IO NON SO DA DOVE VENGO E NON SO DOVE MAI ANDRÒ, UOMO È IL NOME CHE MI HAN DATO

Guitar centric prog rock with some great flute . DE DE LIND released one beauty of an album in 1973 and then disappeared.. This album offers a beautiful selection of soft and harder edged prog rock songs with loads of classic rock themes tossed in as well throuhgout. Vocals although not overly emphasized are quite well done and carry that classic 70's Ital-Prog influence. For those who love the flute in rock will most definitely love this album with some great musical passages.

Atypical for an Italian prog album of the early 70's, this one is heavier but not any less melodic in the Italian manner. I heard people comparing it to Tull but I think this is a mistake even compared to the heavier works from the Tramp. If anything, De De Lind can be compared to a cross breed of VDGG and KC but the voice is definitely not Hammill although the intonnations can resemble at times. Loads of heavy guitar but avoiding the clichés and tons of flute and other reeds. I do not give often four stars to Italian prog and this one almost deserves another half-star. Pity they made this lone album

I have read mixed review about this one...but, personally I found it very enjoyable, full of acustic turns; you have to think of either Tull of Focus as a main influence, because of the use of flute (heavy at times). Definitively, progressive rock guitar base with some hard parts and sporadicaly use of the sax...by the way Italian lyrics..the singer has a graspy voice, but is quite good and at times he seems that almost is speaking rather than singing (which I found amusing). If you like to experiment on Italian progressive rock get it!!!!.. Now, if you can not live without synths as a main instrument, look elsewhere. I would not call it a Masterpiece, but in my book still is a hidden Italian progressive rock gem, that actually stand firm against some of the others solo albums on that time. Regarding the new package (Italian digipack) is absolutely fantastic..I just love this album, and showed around; but that is just me. A very good effort, that worth a listen.

Here it goes, another great Italian one-shot band named De De Lind. 'Io Non So Da Dove Vengo e Non So Dove Mai Andrò, Uomo e' il Nome Che Mi han Dato' ('I don't know where I came from nor I know where I'm going to, Man is the name I've been given') is a concept disc revolved around existentialist subjects such as fate, free will and confusion: the repertoire is connected in a continuum, with some recurring motifs that help to keep a spirit of coherence to the whole. The record's predominat mood is quite sombre and reflective, as it might be expected. De De Lind runs along the same harsh prog road as their compatriots Jumbo (though not as bluesy) and Ossana (though not as heavy). I can notice that their main foreign inspiration is early VdGG, a source of energy whose influence is counterpointed by the presence of many folky passages. The contrasting alternance between the rocky parts and the acoustic moments kind of reminds me a bit of what Raccomandata Ricevuta Ritorno would do just one year later with a jazzy twist. On the other hand, de De Lind maintains a clear touch of hard rock thanks to the energetic guitar riffs and the punchy rhythm section: there's still some psychedelic nuances working on, but De De Lind never allows themselves to go too far at it. Though I enjoy the album as a unified whole, I regard tracks 3, 4 and 5 as my personal faves since I find them particularly impressive. The musicianship is not neckbreaking top-notch, and actually is only moderately refined, yet these guys were fairly capable of creating some great prog magic. I wish I could give this album an extra 1/2 star.

A beautiful folk rock album with pleasant sounding vocals. I wish I could understand what they were saying, I have translated a few lines and the lyrics sound intriguing so this seems like music centered around words and maybe there is a theme. But the music is very good too, reminds me of jethro tull. Def. check these guys out!

Once while surfing the net I came across an Italian website dedicated to prog rock. There was an album high up at number 7 on it's list of 20 best Italian prog albums that I had never heard of... a quick topic search found a grand total of zero threads dedicated to the album so I got intrigued. So I threw caution to the wind and got a copy of this album. Wow! what an album. Fans of guitar driven prog like Osanna or groups like Quella Vecchia Locanda will LOVE this album.

