STORIA O LEGGENDA

Some nice pop-prog songs, but very far away from Felona e Sorona or Uomo di Pezza. This album was made in 1977, when progressive rock went right to the abyss, and LE ORME wasn't the exception. The band conserved a little symphonic taste, but when you put an organ sound into a pop song, it doesn't mean you're making progressive music. You can buy this album if you're an Italian bands completist; if you aren't, avoid it. But don't miss "Uomo Di Pezza" and "Felona E Sorona", the real LE ORME masterpieces.

Graced with a cover that promises greatness along the lines of 'Uomo Di Pezza' (similar artwork), 'Storia O Leggenda' is, alas, a rather linear version of the more epic and dynamic Le Orme we'd come to know in their prime. Still, the keyboard sounds sparkle with a great beauty that makes the album a pleasure to listen to. It's just too bad the compositions aren't as inspiring as some of the band's earlier classics.

By the year of this release, 1977, recording technology had improved almost exponentially from the early '70s. The beautiful, well-rounded sound picture on this album comprises one of two highlight characteristics of 'Storia O Leggenda'. The keyboards, as mentioned, are gorgeous: crisp, lush, dense, up-front.purely alive with vibrancy. Add the clear punch of the bass and A. Tagliapietra's enchanting voice, and there's plenty of ear-candy happening, even if most of the songs lack memorability. Nothing asserts the kind of character you want to hear on a Le Orme album, though I have to mention the sedate strains of "Un Angelo" as standing out from most of the other tracks. That's not to say it's the best...it's not. It just asserts itself more than some of the others. There's a polite and quiet flow to these songs, not traits associated with Le Orme's best material. Everything is enjoyable enough, nothing bizarre, nothing too challenging, but certainly played by a band that possesses rare chemistry and a unique insight. At the very end you get the album's second impressive characteristic: kinetic instrumental "Al Mercato Delle Pulci". After seven songs of fairly even-keeled arrangements and patient performances, this song spikes out like an unexpected explosion. It bounces between Eastern melodic figures (shades of King Crimson's 'Discipline' album here) and barely-controlled fusion-esque freakouts. Oh yeah, Le Orme could still spazz out, they just chose to play those cards less frequently. It certainly is a joyous moment of genius prog on an otherwise average album.average for Le Orme still being leagues above many other prog acts by comparison.

I think that this is a good album, though probably not the best of this band. The lyrics are interesting and probably you have to understand them to enjoy completely this work. The music is between their past masterpieces of the early seventies (for instance the instrumental "Al mercato delle pulci" and "Come una giostra") and the acoustic mood of Florian ("Un angelo"), though sometimes less inspired than their standards. Anyway, I think that this album is a excellent addition to any prog collection.

My favourite song of this album is "Il quadro", especially because of the lyrics. this is my effort to translate it.

IL QUADRO/THE PAINTING: Sitting in a café near Montmartre / With a glass in my hand I was leaving my thoughts / In that days I was feeling down / When suddenly a steady voice made me look up / Bonjour Monsieur, I've not been eating for days / Please, let me show you one of my paintings / That's the imagine of a man / That's the story of a life / Lost and found many times and lost again / One year has already passed from that strange meeting / And I'm still thinking to his wide eyes / To that sad smile that went out from the scarf / To his voice that's still planted in my mind / Bonjour Monsieur, I've not been eating for days / Please, let me show you one of my paintings / And I still remember that painting / The background red like fire / With only one butterfly in the middle.

"If I go to work, that's because I don't know what to do, few friend to pass the time together..."

Storia o Leggenda is the most controversial album released by Le Orme during the seventies. It was recorded in Paris in 1977 - october. A very nice "freudian" cover (fallic symbolism) that reminds of the memorable Uomo di Pezza (1972). The picture is inspired by a work of Walter Mac Mazzieri and seems to represent the fight between man and woman, maybe a link to a tough contrast between harder and gentler music's parts... nothing at all!

The listener risks to be too soon disappointed for the wrong choice of the opener track, titled "Tenerci per mano" (Holding Hands). That wasn't the right place to introduce REGGAE!! I was a little bit shocked too, even though those reggae parts are not of a great importance in the song's structure. By the way I cannot blame who've decided to underestimate the value of the whole album mainly for the influence of its opening move, which is, anyway, a good track (despite the reggae parts, obvious!) with mellow and wonderful harmonies.

