Banco Del Mutuo Soccorso
Canto di primavera

Banco Del Mutuo Soccorso - Canto Di Primavera (1979)

I believe it is a common opinion that there are not many (in fact) Italian prog-rock bands that can boast in their discography a trilogy corresponding to the self-titled debut "Banco Del Mutuo Soccorso" or "Salvadanaio" for friends, "Darwin" and "Io Sono Nato Libero". If we add to all this abundance, conceived and delivered during the golden period of the Roman band, a whole series of works from the '70s decade, we outline a path of absolute life of its own and a lush sound typically "Made In Italy". It is 1979 and a particular fact emerges in my opinion. Precisely during the twilight period, this musical genre produced small gems (see "Wind and Wuthering", "Forse Le Lucciole Non Si Amano Più", etc...), perhaps looked upon with disdain by the sophisticated early pioneers; yet while the supporting pillars of prog had already fallen or were in a state of abandonment, the Nocenzi brothers and Di Giacomo composed a softly melancholic stone veiled with that twilight mood, which it is impossible not to be invested by, and whose subtle and non-redundant message managed to survive the thunders of those years, dominated by punk and disco.

It is a spontaneous work, certainly different from the beginnings, composed while paying attention to the decisive historical moment, but letting the soul run free. You can sense it starting from the wonderful cover; it is a spring wind and light that envelop the listener, starting from the delicate gait of the instrumental "Ciclo", where guitars and keyboards and gradually all the others take the stage one by one, on tiptoe, and draw the scenario upon which the album will stand out. As is known, Spring is the season of changes and Il Banco bids farewell to the '70s with an ideal prog epitaph, that ferries the group into the new decade. Not without sadness. In this sense, the subsequent "Canto di Primavera" fits. The rhythm seems gypsy and seemingly carefree, but it actually refers to something elusive, that is no longer there and will never return; the introduction is magical keyboards, percussion, and Francesco’s voice almost deliberately laid down, subdued, "...the smell of gypsies is like the sea, like the sea it arrives, and you don't know from where...". But from there on, it will be a terrifying instrumental crescendo, typical of Banco. It will be a flagship in concerts. "Sono La Bestia" is a more carefree episode with a biting text, which Di Giacomo interprets magnificently as usual, before diving us neck-deep into the romantic ballad "Niente". Once the carpet of notes is laid, the Nocenzi brothers leave space for the powerful tenor voice, which sings "...I really want to have you", piercing dark hearts. The entrance of Calderoni speeds up the rhythm, and Maltese's light strokes in the background, color and illuminate. If, for a moment, the mood seems to awaken, "E Mi Viene Da Pensare" is perhaps Banco’s most poignant gaze towards an era that is no more, towards ideas that seemed invincible, impossible to stop. The Roman group seems never so steadfast, sincere, aware of everything, realizing the Spring Wind. Di Giacomo sings "...Spring is inexorable". A masterful ballad for voice and piano, where Vittorio Nocenzi lets himself go in a stunning final solo. It will be another flagship in concerts. "Interno Città" is a track with alienating steps, (it seems in some ways an offshoot of "La Città Sottile", from the album "Io Sono Nato Libero") with marked denunciation, with piercing new words like few, suffered and with impetuous accelerations. Excellent work as usual by Rodolfo Maltese, never excessively in the limelight, but capable of admirable embroidery work.

The album closes with two tracks. "Lungo Il Margine", another timeless ballad (it is the album of delicate ballads), truly transports us to the edges of our being, with Di Giacomo describing landscapes at the edge of the World, supported as usual by the others' technical virtuosity that is never self-serving, careful not to undermine the nebulosity of the song, with the listener genuinely projected towards the sunset and feeling all its solitude. "..Sun you are truly elusive, truly..."

"Circobanda" is the ideal instrumental finale that reprises the sounds of "Canto Di Primavera", before leading us back towards that glimpse of light of the window on the cover, which unfortunately will remain the only one from then on for Il Banco, which in the '80s will undergo a totally pop turn, leaving, however, to the melancholic dreamers, this pearl that looks at the past that is no more, with devoted admiration and that splash of melancholy, without which getting lost in the notes drawn by the Roman group would not be the same.