Pooh
Un po' del nostro tempo migliore

I waited for my heart to be ready to review an album like this.

Then, finally, I felt the right spirit to do it... and here we are, back in 1975 with our Giancarlo Lucariello;

who was preparing to deliver, together with his band, the best album ever.

Here's Giancarlo's brilliant idea;

which he had after the overwhelming success of Opera Prima and Alessandra: to combine, the symphonic/baroque pop, of these mentioned LPs, with progressive.

The result was: Parsifal first and then the album I'm telling you about today.

Here, we are at the peak of progressive pop: the album, 10 tracks, two of which are instrumental, is an elevated breath towards symphonic epicness; but the common denominator will always remain the love for progressive music.

This professional review, in fact, aims to be a rebuke to the critics: who understand nothing about music (in my opinion) and elevate false myths, bothersome and boring scenes; and not granting the rightful recognition to those who truly deserve it - the Pooh.

The album is an eternal, rare, extemporaneous beauty, we can even say: magnifiable.

It starts with Preludio with Roby's music: a whole orchestra to which will then be joined by acoustic guitar, bass, and drums; in other words, elements of pop/rock music coming from the English culture will be added.

Thus we can assert as if, on one hand, we had art - granted by the orchestra -, and, on the other (side), pop: of pop-rock nature (this is why I challenge music critics who understand nothing about music).

In summary: we can define Preludio as an art pop/progressive piece in which the style is English pop/rock; where the main structure remains pop.

For this reason: the key (style) is pop/rock, certainly; instead, for the genre, we are ahead of progressive/art pop….

Dear music critics, you who confuse style with genre… you can fool the masses, not me!

With Credo… the power: the power… the power; the power of true art rock. These Pooh: a real rock band!

The lyrics, with great nostalgic/sentimental commitment, are by Valerio Negrini; the wonderful music by Roby Facchinetti.

Instrumentally speaking!?

Slightly distorted arpeggios from a 12-string electric guitar open the track; together with the 4-part chorus, the orchestra, and Stefano's symphonic timpani - which are vibrated decisively by the sticks in his hands.

In this album, I feel like commending Red Canzian: his bass lines are something unreachable, they are precise, methodical, meticulous;

he plays like an Adonis of the bass, and throughout the work, you'll hear him accompany the tracks.

So my compliments, Red;

ever since the previous work, you've contributed to raising the band's standard.

Red Canzian already came from a PROG rock band and, in addition to having a beautiful voice capable of remarkable climbs, his artistic flair was connected to his ability to play the instrument (the guitar in the previous band); which ability, here, confirms him as the true bassist of the Pooh.

If you don't believe my words, listen to this album on the stereo, and you'll understand that the wonderful thing you hear in the background, often in harmony with the drums - but not only - is the bass.

In this album, it is played divinely.

I think this LP should be listened to with a stereo and good audio: I highly recommend it.

Back to us… the dream, in which the album is imbued from top to bottom, will lead you through its continent (the dream realm) for its entire duration.

Starting with Preludio, continuing with Credo, and arriving at the third track: una storia che fa ridere.

With lyrics by Valerio and music by Roby, and once again, the legendary duo will not disappoint your expectations…

"Away from here… please go away…", a beautiful unforgettable piece, like a poem… in fact, it is a poem. Truly!

Valerio Negrini will talk about love: love between an individual and the companion of his friend. For this reason, the song in question will talk about the suffering of the boy "betrayed" by his best friend.

A theme that is very dear to our lyricist… and will be repeated many times throughout the career; listen: la donna del mio amico.

The one singing is our guitarist.

Instrumentally speaking, however, we are far ahead with a baroque symphonic pop track. Well-arranged and well-played. Gianfranco Monaldi's orchestra elegantly drapes the album like an "elegant robe" over the entire work. Bravo Pooh. Bravo Valerio. Bravo Monaldi!

And with Oceano - How do we put it?

Eh! Eh! Eh!

The critics say: “Pooh do pop/rock”.

I respond like this: yes, music critics, yes…

Pooh do pop/rock.

Listen to Oceano with Roby Facchinetti's inspired music; inspired by a text this time with an epic character; by a very, very on-point Negrini.

Musically speaking, the Monaldi orchestra with strings, violins, and woodwinds will make your ears prickle.

