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Rating: Tsunami publishes an interesting book dedicated to Italian progressive rock of the 70s, where the best albums of the period are examined. The volume is titled “The 100 Best Albums of Italian Progressive” and is curated by the enthusiast and collector Mox Cristadoro, who treats the subject with great expertise.
Fabio Zuffanti, a key figure in the new prog scene in our country and author of the introduction, well summarizes the qualities of the text by highlighting how we are not faced with the usual book consisting of a dry encyclopedic list of artists and records. On the contrary, Mox Cristadoro's approach is that of a fan of the genre. Reading the analysis of the albums reveals passion and enthusiasm, and the love of an old devotee of Italian prog shines through. In the 70s, Italy had the honor of boasting one of the most valid prog scenes internationally. It was a period of great creativity where, under the impulse of what was happening in England with the various King Crimson, Jethro Tull, Genesis, Gentle Giant, Van Der Graaf Generator, etc., numerous bands were formed that adopted the innovative language of that music. The paradox was that bands like Genesis and Van Der Graaf Generator were more successful in Italy than in their home country. It was undoubtedly a period of great excitement in which legendary magazines and record labels like Cramps and Bla Bla proliferated.
Behind the usual and well-known PFM, Banco del Mutuo Soccorso, Le Orme, there were many names that perhaps released only one or two albums but left an indelible mark on Italian musical history and culture. Take the case of the mythical Balletto di Bronzo, which, with “YS”, created a record that is now considered a milestone of prog worldwide. Countries like Japan and Korea in particular – but also the United States and Europe – have a true cult following for Italian prog groups that have been continuously reissued.
Delving into the pages of the book, we find ourselves on a sort of backward time journey where the atmospheres, album covers – often real works of art – and the sounds of that legendary era resurface. This is a volume full of anecdotes and details that I believe will appeal even to those who are not exactly newcomers. Space is thus given to different experiences such as the hard rock of Rovescio della Medaglia and Teoremi, the ethnic music of Aktuala, the avant-garde of early Battiato and Pierrot Lunaire, and the jazz-rock of Agorà and Arti e Mestieri, demonstrating the richness and variety of the offerings of our scene. The absence of a very important name like Opus Avantra is surprising. The afterword is by another expert – BTF record label boss – Matthias Scheller.
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