At times, there are modern bands that play seventies music. They are often called as regressive. What about an old band playing seventies music…in the nineties? Well, I guess that it is a good definition of CAP (let's call them this way for the purposes of my reviews from this Italian band).

If you have ever dreamed of the delicacy of Italian prog music which goes along here with refined vocals here, bombastic ELP-ish moments and some beautiful melodies; let me tell you that you don't need to search further on. You have reached the Graal.

The good thing with this album, is that all these elements are nicely combined to ensure that one doesn't get an indigestion of bombastic and regressive passages and too many long and quite parts. I couldn't find a better example than ''Vivendo Un Giorno…'' to highlight this comment. It is a perfect digest of their work.

Each of the tracks has lots of things to offer.

The opener (''Il Mercante'') starts awkwardly, but after this weird intro, the most beautiful sound is going to reach your prog ears. Melody and emotion. Some Spanish flavours (acoustic guitar and even trumpets), before the entry of the incredible vocals which are so passionate!

Some scary mood with ''In Un Vecchio Castello'': oppressive and dark at start, it turns into some sweet and light theme. A pastoral voyage in the world of the early ''Genesis'' for a while: do you get on board? It is true to say that the second part of the song has a more neo side; but this doesn't prevent the song to be an excellent moment. Those three songs were already featured on a live album recorded in '77 but only released in …'93.

The most poignant track IMO, is the wonderful ''Arnaldo Da Chatillon Crociato''. So much beauty should be forbidden! I have made this comment often so far, but here it is again: such passion and emotion are only to be found in this marvellous musical genre. Another highlight (but there are almost nothing else than highlights here).

The least interesting IMO, is the short (to their standards) ''Traccia…''. It is an old ''Banco'' cover.

This is an excellent album that would deserve some more exposure here. Four stars.

Although the band fully corresponds to Italian symph, this album features a harder edge which is already noticeable as soon as the album starts.

Complex and strong: so is ''Eterna Sconfitta'' which ends up as a rip off of ''The Knife'' by whom you might have heard (it is actually the second time tonight that I make this comment, the first one being for the debut album of ''Flame Dream'').

The hard feel is also conveyed during the epic and title track. The furious guitar is just splendid, but again the work from Phillips on this early ''Genesis'' track already mentioned is a bit too obvious. Apart from that, it is full of some wonderful synthesizers: from spacey during the intro to somewhat neo-prog later on. A highlight of this album.

This debut is lacking variety IMO. It also reminds the work of some earlier prog giant. A bit too much...When it is not ELP, it is Floyd. Just listen to the intro of ''La Tua morte Parla''. If it doesn't sound familiar with ASOS…I like it of course, but at the end of the day one has a strong feel of déjà vu (and more of déjà entendu). The second part of the track is dark, weird and scary. But I prefer this sort of personal mood.

The most symphonic and beautiful number from ''L' Ultimo Viaggio'' is the great ''Ritorno Alla Vita''. A jewel of a melody, full of emotion. Production is maybe not that great here. Drumming being too much on the forefront of this delicate song. Still, this is another strong moment.

I won't rate this album with too many stars; it lacks of personality and great tracks aren't too many. It is a pleasant and encouraging debut though. Three stars.

This is a rather minimalist line-up for a band playing Italian symph. Usually, we get some wind or chord player, a duo of keyboards or some fine guitarists. Nothing as such here. What we get is a keyboard player (who incidentally also sings) and a percussionist.

This doesn't mean that the music is minimalist though. Keyboards lovers, this album is yours: there are lots of bombastic and pleasant moments which automatically remind the good old ELP, but what is ruining this effort are the dreadful vocals: a desperate rasping voice (but some other reviewers seemed to appreciate this ''feature'', so…).

I wouldn't speak about highlights on this work, just a bunch of good songs which are flowing easily, without hurting any musical sense. Church organ sounds, heavy keys and intriguing mood are the components of the closing track ''Camellandia'' (nothing to do with a potential ''Camel'' land). I particularly like the mellotron section (but this is no surprise). The good point is that this is an instrumental track.

The second best number is the opener ''Nativita''. Like ''Camellandia'', it features some fine mellotron lines and it is quite upbeat at start and varied. From frenetic to emotive: this instrumental will lead you there. Since these two songs only are almost good for half of this album, one cannot complain too much. Still it would have been inspired to play some more of these pleasant tracks during the whole of this work.