Stefano plays the drums in a professional and technical way. And there are people who say he is not virtuosic… Here he plays excellently: opening-closing the hi-hats continuously.

This work is also beautiful for how Stefano and Red play: they are impeccable. Truly.

Listen to believe: the bass comes in at the appropriate moment, just when it needs to - with the drums - during appropriate moments; for example when the track is about to explode and so on.

Just like it happens in professional prog/symphonic rock ensembles.

Listen.

But yes, let's make a mention, just so we don't get too bad-mouthed by the haters…

When Stefano “opens” the pieces of this LP with his Ludwig timpani, he is very close, and he is not very far, from none other than "Carl Palmer"; we also mention an LP of "ELP": "Trilogy". We also mention a track, inside which, Carl bangs with relish: "The Endless Enigma part 1".

Listen to how Stefano plays Oceano and then listen to The Endless Enigma part 1 and listen to how Carl Palmer plays.

Then we'll talk about it.

“Fantasia

logs on the flame and you warm up a little you will see”.

Here is an unplugged gem with a strong nostalgic feel: fantasia.

Let me tell you something, my friends… In this track and, in general, in this LP, you truly taste all the goodness of the golden '70s.

It's so beautiful to listen to the Pooh's records on vinyl, they take you away: to the universe of enchanted dreams.

And let's keep dreaming, then: with Valerio's lyrics and Roby's music; an acoustic guitar arpeggio will accompany Dodi's voice who, here, will really make the strings of the soul vibrate and will lead us into the deepest and most boundless oceans of dreams. Galaxies, nebulas, stars, firmaments; all this you will experience, my friends: if you decide to listen to me and, sorry for the repetition, to listen to the most beautiful pop record of all.

This album, as mentioned earlier, is the pinnacle of symphonic rock, progressive pop, and art rock.

You should listen, to understand what the record is made of, to bands like:

"Electric Light Orchestra", "Yes", the already mentioned ELP… but also, dream/pop bands like "M83" and "the Midnight"… just to name a few examples.

End of Side A.

And Side B begins.

The Pooh will open, just for us, the doors of the hyperuranium; indeed, what am I babbling about... they will fling them open!

Here is the second instrumental: Mediterraneo. Music by Roby and Dodi.

Guys… listen to this Pooh album and you'll thank me. It's good for the soul.

I feel lulled when I listen to it. Canzian makes the bass sing: and, I believe, he truly does a solo in this piece!

The best track on the album and, certainly, in the entire discography: Mediterraneo.

The track will transport you to a remote and dreamlike corner of the universe where everything is possible:

angelic choirs, under celestial guitars, will elevate you to paradise and, a mandolin, with a sitar, will make you dream with eyes wide open.

Here is all the artistic flair of the Pooh: there's pop prog, there's rock (Stefano and Red accompany the track divinely), there's dream pop, yes. Yes.

You read that right.

Yes - because, in the end, Giancarlo's dream will come true: orchestra, choirs, and instruments will be one. Blending together. And, taking us, all together, into the vast skies of the dream paradise signed:

Pooh-Lucariello.

The album deserves 5 stars from all music journalism but, unfortunately, music critics are: unaware and slothful.

Only sales will unlock the acceptance of the gold record.

In the album, there is all the true power of symphonic/progressive from the golden years of the genre, carefully curated and sought-after arrangements, distorted guitars, and incredible solos - listen (1966 and time... the city) -, synth pop layers worthy of the greatest avant-garde new wave music bands; with a lavish use of mellotron, harpsichord, clavinet, celesta, and Minimoog…

I've said everything - and I've said nothing.

I can only mention one musician, him:

"Mike Oldfield"; to make you understand and realize the power of the Pooh.

Oldfield has long dealt with art and prog rock… listen to albums like: "Crises" and "Discovery". Listen to "Taurus III" on the Crises album…

As you see, Federicocope gives you concrete examples, and enlightens his readers, on the ignorance of music critics - providing concrete examples - for the rediscovery of what, for the Greeks, was considered Aletheia: the truth.

The next track, instead, is called: Eleonora, mia madre.

The track - Very Famous!

Because we are talking about the single from the LP.

From an instrumental point of view, we also encounter the same style and genre.

