Stefano Testa-Una Vita Una Balena Bianca E Altre Cose (1977)

Stefano Testa is an Italian musician and composer who, in the late seventies, left behind one of the cult classics of Italian progressive rock, considered today by the most knowledgeable fans to be one of the undisputed gems of the genre. After a tentative start with the acoustic trio Portici Trio, Testa decided to compose music influenced by British baroque symphonic rock and Italian lyricism. Thus, in 1977, amidst a declining Italian progressive rock scene, he released his debut album, "Una Vita Una Balena Bianca E Altre Cose" (One Life, One White Whale and Other Things), a captivating prog-rock odyssey vibrant with sounds replete with elegant arrangements of acoustic guitars, flutes, soft female choirs, and rich orchestrations with neoclassical influences. Surrounded by a small band consisting of acoustic guitars, bass, drums, and keyboards, Testa crafted a harmonious album with a classical and literary feel. Existential tragedy and human decadence are reflected in dark and melancholic sounds, as we can appreciate in the suite "Una Vita", a 16-minute epic of magnificent arrangements backed by guitars and an energetic and vibrant rhythm section. While not reaching the heights of this piece, other more folk-oriented tracks also stand out, such as the lively "La Ballata Di Achab", the hypnotic "Risveglio", and the poignant "Difficile Chiamarti Amore". Unfortunately, Stefano Testa did not receive the recognition he deserved at the time, and this work went unnoticed for many years until, thanks to the internet, it was widely disseminated and rightfully praised.

Metamorfosi-Inferno (1973)

Hailing from Rome, Metamorfosis achieved lasting fame for creating one of the finest albums of Italian progressive rock. Inspired by Dante's "Divine Comedy", this Italian group showcases magnificent melodic instrumentation on this release (their second album), driven by brilliant keyboards, especially the Hammond organ, and the emotive vocals of lead singer Davide Spitaleri. The rest of this Italian lineup consisted of Roberto Turbitosi (guitars), Enrico Olivieri (keyboards), and Gianluca Herygers (percussion). "Inferno" is a stunning suite that is undoubtedly a landmark within progressive and symphonic rock, an album that is overwhelming from beginning to end, a majestic work that unfolds amidst dark and sinister atmospheres, ingenious yet malevolent melodies, and an imaginary narrative through hell, describing, with the music itself and its grim lyrics, the suffering of modern sinners, be they rulers, drug traffickers, the greedy, or the corrupt in general. Without a doubt, we are looking at one of the essential works of progressive rock and one of the pinnacles of the Italian avant-garde scene.

Murple-Io Sono Murple (1975)

Another of the many Italian bands of the 1970s was Murple, a Roman group that barely managed to release a single album in mid-1975. Founded in 1971, their lineup consisted of Giuseppe Santamaria on vocals and guitar, Pier Carlo Zanco on lead vocals and keyboards, Mario Garbarino on bass, and Duilio Sorrenti on drums. Their only official recording is "Io Sono Murple", an interesting transalpine offering of classic Italian progressive rock, featuring impressive displays of organ and guitar work with compositions that alternate between melodic and pastoral moments and the power and aggression of rock. It is composed of a series of short pieces that link together, creating a kind of unified work with sounds that oscillate between jazz, classical music, avant-garde, and rock.

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.

Quella Vecchia Locanda-Il Tempo Della Gioia (1974)

Another fundamental Italian symphonic rock band was Quella Vecchia Locanda, who left a lasting mark with just two albums recorded between 1972 and 1974. Formed in Rome in the early 1970s, this group comprising Giorgio Giorgi (lead vocals, flute), Raimondo Maria Cocco (electric and acoustic guitars), Massimo Roselli (keyboards), Donald Lax (electric violin), Romualdo Coletta (bass), and Patrick Traina (drums) won over audiences and critics alike with their brilliant performance at the Villa Pamphili Pop Music Festival. That same year, they released their self-titled debut album, "Quella Vecchia Locanda". This first album contains outstanding tracks that combine the classic Italian underground sound of the 1970s with a powerful blend of tranquility and beauty, seasoned with expressive vocals rich in harmonic textures. Several years later, under the RCA label, they released their best work, "Il Tempo Della Gioia", showcasing the typical sound of Italian bands with elements of British progressive rock. It is undoubtedly Donald Lax's violin that characterizes their sound, imbuing it with great romanticism, in addition to the rich Italian lyrics. Their style also incorporates touches of jazz and classical music, as evidenced in tracks like "Un Giorno, Un Amico", "Villa Doria Pamphili", and "A Forma Di". This second album is considered one of the key albums of Italian progressive rock, alongside the early releases of Le Orme, PFM, and Banco Del Mutuo Soccorso.