First off some research... De De Lind was named for a Playboy model of the 1960's. Naturally my curiousity was aroused so I googled the name and found some ..inspiring pictures of her.. rather inspiring hahah. Unfortunately.. as so often happens De De Lind was a one and done group. However as many did do.. they came in and left with a bang. Very surprised.. like I was the RRR album that this album is not more popular. Part of that may be that the album is placed in Art-Rock. The music has nice symphonic touches, which is more than some that are and have been in symphonic have.. but that is a matter for the forums not the review. Don't be mistaken by the Art-Rock moniker. This is a great statement in Rock progressivo italiano that upon first listen.. as well as subsequent listens.. is worthy of such a high ranking on that website. The album title.. abbreviated for space constraints on the page is ' Io Non So Da Dove Vengo e Non So Dove Mai Andrò, Uomo e' il Nome Che Mi han Dato' quite a mouthful of course which translates roughly to 'I Do not know From Where I come and I do not know Where Never I will go, Man is the Name That I've been given' Yeah we do love prog don't we. As far as the album itself... great stuff in the QVL vein. Lots of great flute and guitar, though not much of anything in the way of keyboards here, other than some piano in places way in the mix, good reason... there is no keyboardist in the band which was not exactly commen in prog those days. As far as the album itself...

The Album kicks off with Fuga E Marte and something a bit unexpected.. a kettle drum intro which is joined by the accoustic and wah guitars. After a nice little intro the drums herald a upbeat bass and guitar melody which give way after a bit to the enterance of vocalist Vito Paradiso. I love his vocal style.. more on that as we go through the album.. here he has a urgent very masculine quality to it. A sudden tempo and stylistic shift brings us a lovely clean flute melody in conjunction with some accoustic guitar.

The next song Indietro nel Tempo starts with a flute and accoustic melody which is slowly drowned by by the first apperence of a recurruinrg dramitic musical 4 chord musical theme highlited by some bouncy bass playing and great wah guitar. Trama's blazing saxophone runs enter out of nowhere after several times through the theme. Paradiso enters along with a change in rhythm that can be best described as bouncey and his vocals lines match it perfectly.. his delivery is letter perfect at this point. Great guitar riffs abound in this song. Sounds very good turned up to 11 on the stereo. A reprise of the theme takes us right into Paura del Niente with some nice accostic playing. Paradiso enters with some plantively spoken vocals that while nice aren't as effective as when he lets it rip. A nice Tull inspired flute/guitar section follows the 4th verse. The song really gains character with a solo bass line that with each repeated play gains both tempo and limber. The drums come in and are followed by a nice guitar solo. The kettle drums signal the end of that and the begining of a nice and rather flighty flute solo. A very nice track.. interesting arangement on it.

Next comes what must be considered the centerpiece of the album. Smarrimento begins with a strident militant line done Ian Anderson style. This line quickly turns quieter and more reflective with a nice clean sounding flute section.. however something is coming.. the pace pice up.. the tension builds...you hear the memacing guitar chords warning you that something is coming until .....release... the e-guitar and flute explode together which of course soon dies down into a acousitic guitar line repeated until Paradiso enters with pleasant plaintive vocals that work much better than they did on Paura del Niente. A great track and my favorite on the album.. great use of dynamics and tension.

Cimitero Di Guerra brings the kettle drums back punctuated by guitar power chords. Very nice intro. A rather hypnotic track due to the subdued flute, and accoustic guitar with some effective vocal delivery. The track ends with a reprise of the strident flute lines of the beginning of Smarrimento ..this time delivered by the flute and guitar. The next song Voglia De Revierre has a nice rather pleasing accoustic melody with the bass drum tempo shift into a reprise of the Indietro Nel Tempo theme with some stinging lead guitar work with some saxophone low in the mix. Very nice song. The album ends with E Poi with slashing guitars over strumming acocoustics with suddenly stop and leave us with Paradiso delivering a plainive verse before the slashing guitars come back and bring the song and album to conclusion.

Hard album to rate for the forum.. it's one of the better albums of Rock progressivo italiano that I've heard. Quality wise.. 5 stars easy. Is it essential to understanding prog or even Italian prog. No it's not.. but I strongly recommend you check this album out. You will like it, trust me on this. For myself.. 5 stars... for the forum at large 4 stars.

Michael (aka micky)

Good but not great.

