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If an Italian group exists that very is known at international level, after Premiata Forneria Marconi (PFM), is Banco del Mutuo Soccorso (BMS) one of the fundamental groups of the Progressive Italian rock. This originating group of the city of Rome is of the best examples of the development of the Italian Progressive rock and also one of the best groups than has arisen from world-wide the Progressive rock. Their music is stirring and of delicate and fresh mysticism, as well as of a exacerbated chromatist. There is a deep doubt that the music of Banco has a very classic development, subjects and with extraordinary shades, and extreme professionalism in the musicians who integrate this great group and which they are: Gianni Nocenzi -clarinet, piano, Keyboards, Flute Piccolo, Vocals, Pier Luigi Calderoni. - Drums, Renato D'Angelo. - Bass and Guitar, Francesco Di Giacomo. - Vocals, Vittorio Nocenzi. - Organ, Clarinet, Keyboards, Vocals and Marcello Todaro. - Guitar, Vocals, guitarrón.

Banco has been always a pilar of the Progressive rock in Italy, It practically was present in all the festivals of Progressive rock that organized in principles of 70's like Villa Pamplihi or the Caraccalla and next to the great Italian groups of those years like PFM, Osanna, New Trolls, Le Orme and IL Balleto di Bronzo, to name those. The sound of the group is very characteristic by the use of double keyboard, courtesy of the Nocenzi brothers, who studied classic music and is to notice since they perfectly dominate to the contrapuntist technique and the long harmonic developments, are musical of fertile spontaneity and encyclopedic knowledge and without a doubt of the best keyboard players than has given modern music.

Before do the analysis of the recording that occupies to us, I want to mention the vocalist of this group Francesco Di Giacomo to who I consider one of the voices most characteristic of the Italian rock, his style to sing is of the best ones than it has listened in all my life, powerful vocalist, with a privileged voice and that knows to transmit the feeling that contains melody, with heart rendering rates and at the same time melancholic, an artist in constant evolution and that do not sacrifice the melodic architecture and he affirms to a stormy temperament and a virtuous teacher in the art of the vocalizations.

It is this first titled album in the same way that the group (BMS) and that is one of Progressive jewels of the rock done in Italy in beginning of the 70’s years, and that before the first disc of PFM, I consider that are of both more powerful discs debuts than they have left in that year by (great year by the way for the Italian rock), and fundamental if it is wanted to know the development of progressive rock in this country. The multiplicity of rates, the color that they print to them to the compositions, the difficult and laborious harmonies, the strange and dissonant rates, are finished poems that are worth by their ample breath, their noble emotion their flat, or movable lines either their expression generous and contained here there, their nostalgic and sometimes aggressive atmosphere, created by the part of the instrumentation, rich in musicality and powerfully evocative. The Bass playing of Renato is powerful and it sublimates, discreet and taciturn, but effective and simultaneously sober at moments of great musical tension, there is no doubt that is one of the underrated bass players, but if most skilful and with a great sense of the support and improvisation (please listen to the passage of Metamorfosi song in minute 4:20 in ahead). About Calderoni I consider it of the best drummers than it has given the Progressive Italian rock, with an extraordinary instinct in applying the most dissonant rates than one had imagined and it applies them with the grace of the teacher and it affirms like a great one in making meticulous but effective percutives tonalities, with great redouble and with registries of until rates of 6/8 and with surprising changes, colossal rates and handling of one melody expresses.

The guitar of Marcello is of the best ones than i had listened and here in this album made an extraordinary work like in Darwin (second disc of BMS) and a part of the Io Sono Nato Libero. Precise musician, tiles great agreed and melodic lines in their guitar, electrical or acoustic, harmonist as much completed, (they listen to the delicious and delicate passage of guitar in Il Giardino di Mago minute 10:30) with a great sense by the tonality and avoiding the generic use of riffs used in rock, choose to touch to the way of the great madrigals and English lute, he have the harmonic but sophisticated intonation and with a Mediterranean touch that offers to freshness and grace, non free of aggressive passages where it demonstrates his potential.