The track begins with a symphonic opening, very reminiscent of a waltz: Monaldi's orchestra is splendid at enhancing the music - violin, viola, and cello fit perfectly, trust me; Dodi's arpeggios complement everything and Red's bass fits well with Stefano's beats.

Who is the poet of the poetry.

While for the melody, Facchinetti always takes care of it.

Interesting is that rhythmic change towards the end when Roby accompanies this line with the piano:

"your old disappointment, among the first wrinkles already appears...", the track slows down and then starts off again towards the finale;

the piano leaves space for the drums as if it were a real march.

And a long instrumental coda, consisting of Dodi's arpeggios - before Red starts singing again -, closes the track.

In short: it is truly an exceptional thing, from an instrumental point of view, this album!

1966: are you familiar with the Genesis - And the Moog carpets used by the keyboardist - Exactly.

We are at those levels.

Facchinetti, alongside Monaldi's majestic orchestra, opens a whole continent of music - through their keyboards: mellotron, sixtro, eminent, Moog, and Minimoog.

In fact, it seems as if the keyboards were singing a choir, under that orchestra, and, the voices of Roby and Dodi, joined by the other instruments, followed the instrumental tail.

And do we want to talk about Battaglia's unique phrases? In this track, the guitarist, will alternate arpeggios and phrases simultaneously.

And the critics claim that Pooh does Pop/Rock!?

I wonder if journalists had ever truly listened to Pooh.

Music by Roby, lyrics by Valerio.

Orient Express.

Imagine sitting on the track that will take you east, as you go on vacation, and while you read an Agatha Christie novel, imagine having the unmatched music of Pooh in your ears: what effect would it have on you?

Honestly, I think you would arrive in the east: first with the mind and, silently, with the train.

Yes, because I think the Pooh are also a dream pop band; listen to them, and you'll agree with me. And, even if there aren't all the elements needed to make them a dream pop band - fully, I think there are some analogies linking them to the genre.

Technically, we are in front of another pearl, ladies and gentlemen. Another pearl signed Pooh-Negrini.

He was inspired while traveling in Slovenia and Romania during which he wrote the lyrics.

The music is produced, for the most part, by Dodi, with the help of Roby.

I think Dodi's acoustic arpeggio in this track is inimitable.

Not to mention what Canzian does with the bass.

Guys: there's no one like them, they are gods of Pop/Progressive.

Pop-rock, as a title, would fit well for bands like: The Kolors, Modà, and Måneskin, without wanting to take anything away from those mentioned.

But no one will ever be able to match the music of the Pooh.

I know people who saw Pooh live in the '70s and they confirm everything: it was English (played) music, and Italian (sung) music.

Music Critic: Game Over, if you say that Pooh are Pop/Rock but, you say that also the bands that have not experimented are, then you are wrong.

Or, there is politics involved…

I don't know.

Federicocope for Debaser.

Wait… But isn't there a track missing?

The best of the album and discography…?

But how - Wasn't it Mediterraneo?

I did it on purpose: because, at track number 6, Mediterraneo, the album would already deserve five stars.

But, it is with the final track, total minutes: 10:45, that a bit of our best time deserves to be praised as: “rock opera”. It would fully deserve it.

The second part, where Dodi plays the acoustic guitar, strongly reminds me of the “slowing” on "Innuendo" by Queen.

The final solos, of electric guitar, the evocative lyrics, and the time changes, give the track the operatic imprint that only real musicians know how to embed in their works: as happens with the Queen track just mentioned; in which different styles and time changes alternate.

Stefano gives emphasis to the track with his rolls, Monaldi's orchestra is imposing and the lightness of the lyrics balances the grandeur of the music.

Here, Roby, Dodi and Red sing, taking turns; the lyrics are by the poet Negrini, the music by the magician Facchinetti.

Here is a summary of the whole style/genre.

1. Preludio: Art Pop
2. Credo: Progressive Pop
3. Una storia che fa ridere: Baroque Pop
4. Oceano: Art Rock
5. Fantasia: acoustic/progressive popsic music
6. Mediterraneo: Art Pop/dream pop
7. Eleonora, mia madre: Baroque Pop/Symphonic Rock
8. 1966: Baroque Pop/Symphonic Rock
9. Orient Express: acoustic/progressive pop music
10. Il tempo, una donna, la città: art rock/progressive rock.

Chapeau.