De De Lind made this decent early 70s guitar rock album with both electric and acoustic employed liberally. There is also lots of flute and emotional Italian vocals and not too many keyboards which will make it less appealing to keys fans. Some compare the sound to Tull but I can't see it too much aside from the flute. The title of the album translates to "I don't know where I'm coming from and I don't know where I'm going to. Man is the name that was given me." Hmmm..they probably didn't issue bumper stickers for that one.

This album really rocks when it chooses to but there are many soft acoustic passages as well. It is the softer pastoral moments that work the best in my opinion with their sense of space and melody. The rock sections are OK but I find their riffing not all that original or interesting. The songs flow very well with repeating musical themes. I've read conflicting opinions on the lyrics, one calling them "visionary" and another saying there are "nothing special." Decide for yourself if you speak Italian!

I would say that De De Lind is in the middle of the second tier of Italian acts, they certainly are not in the first tier. Recommended for fans of flute-guitar rock and Italian genre lovers. The band split after this album unfortunately as I think they did have potential to make a better album. The recent gatefold lp-sleeve CD reissue features a fantastic shot of the band next to a road in the country. When looking for Italian titles I definitely suggest finding the newer Italian mini-LP sleeve reissues as they feature improved sound (generally), nice artwork, sturdy sleeves and great informational booklets. This one is no exception.

De De Lind sports a somewhat typical early 1970s sound that adds a little extra British influence into the mix than is typical for Italian bands. The ubiquitous flutes can recall Tull one moment and the Moody Blues the next. For instance "Paura Del Niente" is one of the highlights and features the woodwind extensively in a manner reminiscent of the Moodys' "Legend of a Mind". The centerpiece, "Smarrimento" is more Tullish but then also sounds like Celeste in the latter part with its gentle vocals and acoustic guitar, but of course this disk predates Celeste. Still other parts, such as the driving section of "Indietro Nel Tempo", one of my favourite tracks, seems to presage that quality in some German bands like Jane. In summation, this is very much a record of its time, sounding engaging enough and relatively distinguished if mostly because of the flute, but ultimately not something I need to return to very often.

I like this album a lot for several reasons but mostly for the vocals and the hard rocking sound. Of course the folk passages which are usually dominated with acoustic guitar and flute provide a great contrast with the harder edged sections.

"Fuga E Morte" opens with a good rhythm of bass and drums as a gong clashes repeatedly. It kicks into gear 1 1/2 minutes in and vocals follow a minute later. Flute after 3 minutes. A calm with acoutic guitar and flute after 5 minutes. Spoken words with organ 6 1/2 minutes in. "Indietro Nel Tempo" might be favourite track. Flute and acoustic guitar to open before we get some power as the drums and guitar arrive a minute later. Love the guitar here as they just seem to jam. Those fantastic vocals come in after 3 minutes. Amazing tune. "Paura Del Niente" is mellow with acoustic guitar and reserved vocals early before the flute joins in.The tempo picks up 2 1/2 minutes in. Nice bass. It calms right down 3 minutes in before it starts to kick back in a minute later. Some aggressive and raw guitar as drums pound away. Another calm after 5 minutes with flute only before a fuller sound ends it.

"Smarrimento" opens with flute. Guitar before 2 minutes and the tempo picks up before 3 1/2 minutes. It settles back down with flute and fragile vocals. Heavy guitar and pounding drums come in after 7 minutes to end it. Nice. "Cimiterno Di Guerra" opens with drums and gongs before the vocals come in. It turns pastoral before 1 1/2 minutes. This is such a beautiful passage. It kicks in before 4 1/2 minutes with drums and flute leading the way. Guitar and some heaviness 5 minutes in. "Voglia Di Rivivere" opens with fragile vocals and acoustic guitar. Flute after a minute then guitar and drums come in after 2 1/2 minutes as the solitude leaves. Great section. It blends into "E Poi" which contrasts the light and heavy really well.

This is a solid 4 stars.

This is another out of many ISP band who only release done album and then disappeared. This disease is stronger than the "A N1H1" virus. It killed an enormous lot of very good Italian bands without known reasons.

"De De Lind" plays a heavy symphonic rock which is appealing but not superb as some others of their countrymen have produced. Of course, I'm referring to "la crème de la crème" and it is obvious that this band doesn't play in the same division.

Still, the vocals are well achieved and smooth; fluting is subtle but can develop a more "angry" angle at times like during "Paura Del Niente" which is a highlight of sweetness and harmony.