If the band had decided to turn upside down the tracking list, I'm sure the results and the opinions of many prog lovers could have been different. Just listen to the closer, titled "Al Mercato delle Pulci" (At the Fleas' Fair)...the first seconds are a sort of forewarning of what would have come next with Florian...a mix between that Florian "acoustic" and "classical" feel plus a more stronger and usual instrumental work by Le Orme, with noticable drums' and bass' parts provided by the Michi De Rossi and Aldo Tagliapietra. What a pity the song is so short (only 4,07 mns). This was the argument that deserved to be developed!

The other tracks are all similar in structure, being a reasonable follow up of Verità Nascoste, but in a more soft and commercial vein (listen, for example, to "Se Io Lavoro", the track that get then the most relevant airplay...). "Il Musicista" is another favourite of mine from this prog-pop release, nice work on guitar by Germano Serafin. Relaxing arrangements in "Il Quadro", nothing more for a pure symphonic prog lover!

In conclusion: a mediocre prog release, a good prog-pop tunes' selection. If you want more from Le Orme of that period, get Verità Nascoste or Florian, which is, completely different, yet!

2.5 stars

I've always loved this album. Yes, I know it's not enough for you but it is going to be very hard for me to explain why. I'll try then. I believe it's more a question of feelings and emotions the music gives me. I know their early albums are classics but this one is somewhat special. It doesn't have epics of any kind, just 8 tracks that are incredibly harmonious, just like Uomo di Pezza. And at the same time they have a slight poppish feeling (like Smogmagica) and they also have an ounce of their future albums like Florian and Piccola rapsodia dell'Ape. Anyway, Tagliapietro's voice is as magical as ever. I guess this is the closest adjective I can find : Magical, definitely. Oh, did I mention this album contains my favourite Le Orme song ? : Se io lavoro. And believe or not, it actually has a disco feel to it. But don't worry progheads, this is deeply progressive : a fantastic organ and moog melody that virtually lifts you off into Heaven. If you think this review is too long, here's a shorter one : just get the album ! Forgot to mention the fantastic cover very much in the same taste as Uomo Di Pezza's.

Apocalyptical cover for this album. Really frightening.

What a contrast with the opening number "Tenerci Per Mano" which is a great and subtle "Le Orme" song. It brings me back to their excellent album "Uomo Di Pezza". Such a delicate voice, sweet music, wonderful harmonies. Extremely melodic. Wonderful, I have no other words.

And the same approach is used for the title track; at least till the chorus which is seriously pop-oriented (maybe too much). Still, there is no sign of a significant change of direction in their music. Still very symphonic and melodic (which I like very much). To put things into perspective, remember that "PFM" released the poor "Jet Lag" the same year (the great 1977).

The good work goes on with the more complex "Il Musicista". This is again "Le Orme" at his best IMHHO. A more rocking style to break the mood, but beautiful vocals brings this song to high levels. It is the most sophisticated from this album. It features so many themes or rhythm changes that the listener is just enchanted with so much brio. Another highlight.

Did I say emotional? I was then probably thinking of "Come Una Giostra". Some Trespass-esque mood for this delicate song again. This first side of the vinyl album is one of the best of the band. An ode to this great genre.

The second side also holds some fine music. Some might say that it is somewhat mellow, too much of the same. But when such beautiful melodies and superb vocals are performed, I just succumb. Can't help. And both "Se io Lavoro" and "Un Angelo" fall under this description. The latter holding some great harmonium parts.

"Il Quadro" is probably the weaker song of the whole. Childish instrumentation but these melodic vocals save it. The instrumental and closing number sounds almost as a neo-prog song. Close to some "Genesis" while they were four. Not bad but I would have hoped a better finale for this elegant and very good album.

Of course Storia o Leggenda doesn't reach the almost perfection of their greatest album "Uomo". But I can't really rate this one with three stars. Four stars then. Hopefully, I'll be able soon to upgrade "Uomo" to 4.5!

