All Prog From Italy Appreciation Thread

— First review of this album —

Solid lesser-known symphonic gem

Many prog fans feel there was a dark winter in their favorite genre from sometime in the late ‘70s until the resurgence began in the ‘90s. But the truth is that despite the conscious sell-out of many groups putting sales ahead of art- the gems still existed, you only needed to dig a bit more. In Italian prog there are plenty of hidden gems from every period that need more exposure and Pierpaolo Bibbo created one such album, “Diapason.” Recorded in 1979 and released on a small label in 1980 the album was composed and carefully crafted by multi-instrumentalist and studio whiz Pierpaolo Bibbo. Bibbo handles guitars, bass, synths, and vocals with good command and employed a second keyboardist Adriana De Murtis and drummer Franco Medas to assure a good band sound. Flute and violin are also present but quite sparingly. “Diapason” is a unique sounding album to be sure. While it surely features the beautiful, traditional Italian symphonic backdrop of a PFM/Locanda Delle Fate in general, Bibbo’s rather adventurous approach to the instruments, his irreverence to any fixed notions toward the palette of sounds, gives “Diapason” a personality all its own. Because of his knowledge and comfort in the studio (Bibbo’s career is in the recorded arts production and he now owns his own studio) one senses that he took plenty of time laboring in the construction of these tracks. This is busy music with plenty of layering going on throughout, multiple keyboards, multiple guitars, clearly an enjoyment for the process of recording is present. Many of the songs are linked together with similar themes occurring more than once giving the album a more conceptual feel.

The first time you listen to “Diapason” you may well think it is one strange sounding album. After a few listens you begin to appreciate Bibbo’s sense of aesthetic. At the core are melodic symphonic tracks of 3-10 minutes in length with heartfelt vocals. And then you begin to notice the *way* the instruments sound and the layering taking place. You begin to notice the sound effects and the way each track has many interesting changing sections rather than just one or two. The keyboards are weighed about equally to Bibbo’s guitar playing with both being very prominent. The synths are modern sounding for the time and multi-layered with other synth, piano, or organ, though mostly synths dominate. The synths are frequently fuzzy sounding, manipulated with a “phasing” effect, and often run in loops to create their own distinct color. The same is true with the guitars that are often right there with the synths, more often together than taking turns. The electric guitars are often played through effects of some kind and they are layered often with two distinct parts and sometimes I noticed three parts. And the most distinct thing which gives “Diapason” its own sound is the positively wired, high-pitched range Bibbo often plays in. He’s WAY up there at times to the point where the album could be sub-titled “Music for Dogs” because only they can hear it. I’m joking of course but the range is something that stands out right away, a unique sound choice that was gives this album an eclectic edge. The longest track “La macchina del tempo” (The Time Machine) features a two-minute opening of spacey guitar notes reverberating with a harpsichord-like keyboard sound sprinkled around the edges. It leads later to a punchier rock section and then evolves slowly to a fairly grand and majestic conclusion. The experimentation in his sound that Bibbo was obviously going for might irritate some listeners as the looping effects especially can drone on. But he successfully counters this by mixing in enough traditional symphonic grandeur to balance it: beautiful acoustic guitar and piano, a bit of flute and violin, warm and optimistic vocals, a stable and reassuring rhythm section. It is this balance which makes the album easily accessible and enjoyable while not sounding the least bit stagnant to my ears, the charge of stagnation being something that was leveled at many prog acts in this period.

Pierpaolo Bibbo made only one album in the progressive vein but he made the most of it. He deserves credit for delivering “Diapason” during the cold winter of prog and Mellow deserves credit (again) for its reissue on CD. The sound quality is generally good though perhaps a bit light on low end for my taste. “Diapason” is a solid recommendation for fans of Italian Prog and could be recommended to any fan of symphonic or Neo-prog. The CD booklet comes with full lyrics in Italian and a nice period photo of Bibbo but unfortunately with no Bio.