Same sort of feeling applies with "Smarrimento". The instrumental intro (flute again) is such a fine musical moment (at times reminding the great Tull of course). The remaining second half is more of a folkish affair than symphonic Italian prog; but pleasant indeed. We'll even get some truly heavy notes to close this good track.

It is true to say that this album lacks of great inspiration and that passion sounds to be alien to most of songs featured ("Cimitero Di Guerra"). This album is a good ISP effort, but no more. Fans of the genre (to which I certainly belong) might feel somewhat disappointed but by no means disillusioned.

There are often some great instrumental passages that save the bill and bring this album to a good level but I'm missing some grandeur, some definite and passionate flavour which is genuine to the genre.

A good album. Three stars.

De De Lind were formed in Milan in 1969 and the name of the band was inspired by a famous Playboy model. After some singles in a "beat" style they turned to progressive and in 1973 they released an excellent debut album with a line up featuring Matteo Vitolli (electric and acoustic guitars, percussion, piano, flute), Gilberto Trama (flute, sax, piano, organ, horn), Vito Paradiso (vocals, acoustic guitar), Eddy Lorigiola (bass) and Ricky Rebajoli (drums, cymbals, percussion). It's an interesting conceptual work that, through the eyes of a dying deserter, tells about the horrors of war. Lyrics perfectly fit the music, even if they could seem a little bit naives, and the result is absolutely good.

The opener "Fuga e morte" (Escape and death) begins with a martial marching beat describing troops going to fight a bloody battle. While the battle rages on a man runs desperately away, trying to escape from the massacre. The rhythm here becomes frenzy and powerful electric guitar riffs underline the anxiety of the fugitive. "I was running along endless paths, I couldn't stop / Dark used to rule / No one with me but worry...". The fugitive feels that he can trust nobody, he's lonely and frightened... "Beware of your neighbour / I've always been told / He could be the enemy / That you have been waiting for a long time...". Then acoustic guitar and flute seem to bring in rest and peace. When sunrays begin to filter in a ancient forest and hope seems to rise, a faceless man shoots the fugitive soldier down. While grey lead bullets take his life away he tries to scream... Too late! His life is fading away.

"Indietro nel tempo" (Back in time) begins softly, then memories come back and souvenirs start storming on the notes of fiery electric guitars... Red faces and black shadows, all the family is reunited around the mantelpiece while outside a cold wind is furiously blowing... "In the stormy nights / The wind was howling / And the grandfather used to tell us / Stories about brigands...".

On "Paura del niente" (Fear of the nothingness) the rhythm calms down again. Life is still hanging on and other images peep out... The souvenirs of a carnival parade and a little boy wearing a mask, an old man on a bench who seems to be carved in the stone, a white carriage passing near the protagonist's house, long chimneys emitting black smoke, a wondering lonely dog looking for a new owner... To die like that seems so unfair and absurd, for the protagonist the wish to meet a sweetheart is still so strong... "I would like to meet you / Just before the sun dies / On another day, again...". Then music takes off again, rebounding forth and back, desperately pulsing, crying, thundering, breathing life again...

The instrumental finale of the previous track melts in "Smarrimento" (Bewilderment) that starts like hanging on a dream on delicate flute passages before the music darkens on heavier guitar riffs... Then soaring vocals on an acoustic guitar arpeggio describe in an almost caustic way a priest at a funeral. The clergyman is between two men in black, his voice is trembling and his look seems lost... "Do you remember, Don Angelo? / You used teaching us to believe in God...".

"Cimitero di guerra" (Cemetery of war) features gloomy and ethereal atmospheres. It's introduced by percussion and gong and starts with a solemn pace... "Cemetery of war in the sun / White crosses remind the horror / Where wheat fields were stretched / So many broken lives lie, in vain / Oh soldier, unknown soldier / That has been buried in a burned field / For you, who are in the oblivion by now / They wrote that you are known to God...". Lyrics then describe a little nun that goes from door to door promising prayers in exchange of charity. She's dressed in black and her dress is like dark shadow... Well, the criticism against official religion and the commoditisation of pain here is strong.