I always felt that comparisons of Le Orme to Emerson Lake and Palmer were unfair to this Italian group, as, even in their days as a keyboard trio, their music possessed far more emotion and romanticism than most of Emerson's indulgences. But by 1977 the group wasn't even a trio, and, while still keyboard dominated and lush, they had incorporated plenty of tasty guitars both acoustic and electric. Their sound had largely changed with the times, with medium length song oriented tracks that avoid sounding petty or contrived.

If a point of comparison to contemporary bands is warranted, I can hear some references to the electronic genre and artists like TANGERINE DREAM, PHILIP GLASS, and JEAN-MICHEL JARRE, particularly in the catchy synthesizer theme of "Se io lavoro"" and the repetitive loops of "Al Mercato Delle Pulci". But this is certainly more a grafting of those artists' ideas onto the Le Orme sound, keeping it fresh. "Tenerci Per Mano" is a surprise out of the gate, hardly even sounding like Le Orme, with its reggae tinged segments alternating with Aldo Tagliapietro's emotive vocals. The title cut, "Il Musicista", and "Come Una Giostra" include pleasant guitars, backed by plenty of melodic and ethereal keyboards, as well as the usual organ and even some creative piano. Throughout the album the myriad shifts and contrasts are executed with grace and sultry Latin charm.

It's pretty hard to find much fault with this album musically, even if it is not a complex progressive undertaking. It only solidified the group's own legendary status in the Italian prog world and beyond.

In 1977 progressive rock wasn't exactly in his finest hour and Le Orme was a band,which struggled around this time.Good thing was the band now was a stable quartet with guitarist Germano Serafin being a permanent member.Le Orme released ''Storia o Leggenda'', again on Phillips, and the sound of the album would be a huge questionmark.

Despite the rough years for progressive music in general,Le Orme surprise the audience with their new album.The band would somehow turn back in time and tried to re-produce the sound of their early years.Tony Pagliuca performs in the fully-oriented dreamy Baroque style,definitely a trademark the band.Aldo Tagliapietra sings in the same style over the years,but combined with this music,his voice now sounds more ethereal.The tracks are short,but they are full of intricate vocal harmonies, classical influences, intricate melodies and dreamy acoustic passages.But this not the whole story.In places Pagliuca recreates the space weirdness of ''Felona e sorona'' with his moog synthesizer and actually this specific style prooves to be excellent for supporting music than performed in a full album.The result is certainly one of the best Le Orme releases,soft classical prog with plenty of trippy soundscapes.

Progressive music was alive and well with albums like this.Filled with perfect harmonies,splendid vocals and unique keyboard work,''Storia o Leggenda'' is one of the rare examples of good Italian Prog music towards the end of the 70's and deserves a special place in a decent prog collection.Highly recommended.

The last album released by Le Orme in their Progressive Rock heyday is, despite its fairly modest score in these Archives, one of the highlights of their Golden Age discography. The music was gentler than the keyboard-heavy workouts of earlier albums, and more obviously song-driven. But the songs themselves are some of the warmest and richest in the greater Orme catalogue, and no less affecting for being so economical, with every track falling neatly into a radio-friendly four to five minute range.

It's also arguably the band's most well-rounded and balanced effort since becoming a quartet: more classic GENESIS than classical ELP, although both are lazy comparisons. Le Orme always had its own voice, regardless of the influence: lyrical, romantic, and genuinely emotional, as only the best Progressive Rock can be, especially in Italy during the mid-1970s.

The striking cover illustration by Walter Mac Mazzieri pays tribute to his own artwork for one of Le Orme's best-loved albums ("Uomo di Pezza', 1972), but the newer LP was never meant as a re-tread. The band instead took the simpler musical arrangements of "Smogmagica" and "Verità Nascoste", and gilded them with a delicate magic, leading even the unlikely ersatz-reggae verses of "Tenerci per Mano" toward a soaring RPI chorus.

I shouldn't have to remind regular visitors to these pages that a softer, more accessible Prog album doesn't indicate an immediate sell-out. The music here might be easier on the ears, but from start to finish it's pure Rock Progressivo Italiano, beautifully written and performed. And the album closes with a real humdinger, in the aggressive throwback instrumental "Al Mercato della Pulci" (The Flea Market), in retrospect four of the strongest minutes in Le Orme's later history. It's hard to imagine a more dynamic or appropriate ending, to the album and to the era itself.