Before analyzes the songs, I want to emphasize the point about the production of the disc, to my seems to me a very acceptable production as far as sound, (similar to those discs of the seal Vertigo) if it were possible to be done more good but the Integral loudness of the disc is quite enjoyable, is certain also that the keyboards of the Nocenzi brothers are heard very to the front, and sometimes the voice of Francesco is heard very low in the mixture. But I believe that these minimum problems are solved making a good equalization in the stereo where being this listened to, truly to enjoy this wonderful work of art that is this first disc, capital in the Italian discography of any Progressive music lover.

1. - In Volo. - The subject that opens this splendid disc of BMS consists of an accompanied polyphonic exercise of effects of sound similar to which I suppose would sound or like a metallic firefly or to a UFO, and I engage in a dialog between Francesco and Vittorio, accompanied by flute, bass and one very but very discreet drumming of Calderoni, and with a little medieval feeling, by the use of the aforementioned flute and this I engage in a dialog this inspired by a poet little known called Italy Ludovico Ariosto (little known here in Mexico, clear) is a strange song and the voice of Di Giacomo would seem of a narrative speaker or of some program or fantastic book, and more well-known it is that effect of choir that is similar children, but that is an effect also of the keyboards of Nocenzi, a song that it pretends not to have a rate and that would sound for many like an introduction of which comes. Good (if you are pleased of the dialogues in Italian).

2. - R.I.P. (Requiescant in Pace). - One of the iconic songs of the group and that contains all the elements by which BMS is recognized, the long subjects, the multiplicity of musical notes, the changes of rates, the virtuous phrasing, the power compass, the powerful voice and the fertile and extremely imaginative keyboard, Gianni delights to us with those emanated of his piano and executed notes and that does not fear the hard harmonies combined with passages of uncalculated beauty; the tempo of Calderoni is maintained of an agile way, (6/4) but without being protagonist, with redoubles flexible but exact, the guitar of Todaro is simply brilliant, jazziest outlines, painter of the guitar, altering it with an effect of its guitar causing that is listened to with a species of melancholic urgency with good structured, the keyboard of Vittorio is unique combining the sound of its Hammond organ, with moog discreet and that in parts is listened to mysterious and militant, u Renato’s Bass is rich in a melodic intonation, maintaining the rate and speaking a slowed down language, the voice of Francesco is simply extraordinary! Nostalgic and dreaming. And with a whole of matchless perfection. Transmitting all the feelings possible, and that it reveals the audacities and the beauties of Progressive music, mainly at the end of the song, transmits a discouragement feeling that in truth puts the end hairs and crosses until the hardest heart, accompanied by a suggestive piano and one flute with scattered sounds, to happen immediately to a sequence of touched organ in a very sudden form and to a piano that the song of phenomenal form finishes. There is no doubt that this is truly one of the most representative songs of Banco and of the best thing in the album. Excellent.

3. - Passaggio. - A species of entreat touched by Vittorio with a subject basically taken root in the classic Italian tradition, very evocative and bucolic and of step demonstrating the genius that it has in the keyboard on the part of Nocenzi. Touching what it seems a spinets or harpsichord and pretending to enter and to leave a quarter. It is a small work of masters in the art of pure melody and there is no doubt that the melodic line seduces the spirit, and if these notes pay attention are similar to the feeling in the rest of the album, not reproduced of equal form, but if with certain similar elements. It is an afflicted investigation of a lost sound. Very Good.

4. - Metamorfosi. - The musical piece which I consider basic, is a work of matchless musicality and that with a solid architecture, with a rich instrumentation, hides, of surprising imagination, feeling very inspired and with melodies intensely poetic, until now it continues being one of the most perfect constructions of I call Progressive, with amplest sonorous trowels and wealth of surprising style, there is no doubt that Banco are musicians of a really prodigious creativity, and reveals to Vittorio as wise contrapuntist and always careful of the plan of the musical work, is architect and believes in primacy of the form and the bottom and even demands a logic of the fantasy. Brilliant musician the piano of Gianni embellishes all the song of a very elegant way and defined, it is a sharp drama where the Nocenzi affirms its masters, and its greatness. the voice and DiGiacomo is powerful and dramatic to the operatic point and that shines as the crispy flame.