"Voglia di rivivere" (Wish to live again) begins in an almost dreamy way. The attachment to life of the protagonist is strong, but the time is running over... "My time is running over / With the ghosts of some happy hours... My time is fading away / With the smile of the people who take the last train...". Then comes a short instrumental reprise from the second track that leads to the last piece.

"E poi" (And then) is a beautiful short track and a perfect conclusion for such a good album. The lyrics are the title of this work... "I don't know where I'm coming from / And I don't know where ever I'll go to / Man is the name I was given".

Another one- album-band from Italy.

Their name was De De Lind, a band that gathered together in the late 60s and disappeared a little bit after their released their debut and last effort in 1073. Its title is "Io non so da dove vengo e non so dove mai andro", a long but interesting title. The album features seven songs and a total time of 38 minutes.

It opens with "Fuga e Morte" which starts with some kind of funeral drumming for more than a minute, later it stops and a new and completely rockish sound appears. Nice guitars and bass notes. After minute two, vocals appear for the first time, the voice is strong and very Italian, you know what I mean. Later the addition of a flute inserts a new flavor and produces another texture, however the rockish sound prevails. Before minute six the song slows down and gives a sense of calm, later voice appears again.

"Indietro nel Tempo" starts beautifully, with a clean and soft flute sound; seconds later guitars appear but keep the same soft sound. However it turns again a bit rockier due to the electric guitar riffs. At half the song vocals appear. Nice but not so good track, actually.

"Paura del Niente" starts again very softly with nice vocals and flute sound along with the guitars. The vocals this time sound softer actually, sharing tranquility. There is some kind of explosion where all the instruments make a crescendo and the music sounds faster and aggressive. However, it lasts only for a split second. Later there is a stop and a nervous and tense feeling appears due to the guitar that is being played faster and faster, later drums follow that path and the atmosphere creates tension on you. Nice track.

"Smarrimento" has a Tullish flute beginning, the flute continues for two minutes until drums, keyboards and guitar appears, however the flute is still the leader of the army. The song has its highs and lows, its stops and goes, but in general is one excellent track in my opinion. At half the song it changes again, acoustic guitar appears along with soft and moderated vocals. There is now a pastoral sound, and a peaceful atmosphere. But a couple of minutes later there is a lightning where electric guitar appears and makes a brief two-second explosion. There are several musical elements played here, the colors and textures varies while the seconds pass. Excellent composition.

When you think you are in the same song, then you realized that "Cimitero di Guerra" has started. As the title suggests, the percussion play some kind of war sound. Later the voice appears so far, it is like a speech from an important person, because when he speaks all the other instruments are quiet, so the people are listening carefully to him. Anyway, later the voice is near and the instruments far, as background. This song has that kind of funeral sound all over it, and it does not really help, this song is boring in moments, though the atmosphere is interesting. The last minute is rockier and actually more interesting.

"Voglia di Rivivere" has a gentle acoustic guitar sound, then vocals with a melancholic sound. Later flute appears and continues with that soft sound. This is a short and calm track that may work as an adviser of the final part of the album, though the last minute becomes heavier and rockier, again. And so there is "E Poi", the shortest composition, which starts heavy and I don't know why but reminded me to Traccia from Banco. Later there is a stop and guitars with vocals appear in a soft way. But then the song returns as it began. Nice one.

As you may have noticed, this time I did not really write with the emotion and enthusiasm I use to, and that is because despite I do like this album, I just find it nice, but not that good. All is a matter of tastes, but this time the album did not create that excitement on me. That is why I consider three stars is the best qualification.

Enjoy it!

Do a Google search for De De Lind, and your result is likely not safe for work - the band shares its name with a Playboy model of the 1960s. What the two have in common however is timeless beauty and deceptive innocence. De De Lind (the band) released Io Non So Da Dove Vengo e Non So Dove Mai Andrò, Uomo è il Nome Che Mi Han Dato (yes, that is the full title) in 1972 on the Mercury label. Grossly underrated, overlooked and forgotten describe this masterpiece of Italian Prog; it is one that does take some time to fully appreciate, but rewards the patient listener with an emotional payoff nearly unrivaled during the early period of '71-'72. Biglietto per L'Inferno would achieve a similar feat two years later with their debut, but as heavy prog goes nothing else comes close to De De Lind in my opinion. Only Museo Rosenbach approach anything this touching and honest, but even Zarathustra fails on a personal, human level where this album succeeds. Io Non So Da Dove Vengo...is absolutely essential for anyone seriously interested in Progressive Rock.

