L'Uovo Di Colombo
L'Uovo Di Colombo

Not exactly one of the top groups on the Italian prog Olympus, L'Uovo di Colombo released their only self-titled album in 1973 for the EMI label.

The band consisted of Enzo Volpini on keyboards and guitars, Elio Volpini on bass and guitars, Ruggero Stefani on drums, and Toni Gionta on vocals; for the composition of the material on this album, Toni Gionta is credited as Tony Tartarini, the name he would later take as the vocalist of Cherry Five.

L'Uovo di Colombo embraced the natural inclination for melody typical of Italy with the progressive fervor in vogue in the '70s. They are a band typically influenced by ELP, L'Uovo di Colombo, but unlike many other ELP-like bands that often chose "Tarkus" as a basic model to be inspired by, for them the choice fell on "Knife Edge." A perfect example is "Vox Dei"; in the national landscape, however, they could be compared to Metamorfosi or Rustichello e Bordini, though they differ due to the addition of excellent acoustic and electric guitar.

In the album, the structure of the songs and arrangements are less complex than other mentioned bands, but all the instruments sound vigorous, and there's a certain affinity that, if continued, could have foreshadowed a hypothetical future success. The focus was on conciseness.No epicness nor tracks longer than 5 minutes.

The album opens with “L’indecisione,” which might be defined as a typical track by L’Uovo di Colombo: normal Hammond grooving in the manner of Emerson; to be honest, it flows without leaving a mark. The following "Io" is characterized by fast keyboard phrases that precisely weave between the jazzy rhythm and the melody of the singing. To be rediscovered.
"Anja" is one of the few deviations from their typical sound, favoring solemn and majestic tones, similar to something by Semiramis (listen to the Eminent organ) or some passages of the New Trolls Atomic System. The intro of the previously mentioned "Vox Dei" might lead us towards Uriah Heep, but then everything flows into a more Emersonian than personal vision. "Turba" instead is a deadly instrumental piece where the guitar work fiercely attempts to carry us with it while the keyboards seem to keep us steady; the rhythm section is relentless and precise, projecting the track towards a modernity otherwise hard to find in certain kinds of music. The best track, without a doubt.

"Consiglio" is nothing more than yet another piece inspired by "Knife Edge," and it stands out for a curious distorted guitar sound and various instrumental interweavings where the keyboards undoubtedly dominate, while "Visione della morte," in the most typical PFM style, is characterized by an intro with acoustic guitar that counterpoints the singing; the "calm" is short-lived, the syncopated rhythm intensifies, and the keyboards are heard again with authority, but then the track collapses in on itself, undoubtedly aided by an unnecessary drum solo (which might also please some) that perhaps marks a clear moment where the music does not achieve the intense atmosphere hoped for. The concluding "Scherzo" is an innocuous instrumental that feels very much like filler.

Recommended only for genre enthusiasts.