Renato’s bass is revealed to the listener like an inspired bear and who knows to take the reins from the rate when he is exact, musical audacious and seeking of new sonority and combined with the instinct of the form and the relief. The drumming of Calderoni shines by its freedom of rate and that animates with new breath music, tremendous and colossal percussionist. The guitar of Todaro is powerful and sublimates, contra punting to the keyboard and the piano of the Nocenzi, and excelling to elaborate powerful and fresh notes with the prudent use of the “overdrive” effect , is no doubt that is a master of the guitar.

With his almost 11 minutes in length this song begins with a contra punting between the guitar of Marcello and the piano of Gianni, accompanied by the bass playing of Renato, the keyboard of Vittorio and the drums of Calderoni, with a syncopated rate (6/5) but very energetic, to be one of the best of solo of piano and on the part of Gianni the most stirring ones than I have listened, very idyllic and solitary, possessor of an implicit melancholy in the execution makes me remember to classic composers like Beethoven or Chopin, deep poem, intimae in which perhaps put the best thing of its heart by means of a form always in renovation. One of my favorite passages in a favorite song! A series of notes syncopates of melodies mysterious of moog of Vittorio bursts in and a series of sounds that sound chaotic on the part of the guitar of Todaro, while Vittorio and Gianni frenetically touch to the keyboard and the piano respectively, whereas Calderoni takes the fastest rate, giving a vertigo sensation to listening, suddenly returns to the calm in minute 3:23, with discreet a single one of keyboard of Nocenzi, rhythmically, there is no doubt that is a painter of the music that applies an aesthetic one refined and single they listen to that beautiful passage of minute 3:30 the 3:57, incredible and oniric simultaneously. Later to one more a power part, Renato touching in dark his mysterious notes of the keyboard, whereas Calderoni surprises to us with an unusual rate and they are created on the part of Todaro and Vittorio engages in a dialog of surprising melodic wealth. As of minute 5:09 they return to engaged in a dialog initial (and main) on the part of Marcello and Vittorio, is not doubt that the music of Banco del Mutuo Soccorso animates a mystical feeling sometimes and one dramatic one. Later it returns a change from rate that prevails with under Renato and single ones scattered of the piano of Gianni and the keyboard of Vittorio, creating a species of transition towards a slower and smoother rate, the guitar of Marcello it shines by his tonality, its sentimental and Mediterranean grace, and gives to passage to great voice of Giacomo that returns to us to shake with its low and high registries. Affirming once again that it is a great vocalist, that sings the musical pieces with freshness and an animated and stirring style. The song finalizes with a hurried rate, similar to the one of RIP, with an excellent rate of Calderoni, and Vittorio prescribes elaborated harmonies to us and that is listened to extremely Progressive, agreed excellent and heavy ones of the guitar of Todaro, and finalize the work with vertiginous melodies to the piano of Gianni, in aim one of the best ones and but finished examples of a Progressive rock combined with much classicism and too many rhythmical changes I consider that it is the best song of the disc. Excellent.

5. - Il Giardino of Magician a)... passo I dopo passo... b)... chi ride and chi geme... c)... hammock capelli sciolti to vento... d) Compenetrazione. - The longest song of the disc and that is divided in four parts, a very abstract work in short whiles, with long works of keyboard and piano on the part of the Nocenzi brothers, excellent guitar of Marcello and a firm one, with notes founded on the chromatic scale on the part of Renato’ s bass playing and the drumming on the part of Calderoni, that to my ears is of the best thing than I have listened in my life, the voice of Giacomo flows from a furious form to a melancholic or trepid form in a matter of minutes, demonstrating that it is an amazing genius of the form, the rate and melody. The work that I consider epic, by its length and its concept, is divided in 4 parts, the first a)... passo I doppo passo... It begins with a mysterious organ touched by Vittorio and that is as if outside keeping awake a place of dream and in penumbra, accompanied by an ascending and descendent piano to the bottom and a rhythmic rate of Calderoni and a low one that is limited to accompany the tone by melodía. And appearing choirs on the part of the Nocenzi. In minute 2:09 it appears the guitar of Todaro touching main the musical notes of a furious way, with an effect overdrive and in minute 2:52 one becomes to repeat the musical cycle, but already with the vocal presence of Giacomo accompanying melody with a vocal treatment that simulates, in the beginning, a moan but that later is taking vocal force and with very good musical invoice. Also harpsichord to the bottom shines and that I suppose it is touched by Gianni. … passo doppo passo with him as much spine ormai nei piedi stanco stanco.

