POOHLOVER

It is told the band's members were increasingly unhappy with the musical direction strongly suggested (or just "imposed"?) by the publishing's and producer's management.

While the label wanted them to continue in the massive use of symphonic arrangements (with real big orchestras, mean what I say), they (POOH) simply tried to concentrate on the single abilities of each member and ended the collaboration with the producer Giancarlo Lucariello.

They finally came down-to-earth abandoning (for the most part) the old love themes for social subjects: homosexuality (the beautiful soft acoustic gem and live favourite PIERRE which I suggest you to listen to) , gipsy people, convicts, prostitution etc.

But not only. They put in the record also fantastic stories and legends (just like they did for the PARSIFAL and UN PO' DEL NOSTRO TEMPO MIGLIORE albums) as in the closer and the interesting STORIA DI UNA LACRIMA (Tale of a Tear).

Well, this 1976 record, is a mixed musical solution with still old elements and simple pop- solar numbers, as the LINDA song, a track with which they immidiately won an important music festival (Festivalbar) and which was also sung in spanish version by a certain MIGUEL BOSE'.

Yes, I have to admit it. As a good old "prog related" band, Pooh don't play prog rock ... rectius ... they sometimes deliver some interesting proggy stuff. And probably in this case we have one of the last examples in their discography.

Just listen to the closer PADRE DEL FUOCO, PADRE DEL TUONO, PADRE DEL NULLA (5:48) whose translation is enough clear for non italian people: Father of Fire, Father of Thunder, Father of Nothing.

The track would deserve to be submitted in MP3 format for this site and opens with atmospheric soundscapes keys and vocals by Roby Facchinetti and then you can hear - finally - an aggressive part (POOH are not always harmless as they could seem... ehe he heh) with a wonderful electric guitar solo by Dodi Battaglia (probably one of the most famous of him for the band). Then the song slowly fade out with the opening theme.

UNO STRANIERO VENUTO DAL TEMPO (A Stranger Come from Time) has a similar structure.

To conclude, I can't say it's a bad album. It is a bit too pop and too soft (...at the risk to be too repetitive) but has something valuable and interesting enough and has some sparkling and proggy numbers here and there (Padre del Fuoco... above all) plus a wonderful acoustic gem with deep lyrics (Pierre).

It's prog related. And so I'll judge for what it is: 2.5 stars rounded up thanks to the numbers I spoke of.

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