Nova-Blink (1975)

Fondly remembered by European fans of 1970s progressive jazz-rock, Nova was an Italian band formed by members of other Italian groups such as Osanna and Cervello. These included guitarists Corrado and Danilo Rustici, who, along with saxophonist Elio D'Anna, formed the band in London in the mid-seventies. Between 1975 and 1978, they released four superb albums focused on expansive, jazz-oriented progressive improvisations. Given the instrumental prowess of its members and their growing reputation, they soon secured a deal with Arista Records to finance their debut album, released in 1975 under the title "Blink". This first release featured, in addition to Rustici and D'Anna, bassist Luciano Milanese, drummer Franco Lo Previte, and Morris Pert, percussionist for Brand X. Composed of an eclectic fusion of styles ranging from jazz rock to sumptuous funk rhythms and intense blues rock, all underpinned by grand instrumental passages. From the powerful jazz rock with a blues undercurrent of "Tailor Made", to solid exercises in classic and heavy rock such as "Something Inside Keeps You Down", spirited jazz fusion with funky rhythms like "Nova" and "Toy", and dizzying blues rock like "Stroll On", this album, while lacking the consistency of their later releases, showcases the diverse guitar styles of its two leaders and the driving force of the rhythm section. These elements, combined with creative musical lines, make Nova's debut album a truly remarkable listening experience of high-level progressive jazz rock.

Premiata Forneria Marconi-Storia di Un Minuto (1972)

In the late sixties, the British progressive rock movement was in full swing, and hundreds of bands from numerous countries influenced by the genre ventured to experiment with their own sounds in search of success and glory. One of these many bands was the Italian group Premiata Forneria Marconi, who absorbed this new rock sound, fusing it with different elements such as Italian music, creating their own unique identity. In this context of effervescence and creativity, this Italian band released their second album in 1971, "Storia di Un Minuto", a record that departed completely from the melodic, psychedelic pop sound of their debut. This second album is characterized by reflective and complex passages that support impeccable instrumentation, as demonstrated in the pastoral "Impressioni di Settembre". The following tracks, such as "Paloma…Quando", a sentimental piece reminiscent of medieval music, and the atmospheric "La Carrozza di Hans", continue in this introspective vein, with touches of drama. The popular Italian tarantella style shines through in the lively "E Festa", driven by extroverted keyboards, while jazz improvisation is present in "Paloma…Quando Part II". To close the album, the band reserves its most progressive moment with the experimental "Grazie Davvero", which features precise orchestral arrangements and an outstanding acoustic ending. "Storia di Un Minuto" proved to be an excellent starting point for Premiata Forneria Marconi, who in the following years would release such monumental works as "Per Un Amico" and "Photos of Ghosts", “L´ Isola Di Niente” or “Chocolate Kings”, becoming one of the biggest bands of the Italian progressive movement and the one with the greatest international impact.

Premiata Forneria Marconi-L'Isola di Niente (1974)

Amidst the buzz surrounding the success of “Photos Of Ghosts” in the English-speaking market, the Italian band Premiata Forneria Marconi embarked on a new project, their fourth release chronologically titled “L'Isola Di Niente” (The Island of Nothing). Recorded with meticulous production, the band took significantly more time to develop the musical structures, resulting in greater instrumental and lyrical depth. This shift is evident in the opening track, the title track, an instrumental interlude where Franco Mussida's guitar and Franco Premoli's keyboards, accompanied by a haunting choral arrangement, showcase the strength of their new sound. This track is followed by the progressive “La Luna Nuova” (The New Moon), where the keyboardist once again takes center stage with his Moog synthesizer sounds. The Mediterranean melody of “Dolcissima Maria” and the jazzy “Is My Face On Straight” are the tracks that lead to a spectacular closing with the lively “Via Lumiere”, the culmination of another masterpiece from one of the best bands to have emerged from Italy.

Premiata Forneria Marconi-Jet Lag (1977)

With their eighth album, "Jet Lag", the Italian band Premiata Forneria Marconi forged a new musical path, abandoning their poetic lyrics and singing in English without the involvement of lyricist Peter Sinfield, who had translated the albums "Per Un Amico" (released as "Photos of Ghosts") and "L'Isola Di Niente" (released as "The World Became the World"), both for the English-speaking market. This time, the band focused primarily on the ambitious North American market, producing a work closer to the jazz fusion/rock style so popular in the late seventies. The interplay of the rhythm section, composed of Franz Di Cioccio and bassist Jan Patrick Djivas, is truly electrifying and complex, while the absence of the usual horn section, due to Mauro Pagani's departure, is compensated for by Gregory Bloch's excellent violin. Special mention must be made of Franco Mussida's guitar, displaying an unusual intensity with dizzying riffs reminiscent of hard rock. From the incredible title track, a superb progressive jazz-rock composition, to the pastoral and instrumental "Peninsula", the Italian band delves into and finds an unclassifiable sound within progressive rock, always remaining true to the essential Italian progressive approach. The vocals perfectly complement the overall musical philosophy, and while they don't quite reach the eloquence of their emblematic works, they still retain moments of grandeur. The rest of the repertoire consists of pieces that navigate between pure progressive rock ("Traveler"), highly talented instrumental exercises ("Meridiani"), and avant-garde explorations like the energetic "Left-Handed Theory". Without a doubt, "Jet Lag" is another essential work from Premiata Forneria Marconi, despite the substantial stylistic shift from their initial sound.

