pippocalippo

Progressive has quite a few enthusiasts and a few isolated detractors who throw shade at the forty-somethings still listening to RIP by Banco Del Mutuo Soccorso between Max Gazzè tracks. It’s odd that there are also quite a few youngsters who love that old 70s music with the most beautiful covers in the entire history of music. I don’t know Panna Fredda, at least I don’t remember ever having heard them, but I will. I give a 3 to the reviewer because I agree that the review is too short, but also as encouragement. I would like to review many things but modestly don’t feel capable of doing so. I would start with 'Aria' by Alan Sorrenti (1972), and 'Suite per Una Donna Assolutamente Relativa' by Dik Dik. Yes, those Dik Dik, the ones from 'Dolce di Giorno' and 'Viaggio di un Poeta', in a progressive key. And what a Progressive it is, guys!!!

I saw the film about 15 years after the discovery of the record, which happened about 15 years after its release. The film isn't exactly a masterpiece, comparable to the many films of the genre (Roma violenta, Genova violenta, Milano a mano armata, Mapoli incazzata, Bari cattiva, etc. etc.) that are nonetheless worth rediscovering to see what the atmosphere was like in those years. Milano calibro 9, the film, apart from Osanna, also had if I remember correctly, the New Trolls. In my humble opinion, I find the soundtrack of Banco del Mutuo soccorso for 'Garofano Rosso' by Elio Vittorini (a dull film set in Syracuse in the 1920s of the last century) to be better, even though the context is completely different.

Thank you stargazer, I suspected it: Palepoli?
So I like L'Uomo even less without the title track...

...on the other hand, when at just 5 years old you listen, even if involuntarily, to 'Figure di Cartone', blasted from 500 W speakers of a bumper car ride in a big field, just a stone's throw from the sea (Scardovari...) in 1973 along with other legendary HITS, it’s clear that a subconscious musical substrate is created that is what it is...

Strange album.
On a scale from 0 to 10, I would give it a 6+.
It's in the individual tracks that it really shines: 'Sospesi nell'Incredibile': 8.5; it's truly a monument,
this song.
The first track on side B, on the other hand, is a nightmare of sadness and oppression, which is why it's incredibly poetic; I associate it with the beginning of HP Lovecraft's story 'Dagon'.
The ending is truly heartbreaking; it really feels like Le Orme are watching with a giant telescope
from Mount Everest at night, the explosion of a galaxy, the end of a planet...
Dramatic, indeed.
Then there are the nursery rhyme ballads, those of bubbles, and here another
peculiar characteristic of Le Orme returns (Tagliapietra-style...): the crystalline music:
it's pure delight, like in L'uomo di pezza, Il Gioco di Bimba, it makes you dream, regardless
of the more or less hidden meanings of pedophilia (where did I read that? In 'Raro', on the Internet?
I don't remember), or other things that frankly could be left out:
must we always portray that damned man of straw as an ogre or a person
full of problems...
Returning to 'Felona e Sorona', it may be a Concept Album but I prefer it in pieces.
Tastes.

It seems to me that Pagliuca is from Abruzzo, from Pescara and not Veneto. I was only 5 years old when I first heard a song by Le Orme. It was 1973, and it was precisely the time when I heard 'Infiniti Noi' by Pooh, 'Il mio Canto Libero' by Battisti, and Elton John. Just think what a time it must have been for Music at the end of 1973...

I had known Le Orme for years, but only their works from 'Collage' onwards. I had heard about a track called 'Senti l'estate che torna', which predates 'Collage', and I imagined it in my mind... Then, in 1991, I heard a snippet of it on an FM radio station. Just a tiny bit that made me dream, but where to find a record that was now completely forgotten? The internet didn't exist back then... even if I'd wanted to download it... It was once again from the radio, but this time on Medium Wave, at 900 KHz, in 1992, that Notturno Italiano finally made me listen to the song I had dreamed about for years in its entirety. Sure, with the mono and muffled quality of AM modulation, but what did it matter? A funny note, that night I also discovered the beautiful 'Il vento dolce dell'estate' by New Trolls. Many years later, I found the entire CD 'Ad Gloriam', and discovered other extraordinary songs. I had already heard 'Casa Mia,' a piece of moving beauty, with a magical bass line. 'Suoni e colori,' perhaps the oldest by sound but a testament to the trends of that time. The others are all at high levels both musically and in their lyrics.

Perhaps some fans of Forlivese will send me to hell, and some other fans of Opus will do the same, but in the singing of the talented singer of Opus, one sometimes feels a pre-lapsarian Alice. The album is wonderful, everything is very beautiful, and I, who for years had ignored the contents of this work, the only thing I had read in the newspaper 'RARO!' was about the interplay of Avant-garde + Tradition.
The oddity.
It's a really strange album, as beautiful as it is, when you hear the kindergarten children, and she talks about jam on bread...
Fans of 70s music, those who love hidden gems, should go unearth this masterpiece, perhaps pairing it with an LP of Pierrot Lunaire, which I find equally valid and in a certain way, similar.

Perhaps some fans of the Forlivese will send me to hell, and some fans of Opus will do the same, but in the singing of the talented singer from Opus, one sometimes feels an Alice avant la lettre. The album is wonderful, everything is very beautiful, and I, who for years ignored the contents of this work, have only read one thing in the magazine 'RARA!'

Summer '85.
At a party among eighteen-year-olds, I purchased this LP with a bizarre cover from an appliance store.
Believing it to be disco or dance music simply because of its pretentious English name, I brought it to the party, but to my utter disappointment, after just a few seconds, the makeshift DJs at the turntable in the tavern where the little bash was held played my LP, which I took home feeling disheartened.
After quite some time, in solitude, I listened to the entire LP and things turned out very differently.
First of all, by reading the cover, I discovered the most ridiculous thing about the record, which was the theme from The Exorcist (I prefer L'Esorciccio a thousand times...).
Truly a great record, and I hadn't yet discovered progressive music...