This being said, there are no weak numbers per se, but ''Icaro'' is not very consistent and I am quite irritated with the voice of Paolo Rustichelli. It ends up in some jazzy interplay between both musicians. If you are missing some fine melody, I recommend you to listen to the emotive ''Dolce Sorella'' (sweet sister). A very sweet ballad indeed.

It is a good album (at least I consider it as such), but I wouldn't go over three stars to rate it. It would have been another affair if someone like Franceso DiGiacomo (''Banco'') would have been in charge of the vocals. Under these circumstances, a song as Un Cane'' would have been a masterpiece; because the potential was there; definitely.

It would be interesting to count how many bands from this genre have released one album in the early/mid seventies and then disappeared. Without any doubt, you can add ''Semiramis'' to the list.

A classic Italian symphonic music is caressing your ears while listening to this fine piece of work. IMO, the proof of time passed fairly well on this album and I feel like it sounds quite fresh for an album been released such a long time ago (thirty-five years by now).

One of the best assets of the band is the fine guitar play of Michele Zarillo. This is not so frequent in the genre and deserves to be mentioned.

The only weaker track '' Uno Zoo Di Vetro'' sounds very much experimental and not structured at all. But it is only one song (also the shortest one of all). This shouldn't refrain you to have a listen to this album. Some very good surprises are awaiting you here; like '' Per una Strada Affollata'' which hesitates between classic music (the opening part) and hard-rock (for the closing one).

Some Crimsonian accents are to be found as well (''Dietro Una Porta Di Carta'') and some frenzy during ''Frazz'' is quite disconcerting in the midst of such a beautiful melody. It is one of my favourite songs from this album. But so was the great opener ''La Bottega Del Rigattiere''

My top fave though is the fantastic closing ''Clown''. A fine classic guitar opening, some sweet and melodic vocals sustained with wonderful mellotron and all of a sudden, the track leans again towards KC and some frenetic beats. To have incorporated so many theme changes in less than five minutes is quite a feat.

This album is harder than the average Italian prog style (''Luna Park''), but it is combined with such delicacy that it shouldn't bother the purists of the genre. Four stars for this one shot fine achievement.

It is difficult to make a definition for this album, a sort of higest peak of talian music. But... Well... One moment... Is Palepoli the best Italian Prog album? I think no. Of course, Palepoli is the album most enjoyable and normal from Italian Prog. Of course, if I am able to write a sentence... If 666 is a self indulgent album (and Aphrodite's Child surclassed Yes!) I think that Palepoli is the self indulgent album of Italian Prog. But... Is true this sentence? No. Better to speak of normal type of Prog... And in this case of a normal Tull/ Crimson inspired album. Of course with tons of Neapolitan mentality and Folk.

I speak of difficult album. Palepoli is a difficult album. From the first listen to I understand Palepoli. But what I understood? Well... Well... Well... I undertand... Nothing! Today I spent several hours for a correct understand but Palepoli remain an obscure album for me, as Tull's A Passion Play! In a certain sense a Crimson album is much clear in my head.

Palepoli is the story of a city... But this city is neaples or... An utopian city? Difficult to say. I think that Neaples is, for Osanna's boys, the city and in this case also the utopian city. So it is clear that Osanna as band devise an album that is equal (like music division, 2 suite and 1 brief interlude) to Tull's A Passion Play but with Crimson's power. Today this is normal. Not normal is this fact in 1972. But in Palepoli is clear that Pink Floyd and Gentle Giant are another two bands that have inspired Osanna Palepoli's concept. I have clear that Pink Floyd wrote a long compositions that although divided into various sections are not true suite and Gentle Giant plays a sort of Baroque Rock that is copied in Palepoli but without the baroque elements. In this sense is clear that Palepoli is a closed album. Closed in itself... To explode all disputes of a city. City that is Palepoli... Or better Neaples... Or better all metropolis of the world.

The difference between Palepoli and L'Uomo is not the concept... But the studied subject. The final result is the same: modern society is at the heel. Pasolini wrote books and did films and did all this yelling discomfort. Osanna plays two albums!

So Palepoli without L'Uomo can be understood. But not until the end. And Vice versa.

If the music is art... Palepoli is art!