Etna-Etna (1975)

Etna was an interesting Italian band with a curious career, reflected in three albums released under different names. Formed in the early 1970s in Sicily by brothers Agostino and Antonio Marangolo (drums and keyboards respectively), guitarist Carlo Pennisi, and bassist Elio Volpini, they moved to Rome in early 1971. There, they established their base of operations and released several albums focused on progressive hard rock under the name Flea On The Honey. After several lineup changes, the band disbanded for a time until 1975, when the original members reunited and, under the name Etna, released their only self-titled album. In this new release, the band shifted towards melodic jazz-rock, creating a superb instrumental jazz-rock fusion album driven by guitar and keyboards. Echoes of iconic bands like the Mahavishnu Orchestra, Weather Report and Nucleus, seasoned with influences from the Canterbury sound, made up one of the most appreciated albums of transalpine and European jazz rock.

Goblin-Roller (1976)

Goblin was an Italian band that oriented its music mainly to horror movie soundtracks with dark, intriguing and progressive sounds, but also released some albums outside the film industry.
Formed in Rome in 1972 during their career they have been dissolved several times and reunited in the last 40 years.
His first and most classical formation was comprised of the guitarist Massimo Morante, the keyboardist Claudio Simonetti, the bassist Fabio Pignatelli and the drummer Walter Martino, however throughout his long career there have been innumerable line-up changes to the point that they have There have been records that have been recorded by totally different lineups. His first job was for the soundtrack of the 1975 movie "Profondo Rosso", a short job, barely 30 minutes, but where the gloomy sounds full of organs are already sensed with an approach to jazz sounds, atmospheric passages and great moments of guitars, bass and drums.
“Roller” released a year later was already a conventional album without the pressure of a Dario Argento behind it, and it showed a progressive style influenced by the British bands of the genre. Pink Floydian atmospheres, sounds in the vein of Mike Oldfield's “Tubular Bells”, long spacious passages with funk and rock tones, all with great instrumental performances by the band's musicians. Turned into a cult album for progressive fans, Goblin has continued to release both film-directed discs and mainstream parallel works, reaching his late twenties all these years.

Area-Arbeit Macht Frei (1973)

While not achieving the commercial and media success of their compatriots Premiata Forneria Marconi or Banco del Mutuo Soccorso, Area is one of the most challenging and unusual bands in Italian avant-garde rock. Their golden age spanned from 1973 to 1980, years in which they released six excellent albums, all highly regarded among fans of experimental progressive rock. Formed in 1971 by Demetrio Stratos (vocals and organ), Gianpaolo Tofani (guitar and synthesizer), Patrizio Fariselli (keyboards), Victor Edouard Busnello (wind instruments), Patrick Djivas (bass), and Giulio Capiozzo (drums), this Italian group released their first album, "Arbeit Macht Frei", in 1973. This unique record, while not adhering to a single genre, perfectly blends the sounds of jazz, rock, world music, progressive rock, and psychedelia. A dynamic album that keeps the listener on the edge of their seat for almost 40 minutes, from the wacky free jazz "Luglio, Agosto, Settembre (Nero)" to the experimental jazz funk rock "Arbeit Macht Frei", passing through the avant-garde fusión "Consapevolezza", the progressive "Le Labbra del Tempo" or the experimental tour de force "240 Chilometri Da Smirne", which makes this album one of the most restless and adventurous of the entire progressive scene that emerged in Italy in the 70s.

Premiata Forneria Marconi-Chocolate Kings (1975)

The sixth album by Premiata Forneria Marconi, "Chocolate Kings", would mean the first sung in full in English and was thus made to enter the North American market.
It would also be the first where the band became a sextet with the incorporation of a new vocalist; Bernardo Lanzetti.
In "Chocolate Kings" the band maintains its references to British progressive rock, such as "From Under" which sounds like Genesis and much more if you look at Lanzetti's voice timbre, with a certain resemblance to Peter Gabriel.
The Powerful "Out Of the Roundabout", undoubtedly sounds like Yes, however what does change in this work are the Mussida guitars that have a harder tone approaching the sound of American rock, as can be seen in songs like "Harlequin" or "Chocolate Kings".
This album had an immense impact worldwide, with an impressive tour that would end in Japan and they even performed at the Royal Albert Hall in London before the Queen Mother.