"Fuga e Morte" begins what is essentially one long suite; although the songs are segmented and sequenced in seven sections, the album plays like one long song. But unlike Thick As A Brick, Io Non So Da Dove Vengo uses repetition as a tool rather than out of necessity. Each part is autonomous and strong enough to stand on its own, yet functions as part of a greater whole. Key elements appear and reappear throughout the program, the first of which comes about ten minutes into the album. "Indietro Nel Tempo" continues where "Fuga e Morte" leaves off, perfectly balancing heavy riffs with folk-inspired brevity, and neither fights for attention. The three-chord progression established in "Indietro Nel Tempo" will coalesce much later, giving the album a unified feeling. Another pivotal moment comes at the beginning of "Paura Del Niente." Singer Vito Paradiso serenely offers his vocal, while acoustic guitar, plucked piano and flute provide the necessary support. Before careening into an extended crescendo, this brief two-minute respite allows the listener just enough time to reflect on what just happened. Before you know it, the first side is over.

The lengthy "Smarrimento" starts off with some Tull-ish flute, but this is really the only venture into Ian Anderson territory. Flautist Gilberto Trama has a style more akin to Peter Gabriel, with his shaky vibrato and timid delivery. This works in the music's favor however, as the flute plays more of a support role and doesn't assert itself (Trama uses sax similarly). After an extended into, Vito Paradiso appears and delivers a thought-provoking vocal. You could complain about the lyrical content and attempt to explain what it all means...to do so does the music a disservice I think. But if I had to analyze the concept, I would say it's not about death or the afterlife at all. This is an album about life. The title alone sums up everything you need to know: I don't know where I've been, and I don't know where I'm going, Man is the name that has been given me. And so, in this context the reflective "Cimitero di Guerra" may not be the Man viewing his own grave in remorse, but the gift of his life in retrospect. It's just a thought. Your mileage may vary.

The transitional "Voglia di Revivere" sets up an exciting and flawless finish to the album, which again restates earlier motifs much like a postscript. The finale "E Poi" offers some new ideas, as well as the enigmatic title of the album in poetic form, and the lyric does not repeat. I believe this lack of repetition was fully intentional, and while the album could have gone on longer, it's perfect exactly like it is and needs nothing further. Io Non So Da Dove Vengo may not be immediately gratifying and may even seem average at first. But De De Lind deserve more credit than that, and this album deserves to be heard.

Italian one-shot band De De Lind hailed from Milan and were found in 1969, named after the famous 60's Playboy model of the same name.The three early singles saw a band starting as a pure Pop/Rock band and developing slowly to a Hard Rock ensemble.The line-up was singer Vito Paradiso, multi-instrumentalists Matteo Vitolli and Gilberto Trama, bassist Eddy Lorigiola and drummer Ricky Rebajoli, a mid-60s member of Beat groups New Dada and I Nuovi Angeli.By 1973, when the band released their sole album with the ultra-long title ''Io non so da dove vengo e non so dove mai andrò. Uomo è il nome che mi han dato'', De De Lind had adapted a full-blown Hard/Psych/Prog style.

An interesting album for the most of its part, ''Io non so da dove...'' offers moments of Hard Rock delight with major progressive and folk influences, though the harder moments are more dominant.The longer cuts are obviously the most interesting.Here the hard rockin' grooves, led by powerful electric guitars and the vocals of Paradiso, alternate with gentle acoustic parts filled with delicate folkish flute work and sometimes nice sax solos.These parts seem to be possibly the best ones with the band being capable of creating some trully atmospheric soundscapes with strong psychedelic and singer/songwriter inspirations.OSANNA and JUMBO are good reference points.Organs are sporadically appearing without even notice them.The shorter compositions either follow a typical Hard Rock vein or sound similar to the above forms, though a bit more compressed, with good guitar/flute interplays.The album sounds a bit dated and sterile nowadays, but should have been a really good entry back in 1973.

Te band continued to perform live for sometime with new drummer Fabio Rizzato replacing Rebajoli, before splitting up.All members disappeared from the scene except Vito Paradiso, who had a brief solo career at the end of the 70's.

