Premiata Forneria Marconi
Chocolate Kings

THE REVIEW

It was 1975 and I was 15 years old. My world and that of my friends was mainly populated by Genesis, Pink Floyd, Yes, King Crimson, and PFM, pride of young Italian rockers.

When "Chocolate King"s came out, it was a bit of a shock. The controversial cover was already somewhat unsettling (I remind you it was a different time), and then at the first hint of a certain Bernardo Lanzetti's voice, enlisted as the lead singer of a group in perpetual search of a lead singer, well... the result was below expectations. Wrongly, at least in part.

However, that voice was too American, a voice too intrusive that overshadowed the beautiful melodies and musical virtuosity of Mussida and company to the point that it became clear in that moment that, after "Storia di un Minuto," we were facing another masterpiece by Premiata Forneria Marconi.

In fact, "Chocolate King"s, in some respects, surpasses their glorious first album because here there is the maturity in individual and choral performances, in the lyrics and the message.

But we fifteen/twenty-five-year-olds were annoyed by this Americanism: why an LP so Anglo-Saxon? Perhaps to dive headfirst into the promising American and English markets? At that time in our world of progressive rock enthusiasts, the term "commercial" was pejorative toward bands that went from creating works of art to making records produced for sale, serving the decrees of record companies, a sign of an advancing ambition that marked the loss of "purity." Perhaps we did not understand them too much, perhaps they instead wanted to enter the pantheon of world rock music, feeling the need to evolve and stand alongside the most famous bands. An act of presumption? The potential was there, but some strategic errors did not allow this album to take off. Too American for Italians and too revolutionary for Americans, with the overseas cover with that crumpled American flag not helping at all, in fact.

What to say about the tracks, what more can be said than what has already been said by my predecessor reviewers? Excellent opening track "From Under" with a great start to the album, beautiful and distinguishable; "Harlequin" is the best track; "Chocolate Kings" is a weak point in that attempt to renew a Celebration-like success, unfortunately mishandled and no longer original, a missed highlight. Then "Out on the Roundabout" is beautiful and the most prog of the album along with Harlequin. "Paper Charms" is a poignant final track rich in positive content against drugs.

The performances of Franco Mussida and Flavio Premoli are of remarkable workmanship, bassist Patrick Djivas and Franz Di Cioccio are up to the task, Mauro Pagani underemployed. About Bernardo Lanzetti, a voice with a beautiful American accent, we've already talked about him; there could have been someone else in his place, but then the whole project would have needed to be a bit different.

In short, underestimated by critics and especially by fans who proudly thought "we Italians are also part of this cultural musical revolution of the seventies," but precisely for this reason, they expected a more "Italian" album. I am now here to reevaluate it and give it the rightful artistic merit it deserves, so many can discover and appreciate it, perhaps stimulated by these reflections/memories. It is recommended to you by a fifty-two-year-old who was there and who, despite everything, has always held this album in his heart.

It was 1975 and an Italian group honored Italian creativity and stood as a bastion, a commendable progressive trail rich in individuality, in a world that, alas, was giving way to punk rock and new wave.