Very shocked...and silence. I think this album should be the symbol of Italian progressive rock, at least in my mind. :P

Exactly, Palepoli Suite is a well-calculated insanity. Heavy and Oriental percussion, and pipe and flute like a stream... the suite gets started calmly and solemnly. Immediately, crazy flute sound fades in and pops up and rough drumming and loud guitar sound follows. The impression of this part, especially lump of violent vocal and instrumentals, is very strong for us. After the part rapidly passing by, clear guitar and soft vocal absorbs us. Sooner sax hits and knocks us out... Each part has kindly part and wild one, thus we listeners get impressed by the upside-down wave and sound. At last stage the reverse of Canzona (Milano Calibro 9) is dragged down and lets us drop to the bottom.

Including the next Animale Senza Respiro , the album is one of the most strongly rough and violent works of all Italian progressive rock world. Truly I've thought I want to write the review of this product...perfect one, 5 stars!!!

— First review of this album —

'La Canzone Di Marinella' is a budget compilation by Replay Music / Butterfly still in the catalog because it is considered a must by fans of 'Faber' because the songs that are contains here are all evergreens of our hero. Indeed, the success of sales of this budget compilation has expanded considerably since the death of 'Faber'. I must say that this budget compilation had the same success because all the songs of this compilation are real evergreen of Italian music.

Stylistically the songs contained here are very modern, even though 40 years have. They can be put together in English Folk or a form of autochthonous Folk with references in Leonard Cohen, Bob Dylan and similars. Stylistically songs included here are not very intrusive lyrics but deep magic can create unique and often magical. In this sense I like to emphasize 'La Canzone Di Marinella' ('The Song Of Marinella') which speaks of women in Genoa, from immemorial time, made the whores in apartments in the center, through the expulsion of either from village of the province. Interesting is also 'Carlo Martello (Ritorna Dalla Battagli Di Poitiers)' ('Carlo Martello [Back From the Poitiers' Battle]') that track a fresco of life in the time of Carlo Martello where it is narrated as too noble not play a life so different from that of the serf. In general observation can lyrics as the songs are not lyrics for songs but poetry which was sewn a melody. The melody is built on acoustic guitar with the inclusion of Mandola, strings and other musical instruments like oboe. Then, using a few musical instruments (all acoustic) 'Faber' manages to write light songs but full of tension. In this sense, the definition of 'modern minstrel' (I do not remember where I read) for me it is more than good.

I do not pretend that all of you buy this compilation. But if you love the RPI 'La Canzone Di Marinella' is a compilation that I wish you did because it is an example of the roots of this genre.

I have seen that this album has 2 reviews only, so I might be able to add something. This is one of the first Italian concept albums, but the reason why I suggest it to proggers is in the use of gregorian-style choirs and orchestral parts that make it a prog album of a non-prog singer-songwriter. The concept is based on the apocryphal medieval gospels, from the Announcement to Chrst's death (no resurrection). When it was released, the Vatican condemned it as anti-catholic, giving this album the same fate of Jethro Tull's Aqualung: banned from Italian radio.

The start is Laudate dominem (latin: Bless God), that's contro-balanced by the final Laudate Hominem (Bless Man), that gives Christ a human nature instead of divine. Both are like gregorian choirs.

The real start is L'infanzia di Maria (Mary's childhood). This Brassens-like song, with a base of classic guitar and the strong baritonal voice of Fabrizio tells what is probably the real story, basing on hystorical knowledges of the rites in 1st century. It's highly dramatic, but it's where the problems start. If you are not Italian speaking, or you don't have a translation of the very poetic lyrics, you are missing the 75% of the album. It's the same for all the other pieces.

The story proceeds and Ave Maria (track 4) is a very religiuosly inspired song, very unusual for an atheistic and anti-catholic writer. The following track Maria nella bottega del falegname is a song about war, murder and death penalty.

