divided into four parts signed Battisti-Mogol. A different, shorter version of this piece was released in 1971 on Lucio Battisti's album Umanamente uomo: il sogno but here the band deliver a new good arrangement adding some instrumental parts. It begins by an instrumental introduction subtitled "Fermo al semaforo" (Standing at the traffic lights) that sets a foggy atmosphere and a melancholic mood. Then, on the second part subtitled "Sognando" (Dreaming), the rhythm rises and soaring vocals without words begin to drive you far from the traffic jams and the daily grind of a big city. The third part, subtitled "La stalla con i buoi" (The stable with the oxen) depicts in music and words a beautiful, pastoral country landscape where you can live in harmony with nature and your sweetheart, surrounded by singing birds, rivers full of fishes and woods. You'd better hurry up and try to reach that place as soon as possible leaving behind the hectic city life. You can do it when the traffic lights turn to green... The short last part, subtitled "Risognando" (Dreaming again) ends the piece with a soft, peaceful mood.

The long, autumnal "L'ultima foglia" (The last leaf) is an instrumental suite composed by the band and divided into three parts. The first one, subtitled "L'albero" (The tree) begins by drum rolls and dark organ waves then the rhythm rises and the electric guitar draws some disquieting melodies conveying a nightmarish atmosphere... The second part, subtitled "Non mi ritrovo" (I'm not at ease) starts by a drum solo, then the pace accelerates bringing some echoes of Latin rock à la Santana while the last part, subtitled "Finale", ends the suite with a slight Gothic flavour...

"Storia di un uomo e di una donna" (Story of a man and of a woman) is a relatively short piece signed Battisti-Mogol that deals with a tormented relationship between a man and a woman that is slowly coming to an end. It opens with a soft acoustic guitar pattern and a melancholic feeling with the voice of Alberto Radius depicting the waning enthusiasm, the desire to look for another love, the fear to suffer again the pain of a broken romance... But there's still something left, a bit of love is still hanging in the air and some doubts rise, so the final curtain of this love story can wait another day!

The last track, "Aeternum", is another suite divided into four parts and composed by the band with the help of Lucio Battisti. The first part, subtitled "Tema", sets the atmosphere with a powerful incipit that after a minute gives way to a calmer passage where music and vocals describe a magic moment where time stands still and there's no need to think of a distant world nor to worry about the past. You can breathe slowly looking at the nature that surrounds you as the wind sweeps away your troubles, you can feel eternal at least for while... The second part, subtitled "Caccia" (Hunt), is evocative and dreamy and leads to the complex "Interludio", that begins by a piano solo pattern and is full of classical influences and sonic fireworks. Then the last part, subtitled "Finale", ends the album with a softer, dreamy mood...

On the whole, a very good album!