REALE ACCADEMIA DI MUSICA

Some people may disagree with me but I consider REALE ACCADEMIA DI MUSICA truly a one-shot band since their second album was done much more as a support for a singer (not a band member) and can also barely be considered as progressive. But here within the "Reale Accademia Di Musica", their self-title album, we have an almost perfect example of what Italian Symphonic Prog means. Really astonishing!

It's hard to talk about band's influences once this album was released in 1972 and in fact it seems better to nominate other acts that have been influenced instead - the sad point is that apparently RADM has been forgotten in the dust of time. Apart the skilful musicianship and fine arrangements I'd like to spot the exquisite and unique vocals, a bit different from the more acute vocals generally observed in other Italian progressive bands of the same period.

The friendly and relatively short 'Favola' opens the album nicely; bucolic and pastoral guitars are joined by poignant vocals that spread through the track in its entirety along with a catchy and beautiful middle section - there's magic in the air, and we go avidly to the next song.

'Il mattino' continues with the dream-like vocals, this time accompanied by incredible and unforgettable keyboards. But now the main gift is the solo part: a 5-minute dazzling intermezzo where piano, guitar, drums and bass provide a marvelous communion like shaped outside of the real world. Instruments run in crescendo, leaving hearts in suspension with so many musical magnificence and grandiosity. 'Ognuno sa', the next song, keeps high the atmosphere; an adequate follow-on for the previous marvel.

'Padre' starts with soft mellotron and hard guitars, just to blast into a short rock section introducing a sorrowful singing part. A good song, much more in a classic rock style however with neat progressive touches supplied by the ever-present keyboards. 'Lavoro in città' maintains the rock ambience conjugated with spices of avant-garde, blues and romanticism supplied by strange intro choir, crying guitars and harmonious vocals.

'Vertigine' closes the album in a true and enjoyable prog-rock mood. This time, vocals appear more sharpened and incisive, while the band plays explosively. Instruments come and go in an amusing manner, always surprising the hearer - the real essence of the progressive sound. After listening to this ender and if I were there in 1972, I'd be eager for their next release which unfortunately did not happen, at least in the way we like.

After hearing and re-hearing, enjoying and tasting this work, in my opinion there are no doubts left about "Reale Accademia Di Musica": a masterpiece.