A good album next to the likes of JUMBO, OSANNA, I CALIFFI or CAPITOLO 6.Decent Hard Progressive Rock with lots of driving flutes and a high energy, but not much diversity or flexibility.Overall recommended.

Many prog bands and their albums go down in history for various reasons but Milan, Italy's DE DE LIND is a curiosity in its own right for having perhaps created an album with the longest title of all the 70s! The long winded IO NON SO DA DOVE VENGO E NON SO DOVE MAI ANDRÓ. UOMO È IL NOME CHE MI HAN DATO which translates into English as "I Don't Know Where I'm From And I Don't Know Where I'll Ever Go. Man Is The Name They Gave Me," may perhaps win that award! And add to that the band's name came from a famous Playboy model who won the Miss Playboy title in 1967! Now if that's not enough to get your attention then i don't know what is! However despite what seems like a gimmick to catapult the band's entryway into the crowded world of Italian prog in the early 70s, IO NON SO just happens to be a really great album worth checking out.

This band actually started back as far as 1969 as a beat group that released three singles in that style before joining the modern world and going full-fledged prog with extra helpings of both folk and hard rock in the mix. The band consisted of five members: Vito Paradiso (vocals, acoustic guitar), Matteo Vitolli (electric & acoustic guitars, percussion, prepared piano, flute), Gilberto Trama (flute, tenor saxophone, flugelhorn, piano, prepared piano, organ), Eddy Lorigiola (bass) and Ricky Rebajoli (drums, percussion, timpani). The band released this one and only album before parting ways shortly after its release. There is a dispute as to whether the album was released in 1972 which is purportedly the date given on the original vinyl copies itself or 1973 which is when almost every source on the internet seems to agree upon. Since i don't own an original copy, it'll have to remain a mystery.

IO NON SO (for short) is an intricate mix of delivering those tender delicate Italian melodies with lush acoustic guitar passages along with folky flute flavors that alternate with heavier rock moments that add a more bombastic contrast to the mix. The album while completely in Italian like almost all contemporary artists from that nation during the 70s, nevertheless recounts a concept built around themes of the war and memories surrounding its consequences although the the strength of IO NON SO is in how the music creates a beautiful tapestry of diverse sounds that doesn't really equate to any other in the Italian scene. Despite that claim there are similarities of course. The softer passages revolving around lulling acoustic guitars is clearly right out of the Le Orme playbook whereas the jagged time signature frenzies during the hard rock moments are indicative of what was going on with the more popular bands like PFM or Banco, however DE DE LIND managed to keep the similarities tamped down and crafted a rather unique sound for itself within the greater Italian prog spectrum.

With seven distinct tracks IO NON SO projects the perfect mix of lush softened and harsh bravado with Vito Paradiso exercising his vocal range in perfect adaptability from the pastoral folk sequences to the reckless abandon of the hard rock. While DE DE LIND didn't stand out musically speaking as boldly as bands like Area or Il Balletto Di Bronzo, the band nevertheless crafted a unique stylistic approach that is more subtle and requires a few more spins to fully digest. The album is rather dreamy for the most part as if it was crafted in the clouds with classical guitar led medieval sounding moments with flute and flugelhorn as well as jazzy moments mixed with hard rock heft where drummer Ricky Rebajoli really shines with some intricate percussive work. The tracks are generally really moody with some like "Paura Del Niente" providing some of the most diverse workouts that go from sedate to agitated throughout its running time.

By the time DE DE LIND hit the Italian prog scene, the genre was already quite crowded with little room for newbies and since this band didn't exactly create an immediate impression that hit you with catchy hooks it didn't exactly find its way to the big leagues and called it a day in 1973 when the Italian prog scene was slowly winding down. It never ceases to amaze me how many great albums came out of the 70s Italian prog scene and IO NON SO DA DOVE VENGO E NON SO DOVE MAI ANDRÓ. UOMO È IL NOME CHE MI HAN DATO is just one more out of many. It must've literally been impossible for anyone to keep up with it all at the time but history has been fairly kind to this album and despite it not exactly catapulting itself up to the top of all time greatest album lists still warrants more attention since it's completely in the vein of the contemporary prog scene but yet adds slightly "off" approaches that keeps it in its own world. There is really no mistaking this as a long lost album of the more known bands. Yet another Italian band that i wish would've stuck it out to evolve to the next level. Wasn't meant to be but this one specimen is well worth the time invested.