it takes us part to the second. b)... chi ride and chi geme... It begins this part with a dynamic rate on the part of the group, Todaro uses of very intelligent way the guitar, avoiding to use generic riffs, replacing them with agreed catchiness and melodic, the drumming of Calderoni takes a rate founded on 18/8 that this great teacher of the percussions dominates without problems, and stands out I engage in a dialog that it becomes between Giacomo and the Nocenzi brothers, and where these demonstrate their vocal capabilities, nevertheless they wane before the power and firmness of the impressive voice of Giacomo, the good thing is that they compensate it with its speed, pushes and felt contrapuntist in the pianos and keyboards, the bass of Renato it is constructing melodies pleasant and maintaining the primary structure of the song. After the part of the engage in a dialog, Vittorio and Gianni show the capacity to us and speed that they have in both together hands and is weaving individual single of keyboard of way, almost orgiastic, as if they wanted to finish the keyboard, improvisators notables and to that its creative imagination seems not to have you limit and after a small passage of type Floydian, they happen to the third part.

c)... coi capelli sciolti al vento... It initiates finishing the passage Floydian with notes of Gianni, who has an inspiration in the great composers of the piano and that is constructing the main lines of this part, it appears the voice of Francesco of elegant form, and it is slid gradually in melody of the song and clarinet of Vittorio accompanying with random notes. A musical passage of much suggestive beauty and I listen to music similar to the Italian madrigals of XVI century. The acoustic guitar does presence of Todaro touching elegant arpeggios, which still gives a greater Mediterranean connotation him, I believe that they are musical extraordinary and of great polyphonic masters and emphasize that I engage in a dialog between the guitar of Marcello and the voice of Giacomo that is really very melancholic and recreates a twisted and mysterious atmosphere, own of high and sublime spirits. As of minute 11:14 the bass of Renato accelerates the rate of the song of vertiginous way and followed by the drumming of Calderoni and the guitar (electrical) of Marcello, it begins brief a single one of clarinet executed by Gianni, and immediately it begins a single trepidant of Hammond keyboard on the part of Vittorio that demonstrates its accurate, audacious and improvisator technique, and that the Clarinet of Gianni is chasing through the song. Possibly the group is elevating music to pathos of sublime form and refinement, while Calderoni is maintaining hurried and constant a rate very, alternated percussions and finishing with a hard redoubling of a timbal. d) Compenetrazione. - Italian group completes part of this great Homeric work of this excellent ,and begins to recreate the passage touched with madrigal inspiration, in the third part, seems to me like a species of exhibition of the opposed ones, the great guitar of Todaro shines by its form its refinement and its sonorous inspiration, the keyboards of the Nocenzi brothers locate itself in the peak of the melodies and the voice of Giacomo sails by waters of the poetic inspiration, affirming that he is a musician who is able to affect and who this equipped with a rare intuition of the timbre and majestic sensitivity. In minute 15:37, it changes musical dynamics, appearing the solid guitar of Marcello and under Renato, recreating the thematic one of the first part of this epic, builds, with very precise interventions of Vittorio in the keyboards and that it gives him good alternative to the musical subject, as of minute 16:55 returns to the 18/8 rate, where the group firmly demonstrates that to its musical concept this taken root in the entrails of the Progressive rock and that the classic development and their constant search of the subtlest sonoric created this masterpiece that is worth by its harmonic development, its thematic complex one and their passages of timeless beauty.