The story progresses quickly to the crucifixion, and Il testamento di Tito (Titus' willings), is am invective about the hypocrisy of every church, catholic and not. Each of the Moses' commandements is criticised by a thief while he's dying on the cross. The sound is a bit country-western, but Bob Dylan has been one of the most influent artists for Fabrizio, as well as the French. This angry song finishes with an unexpected positive message.

To be noticed, all the characters tell about the story, but Christ is never speaking and barely mentioned.

From a musical point of view, the songs are very well arranged, and the influence of traditional and medieval music are what in my opinion make it a prog album. Get a translation before giving it a spin.

Woooow… Faber made it to PA! Honestly, I can hardly believe it… It’s like a Christmas gift for me. Anyways… He’s one of my all-time favorite artists, so forgive me if I can’t judge very objectively, but here it goes…

Tutti Morimmo A Stento – We All Died In Pain… Guess what kind of music it is in this album… What year it is written in? Thrash Metal, 1986? No, no, NO! It is a groundbreaking album from 1968!

This is the concept album about drug addicts, more exactly, about their pain… Pain of addiction, pain of living, pain of dying. And this all was written during worldwide LSD boom, unbelievable… This album has not many formal relations to rock, but strangely it carries some kind of rebellious spirit. You can find lot of stylistically diverse songs here, from Moody Blues-inspired title track, through folk to purely Classical chorales well worth Bach. Let’s go song by song.

1. Cantico Dei Drogati (Song Of The Addicts) – The song starts with haunting orchestral melody, that serves as a leitmotif to whole song. Then Faber’s voice comes in… Song is full of crescendos and decrescendos and ends very bombastically. Lyrics are amazing throughout. 2. Primo Intermezzo (First Intermezzo) – As title says it’s an interlude. Interestingly, it’s the album’s most rocking moment. Then is smoothly goes to another song. 3. Leggenda Di Natale (Legend Of Christmas) – This is one of the most magical ballads I have ever heard. Amazing melody, very to-the-point arrangement, simply genial. 4. Secondo Intermezzo (Second Intermezzo) – It actually has almost same music as the first one, with Faber singing a bit changed refrain. 5. Ballata Dei Impiccati (Ballad Of The Hung) – Again genial ballad. Again genial arrangement. Everything in place, acoustic guitar, trumpet, strings… Lyrics are as amazing as ever. 6. Inverno (Winter) – Yet another ballad… Yet another genial ballad. It starts with classical orchestral melody for a few seconds, then again trumpet comes in. When drums come in I’m reminded of Procol Harum’s “Whiter Shade Of Pale” but, played in deeper, minor mood and more bombastic. 7. Girotondo (Round Dance) – Dramatic change. This is a Dylan-esque song, but lot more ironic than Dylan’s songs, in my opinion. Some children are also singing this song with Faber. It ends in very freaked-out way. 8. Terzo Intermezzo (Third Intermezzo) – Beautiful Medieval-styled intro to the next song9. Recitativo (Due Invocazioni E Uno Atto D’accusa) (Recitative [Two Prayers And An Act Of Accusation) – First part of this song continues the intro theme, in very beautiful way. Then suddenly second orchestral part comes, and Faber’s reading recitative that flows into the last song: 10. Corale (Leggenda Del Re Infelice) (Chorale [Legend Of Unhappy King) – I think, This chorale could rival best classical composers out there. There is children’s choir intermixed with Faber’s recitative. Many instruments move in, strings, trumpet, drums… it sounds simply magic.

In my humble opinion, this album deserves to be called as one of the best (if not THE BEST) albums of 60’s. The music and concept presented here is way more serious than it’s English contemporaries’. Plus, there are plenty of styles mixed in one organic entity, the thing that is impossible to most of even great artists. Faber’s lyrics are also one special topic… I purposely didn’t translate anything (except song titles) in this review, ‘cause, it would be disrespect to this genial poetry. For those who are interested in modern Italian music, I advise you to start investigation from Fabrizio’s whole discography, it will hook you in a moment…