Nova-Wings Of Love (1977)

Italy has historically been the birthplace of elegant rock bands, the vast majority oriented towards symphonic, progressive, and jazz styles, many of which maintained their continued appeal to fans worldwide with their refined releases. In the mid-70s, there was a long list of these bands based in London, and one of them was UNO, formed by brothers Corrado and Danilo Rustici, both guitarists who, along with saxophonist Elio D'Anna, decided to rename the band Nova, recruiting bassist Luciano Milanese and drummer Franco Lo Previte. In 1976, under the Arista label, they released their first album, "Blink", a commendable work that, while not entirely defined, showcased a jazz-rock style with extended improvisations and rich guitar interplay and a sumptuous saxophone. Near the end of that same year, "Vimana" became their second full-length album, a more mature work where the band focused more on composition than on the individual instrumental work of its members. From this point on, the band underwent several lineup changes, with keyboardist Renato Rosset, drummer Ric Parnell, and bassist Barry Johnson joining, replacing Danilo Rustici, Lo Previte, and Milanese, respectively. With this lineup, the band recorded and released their most successful and magnum opus, "Wings of Love", which is characterized by a shift in musical direction, leaning more towards jazz funk, due in part to bassist Johnson's funky style. This album boasts exquisite musicianship, courtesy of the impeccable technical skills of all the band members, offering a repertoire of agile and dynamic, yet refined, jazz rock. Tracks like the dynamic funk-rock "You Are Light" stand out as one of their most creative moments, with silky harmonies and a contagious, catchy rhythm. The jazz fusion "Marshall Dillion" showcases Nova's energetic side, while the dreamy "Blue Lake" is the album's most intense moment. "Beauty Dream / Beauty Flame" features a gentle melody that blends delicate acoustic touches with reflective, exotic sounds. The rest of the album follows a similar path, with the frenetic funk of "Golden Sky Boat", the exhilarating jazz with Latin echoes of "Inner Star", and the elegant "Last Silence". "Sun City", their fourth album, released the following year, returned to a jazz-funk style, but one that leaned towards a more conventional and predictable jazz sound. Shortly after this final release, the band definitively disbanded, leaving behind four albums brimming with tension, energy, and technical brilliance, all considered seminal works within the European jazz-rock genre.

Latte E Miele-Passio Secundum Mattheum (1972)

Latte e Miele are another significant band from the golden age of Italian progressive rock. Formed in Genoa in 1971 by guitarist Marcello Giancarlo, keyboardist Oliviero Lacagnina, and drummer Alfio Vitanza, they released their debut album in 1972 on the Polydor label. Their style is clearly influenced by the British band EL&P, and their first album is inspired by the music of Johann Sebastian Bach and liturgical music in general. Similarly, their lyrics, based on the Gospel of Matthew, are quite politically correct. Their repertoire ranges from the symphonic rock of "Introduzione" and "Getzemani", to the jazz-rock of "I Testimoni - Second Part," the grandiose sounds of "Ultima Cena", and the operatic elements of "Il Pianto". In short, this debut album by Latte E Miele is a brilliant example of extraordinarily well-crafted music, achieving the perfect blend of classical music and rock instrumentation, along with operatic interactions, resulting in a very fluid and brilliantly diverse musical tapestry.

Museo Rosenbach-Zarathustra (1973)

“Zarathustra”, the only album by the Italian band Museo Rosenbach, is a gem of progressive rock. This band rightfully earned their fame thanks to this excellent record based on the Übermensch theory of the German philosopher, poet, and composer Friedrich Nietzsche. Founded in the early 1970s in the town of Bordighera, in northwestern Italy, by keyboardist Pit Corradi, drummer Giancarlo Golzi, guitarist Enzo Merogno, bassist Alberto Moreno, and singer Stefano Galifi, this unique album, despite containing the harmony and lyricism typical of Italian progressive rock, possesses a highly original symphonic quality thanks to the dynamic keyboards. All of this, combined with the interludes, the original and expressive Italian vocals, and the guitar passages, makes this album a true contemporary classic. The epic title track is a breathtaking saga divided into five parts, each with its own distinct atmosphere and musicality, crowned by bombastic mellotron sounds, a tight rhythm section, and masterful instrumentation. The remaining tracks, while not quite reaching the same heights, are nonetheless agile and energetic, with organ sounds and subtle guitars bringing this legendary album to a close.