6. - Traccia. - It completes musical piece of the first disc of Bank del Mutuo Soccorso and also of the most known by the fans the group. It is a contrapuntist development of very complex level, mainly if special attention between the work of the keyboard and the piano of the Nocenzi is put, and as the complex drumming of Calderoni is constructing poli rates through furious redouble and between the fastest ones you pass of the piano and the keyboards, Renato’s bass is the anchor of this song in rate of 6/8 and that it gives to the work, solidity and ample structure. The guitar of Marcello appears delayed, but it does with a brilliant phrasing of guitar and immediately it is placed next to the bass, giving an additional power to the rate that is marking Renato. Adorned with choirs, courtesy of the Nocenzi, and that gives a noticeable accent of his Italian medievalism, the combined with a very power progressive rock, finalizing with an organ to but pure style of J. S. Bach.

This is one of the most complete works and complex than it has listened of the world-wide rock Progressive, truly it is impressive what the group made in this disc and that they demonstrate a freedom of rate, a character and a dramatic quality that animated with a new breath to the Progressive rock. Its great emotions, its lines, its strong evocation, and where one affirms to a powerful temperament and absolute masters in music which they leave like testimony, this great album.

Le Orme in 1974, Release to the Market the disc titled Contrappunti, without a doubt one of more classic discs, of this Italian group that is formed by Toni Pagliuca Keyboards, Aldo Tagliapietra - voice, bass and acoustic guitar, Michi Dei Rossi - Drums and supported percussions and in this occasion by the great pianist Gian Piero Reverberi, in some songs in the production of this disc.

I consider that this is one of the highest points in his discography, comparable with the Felona e Sorona and Uomo di Pezza, nevertheless, is one more a work abstruse and difficult to listen, in some parts also I believe that it contains much of the elements (embryonic even), of Le Orme 77-80, mainly in the acoustic parts, but in any case in this album it has for all the tastes of the Progressive Rock, from frontal attacks with the Hammond of Pagliuca (e.g. Contrappunti, Maggio), progressive acoustic ballads, with a romantic and delicate touch by part the skillful voice of Tagliapietra (e.g. Frutto Acerbo, La Fabricante d' Angeli), and melodies very “sui generis” for the leormenian rank (e.g. Aliante). Independently of the previous thing it is without a doubt the last great disc of the most progressive stage of Le Orme, and in some songs this is simply impressive. Even so I believe that the disc has a species of concept although he is not very apparent at first sight, but start from Aliante I feel that a musical connection with the rest of the work exists, since the harmonies are very similar in certain musical intervals, also is the last complete album of 70's with that sound so characteristic of the keyboard of Pagliuca, in the style of ELP and also in which the keyboard player takes the lead role with the prominence of these to the front of the disc; of all ways I believe that the disc in comment is one of key albums of the discography of Le Orme, less symphonic than Felona e Sorona, and in parts seemed, but nonequal to Uomo di Pezza, an impressive work in the department of the percussions on the part of Dei Rossi, and reason for which is considered, one of the best drummers of Italy. The bass playing of Tagliapietra is a little more discreet, reliable here in most of the disc, but effective when it is required, the keyboards of Pagliuca, simply delicious, with much work in the organ Hammond and the synths and demonstrating so what’s why of the great ones in the keyboards is considered, the voice of so characteristic good Tagliapietra... that voice on the part of and that I admire excessively, like always of the best thing, and one of the elements by which Le Orme is unique like group.

Here also it is good that the work of pianist Gian Piero Reverberi stands out, without a doubt demonstrating that he is one of the best pianists than has participated in an album of Progressive Rock, its quality, speed and sense of melody, harmony and stamps, characterize it, as well as total integration to the group, so that if one did not know that this collaborating in the group, easily this great pianists would think that it is the same Pagliuca touching in overdubbing, also participated in the production of this disc that in general terms this good done, emphasizing all the instruments and very polished in some aspects (e.g. the principle of the song India). As it notices additional is necessary to comment about the cover that remembers me to Vesubio volcano, and that in some parts of the songs, mainly in Notturno and Maggio when listening to them imagined the previous hours to me of the eruption of this volcano in Pompeya, due to the tenebrous thing of the indicated subjects, nevertheless the song of Maggio speaks of another thing reason why this commentary is fruit of my imagination, nevertheless I invite them to listen to them and figure out those previous hours in the Roman city.... In aim I believe that this it is an indispensable album of this great grouping, with subjects strong, difficult to listen, a little introvert, with many elements of counterpoint, with very interesting Progressive rates, sometimes surpassing the fact in Felona e Sorona and that, without a doubt it does not have to lack in any Progressive collection that boasts of being it.

