Banco del Mutuo Soccorso-Banco del Mutuo Soccorso (1972)

Banco del Mutuo Soccorso was a seminal Italian band that fused the pastoral side of Genesis, the dynamism and power of Yes, with the operatic lyricism of Italian music. Formed in the early 1970s, they achieved worldwide recognition in 1972 with their distinctive and grandiose music, releasing a beautiful, highly elaborate, and quite complex album. The album features excellent guitar work, powerful drums, and marvelous keyboards, all brilliantly executed, accompanied by one of the greatest voices of all time, singing with full force and maintaining the rhythm of each track. The album opens with "In Volo", a short song that, thanks to the use of the flute, has a folk touch, along with synthesizer sounds and a dazzling female choir. Next comes one of the quintessential tracks of progressive rock, "R.I.P. (Requiescant In Pace)", where we can appreciate Francesco di Giacomo's extraordinary voice, set against a jazzy piano rhythm, a funky guitar, and symphonic elements that, as it unfolds, transform into a beautiful, peaceful, and exceptional fairy tale. The prelude "Passaggio" leads into "Metamorfosi", a dynamic progressive piece with a strong classical influence, and the hypnotic suite "Il Giardino del Mago", a true progressive epic that becomes the second high point of this magnificent album. To close, the band gives us the wonderful and short "Traccia", another piece based on classical piano, choral vocals, and a kind of folk melody, culminating one of the quintessential works of 1970s progressive rock.

Banco del Mutuo Soccorso-Darwin! (1973)

Banco del Mutuo Soccorso, considered one of the best Italian progressive rock bands of all time, was founded in 1971 as a result of the merger of two groups from the Rome area called Fiori del Campo and Experience. The initial lineup consisted of: Vittorio Nocenzi (keyboards, flute, and vocals), Gianni Nocenzi (keyboards and vocals), Marcello Todaro (guitar), Renato d’Angelo (bass), Pier-Luigi Calderoni (drums), and Francesco di Giacomo (vocals). Their first album, “Banco del Mutuo Soccorso” (1972), reached number one in Italy and established the sextet with its mature compositions, containing the elements that would characterize the group throughout their subsequent career. From this first album stand out memorable moments such as the brilliant “Metamorfosi”, the spectacular “In Volo”, and the suite “Il Giardino Del Mago”. The album quickly became a success in Italy and across much of Europe, cementing their place among the best symphonic rock groups of 1971. They maintained their prestige and quality with their next two albums: the legendary “Darwin” (1973), considered a masterpiece of progressive rock, and the intense and monumental “Lo sono nato libero” (1973). Traditional Italian lyrics, combined with the Mediterranean rock sound, a rich blend of sounds, and incredible instrumental depth, propelled them beyond Italy's borders. Keith Emerson discovered them and signed them to the Manticore label, where the other great Italian band, PFM, was already signed. With Rodolfo Maltese replacing Todaro on guitar, and adopting the shortened name Banco, the sextet debuted on the new label with the LP "Banco" (1975), followed by "Garofano rosso" (1976). This was followed by a series of strong albums such as "Di tearo" (1977), "Canto di primavera" (1978), "Capolinea" (1979), and "Urgentísimo" (1980). Despite promising signs, they failed to achieve mainstream success. Having missed their international opportunity, they returned to focusing their work exclusively on Italy with the albums "Boune Notizie" (1981) and "Banco" (1983).

Banco del Mutuo Soccorso-Io Sono Nato Libero (1973)

Sophisticated instrumental arrangements, bizarre musical elements, brilliant melodies, and creatively well-developed music are what the Italian band Banco del Mutuo Soccorso offered on their third full-length album. "Io Sono Nato Libero", as this third recording is titled, is just as impressive as their debut album and, for many, their masterpiece alongside its predecessor, "Darwin!". An album brimming with magical moments, ranging from the masterful operatic voice of singer Francesco Di Giacomo to the magnificent work with synthesizers and classical piano by brothers Gianni and Vittorio Nocenzi, and including the refined instrumental preludes of Pier Luigi D'Angelo's drums and the subtle guitar chords of Marcello Todaro. Each of the five tracks included on this album is exceptional, starting with the extensive and dynamic opening track "Canto Nomade Per un Prisionero Político", while other cuts such as the majestic progressive "Dopo…Niente e Più lo Stesso", the harmonica "Non Mi Rompete" or the simple with jazzy touches "La Città Sottile", have enough credit to categorize this album as one of the essential works of Italian and European progressive rock.

Banco del Mutuo Soccorso-Come In Un´Ultima Cena (1976)

In the mid-1970s, Italian progressive rock was experiencing a creative stagnation. While bands like Premiata Forneria Marconi maintained their status with their intriguing approach, moving away from the standard Italian sound, others like Le Orme gradually lost their initial imagination, veering towards more experimental sounds. Nevertheless, there were still others who continued to preserve their characteristic progressive flame. One of these was Banco del Mutuo Soccorso, who in 1976 released another of their acclaimed works, the album "Come In Un'Ultima Cena". A concept album about Christ, from the Last Supper to his crucifixion, this is one of their most moving and refined works. Although it falls short of the great works they released years earlier, it remains a clear revelation of Banco's core essence, thanks to its exceptionally high level of composition and great musical imagination. Franco Di Giacomo's operatic singing shines, as usual, in tracks like the delicate opening song, "...A Cena, Per Esempio". However, from this point on, the music takes a more rock-oriented turn with the following tracks: "Il Ragno", the medieval "La Notte è Piena", and the semi-progressive "Fino Alla Mi Porta". These contrast with the melodramatic "E' Così Buono Giovanni, Ma..." and the experimental "Slogan". But it is undoubtedly "Voilà Mida (Il Guaritore)" that stands out as the high point of this work, a cutting-edge song of the best Italian progressive rock.