VIETATO AI MINORI DI 18 ANNI ?

Perhaps no other band in the entire history of prog underwent an evolution as lightning fast through the course of three albums in rapid succession as Italy's JUMBO did in only two years. JUMBO recorded and released these three distinct albums in the early 70s which began with the rather uninspiring display of blues rock, followed by a much more dedicated prog album before taking a massive leap in creative ingenuity with its third and final offering VIETATO AI MINORI DI 18 ANNI? which has become known as one of the all-time masterpieces of the 70s prog scene.

This is made all the more amazing since JUMBO formed in Milan as far back as 1969 and only released its rather average proto-prog blues rock in the year 1972 when the genre had more than come of its own having delivered some of the most accomplished albums of the entire prog 70s. While the band's second effort "DNA" was a competent display off tertiary Italian prog, it still lacked the overall sophistication of a true classic however it would only take one new drummer and a year for the band's musical DNA to activate and take their musical performances into the stratosphere.

The sudden burst in musical mojo was the result of original drummer Vito Balzano relieving himself of his drumming duties and simply quit the music business altogether. By chance the band had witnessed a phenomenal drummer named Tullio Granatello playing at a local concert. His skills and unparalleled style simply blew band leader Alvaro Fella away with his virtuosic displays of jazz-infused drumming techniques. After a request for him to fill the slot of the band's freshly vacated percussionist's post, Granatello gracefully accepted and single-handedly inspired the band to up their game in every possible way.

After a month of intense rehearsals with the newly established drummer, JUMBO emerged a completely new band that went for the prog jugular with a unique stylistic approach that remained distinct from the burgeoning symphonic prog sounds of PFM and Banco and equally distinct from the more folk-based Le Orme. VIETATO AI MINORI DI 18 ANNI? ( translates as "Forbidden to Minors Under the Age of 18") was then recorded with the help of cutting edge gear such as the amazing VCS3 oscillators lent to the band by Franco Battiato as well as Aktuala percussionist Lino Capra Vaccina's wide assortment of bells, chimes and unique percussive contributions.

To make things even more bizarre the band recorded in a makeshift studio setting that served as Mussolini's press meeting lecture hall during the years of the brutal dictatorship, an unusual circumstance shared only by Latte i Mieli in those days. The lightning speed progression of the band's style gave them the confidence to experiment with not only the wildly avant-garde but also to explore taboo subject matters such drug addiction, prostitution, social injustices, religion, alcoholism and other non-puritan topics that got the band censored by national radio and television broadcasts. The title of the album refers to the unsavory subject matter that wouldn't be considered appropriate for children. Unfortunately the album came out boeuf the free radio broadcast movement caught traction. Minors who do not speak Italian are presumed to be safe however.

VIETATO AI MINORI DI 18 ANNI? was a leap in ingenuity on every conceivable level with stronger melodies, utterly unpredictable transitions between folky lush acoustic guitar led passages, psychedelic excursions, energetic hard rock outbursts and unorthodox compositional creations. Add to that all the wild experimental production techniques offered by the slickest and newest technological breakthrough courtesy of Franco Battiato's appreciated participation. The album wastes no time getting to business by starting things off in full vocal-led song form before transmogrifying through varying styles all delivered by unusual instrumental interplay, over the top catchy melodies and call and response intensity from the instruments.

The opening "Specchio" alone features a bizarre shapeshifting formula that allows hitherto unthinkable juxtaposition of stylistic differences to coincide, yet organized into such a manner that the phrasing finds a logical reprise for each musical motif only decorated in completely new colors. There album continues with one completely original track after another with each offering a distinct personality of its own. The following "Come Vorrei Essere Ugulae A Te," the ONLY track that found any trace of airplay starts off as a feisty piano roll before morphing into a trippy psychedelic folk number only to be overturned by a raucous heavy rock performance. The ending features an interesting tape speed increase which showcased the band's ingenuity in the recording process as well as the superior songwriting skills. Even the short 2-minute instrumental "Il RItorno Del Signor K" showcases an impressive display of flute and guitar tradeoffs before morphing into a bizarre and even hilarious Mediterranean cafe music silliness.

The majority of the album never loses the element of surprise nor the instant hooks of a memorable excellently ever-changing melodic procession. "Via Larga" continues the process however it's the 7-minute plus "Gil" that really stands out as the oddball of the album. Initiated by lead singer Alvaro Fella after the recording process left about 8 minutes of time to fill. The result was a psychedelic jam that featured an acoustic guitar and dreamy mini-moog with the help of Battiato's VCS3 space machine.

The addition of the chimes and bells made it sounds like a comic trip in the spirit of raga rock only drenched is freaky lysergic psychedelia making it one of the most unexpected curveballs that entire album had to offer. While originally a 20-minute cosmic free floater, the band was forced to edit it down to just over 7 but unfortunately didn't think of keeping the entire piece for future posterity. The track is accompanied by Fella's contemplative lyrical prose only this time semi-narrated. The freeform folk style evokes the freewheeling 60s communes much more than what JUMBO dished out on the previous tracks!

The final three tracks: Vangelo?," "40 Gradi" and "Noi" jump back into full on progressive mode with endless variations in drumming techniques, stylistic approaches, instrumental interplay and of course controversial lyrical delivers which of course were only sung in the Italian language. Church organs melded with psychedelia, jazzy interludes ceded to hard rock heft and stop / start ostinato elegance traded off with light breezy flute solos. The band had mastered the art of dynamics shifting and thus featured many alternating motifs within a fairly uniform rhythmic and melodic framework. No other band can i think of mastered the art of soft lush folk one minute and then raucous filthy guitar hard rock the next only followed by classical piano virtuosity and then who knows what next! Remember! This was WAAAAY before Mr Bungle :)

It goes without saying that JUMBO not only crafted its best album but also delivered one of the absolute pinnacles of progressive rock period. The album is flawless in execution, groundbreaking in its approach and startling in its unique delivery system all without sacrificing those attributes that cemented it firmly in the world of Italian progressive rock. Despite existing for another couple of years before the band ceased to exist, JUMBO never recorded again leaving this one prog rock legacy from 1973 behind as its' crowning achievement and one of the most memorable moments of classic Italian progressive rock. This is easily one of the top 10 Italian prog albums of all time and a personal all time favorite of any musical genre. Perhaps i'd even dare to say one of the best albums ever recorded in the entire history of recording music at all. Yep, it's that good and it only gets better every time you give a listen. While it's an instant four star love affair, time will only reveal the subtle genius on multiple levels.