De De Lind date back to the late 60's and were named after Playboy's Miss August 1967, an odd choice for a 70's Italian prog band, but she was the most popular centerfold in the magazine's history at that point, so......

This loose concept album (war and battle vs individuality) opens with tympani and crashing cymbals while bass and guitars weave a quick hypnotic early Amon Duul II acoustic instrumental. (Fuga e Morte) But with a roll of the drum kit we are suddenly off with some stuttering heavier guitar and the powerful vocals of frontman Vito Paradiso.

Fans of Capitolo 6 and Procession will like the guitar heaviness herein but the general dearth of keyboards (there's some in there) will turn off some fans expecting an organ heavy RPI ride. Second song Indietro Nel Tempo builds slowly and then bursts into a jam that bears more than a passing resemblance to No Time Left For You by the Guess Who from 1969. Perhaps this was in their setlist back in the day and the riff melded into their psyche. Nevertheless, this is a strong rocker with not a lot of RPI in it. Third song Paura Del Niente contains some unaccompanied vocals that are starkly beautiful (Paradiso is a very appealing Italian vocalist, a less gritty Ivano Fossati perhaps). The song proceeds in an early Focus fashion (flute is prominent on this album) before building to an electric moment from Amon Duul's Dance of the Lemmings or Hawkwind's debut album with a frenzy of drums and bass unleashing a hurricane while a guitar tears apart the firmament. And then....some beautiful unaccompanied flute work leads to a classical influenced guitar and flute end to side one.

Side two begins with a 'very Thijs Van Leer' flute solo in Smarrimento. Guitars crash in and slow martial styles duel with the flute-some exciting stuff. Paradiso shows an ability to sing delicately and powerfully with equal panache, something rare in RPI vocalists. Acoustic guitars lead us into a different section of perhaps the best song on the album. Folk elements and heavy riffs complement each other in a fashion that first album Procession fans will like. Electric guitars take over and this sucker starts to really rock. The nearly unnoticeable subtle transition to the second song Cimitero Di Guerra (cemetery of war) is suitably grim and even non Italian speakers will understand a lot of what is going on. Funereal themes lead to a jam the recalls Aphrodite's Child's more adventurous heavy prog with hints of traditional Mediterranean stringed instruments that create a unique atmosphere. Voglia Di Rivivere is a delicate acoustic ballad, effective in a way that some of their contemporaries are just not. Uh oh, the No Time Left For You jam rears its head once again. But it finishes off in a new direction with sharp syncopation before giving way to the last song's gentle vocal, the entirety of the album title: 'Io Non So Da Dove Vengo E Non So Dove Mai Andro, Uomo ' Il Nome Che Mi Han Dato', the longest album title I have ever encountered. With a Tull-ish acoustic strum and flute cadenza hybrid, we are at the end.

A pretty rocking experience that is recommended for guitar prog people. The lack of keyboards might be a sticking point for some symphonic fans, as it veers fairly far from that category. If you've acquired some of the bigger names in RPI, this should be a stop for your next batch. I like this album a lot. That Guess Who thing though? Weird.

Great sounding vinyl pressing on Mercury Records reissue, a strange label for an Italian prog band to land on. Check out their t shirts in the cool band photo on the inner gatefold promoting a couple of clubs and a homemade De De Lind shirt. Nice.

3.5 stars

Reference points: Focus if they grew up in Italy and were on their heavier side of rocking.

I wonder why this not so little of a masterpiece is not higher rated than it's the case - maybe due to the rather plain main theme, even it's otherwise very sophisticated concept album. In his book, "Scented Gardens Of The Mind. A guide to the golden era of progressive rock (1968 - 1980) in more than 20 European countries", Dag Erik Asbjørnsen writes no less than: "If one masterpiece should be singled out as the jewel of Italian rock, my vote would go to De De Lind's one-and-only album...". Well, I guess not many people would agree with that but I'm sure curious about reasons for the present ratings - even yes, I have some thoughts about it.