Then we happen to the songs: 1. - Contrappunti. - The subject that opens to east singular disc of Le Orme, hairdo with a keyboard player and a pianist, really does honor to the title of the song, and immediately later a frontal attack on the part of Pagliuca begins and Reverberi, alternating notes and contra punting themselves, whereas Dei Rossi is taking the agreed rhythm to the intensity shown on the part of these musicians, Tagliapietra is marking the rate without greater relief, and it is really the most impressive piece of the album, very complex, very in the style of Keith Emerson and with much Hammond organ. Much is enjoyed the resistance between the acoustic piano Reverberi and the keyboards of Pagliuca, accentuated by the magnify rhythm of Dei Rossi, and I consider that he is one of the best tracks of the disc and also one of melodies of all the Italian Progressive Rock, touched with force, rate and white heat is something that nobody must be lost. Excellent.

2. - Frutto acerbo. - One fine ballad on the part of Tagliapietra and Co and which I consider is one of the seals that define the music of Le Orme, very good lyrics written on the part of the famous bassist, an example: ... repeat to my to father that the soup is getting cold... silence toward home, his cold hand... and ... the to winter then came behind the sun, great and white... how much, how much love was bursting inside me....

And here it touches the acoustic guitar, with simple arpeggio of notes creating an excellent sample of how the romantic element of Italian music, combined with the Progressivism of Le Orme, produces a true work of musical art, I consider that of the disc is the song and the musical landscapes that produce the intonation of Tagliapietra he is simply dreaming. Melancholic and winter very pastoral song and in short whiles, and that probably would serve as example for disc songs future like Verita Nacoste or the fact in Storia or Leggenda, but with null poppier influences. The piano of here very atmospheric Pagliuca, touching some musical rings, and notes that adapt perfectly with the atmosphere of the song. The Mellotron here also creates very evocative although discreet landscapes. Very good.

3. - Aliante. - Different Melody that the group records in this work, I believe is the filling in this disc, with a rate of 7/8 in the style of the fact by Genesis in Supper's Ready mainly in the part of Apocalypse in 9/8, Pagliuca again standing out with the work of the keyboards and creating one melody that was listened to start off now in all the other following songs, I believe that here that sensation of concept begins that many we felt that it has implicit east album, by an apparent continuity between song and song, the drums of Dei Rossi is following the guidelines indicated by the keyboard and it is limited to follow the interval imposed by the keyboards, even so I believe that it is the subject less shining of all the disc, but in short whiles he is enjoyable, the remarkable thing is that he is something that Le Orme had not made good but nonexceptional before. Regular.

4. - India. - We happened to another one of the best songs of the disc with this evocative melody to the Asian country, without a doubt it is explored with the Eastern rates that for the first time make their appearance in the discography of the Italian group in comment, an exquisite electrical bass work on the part of Tagliapietra, taking a very strange but effective rhythm and this accompanying by good harmonies of the synthesizer of Pagliuca, and trying to imitate the sound of sitar in the keyboards, combined to the rate that to the being in a scale different from the western one, leaves a mystery feeling and of penumbra... also a precarious atmosphere throughout all the song is created with elements that above commented lines, but the only thing that I did not like is that the duration of the song is so short, even so is of the best thing in this work. Very Good

5. – La Fabbricante d'Angeli. - From this point all the songs of the album in comment, are of first level and we began with this skillful composition, without a doubt of the best thing than Le Orme do in this disc, excellent Lyrics, that are enjoyed although the Italian language is not known, as well as a splendid work of Pagliuca in the keyboards, in truth the excellent voice of Tagliapietra creates a celestial atmosphere that transmits the song to the listener and the drumming here in a very effective work, but discreet, without a doubt one of the best moments of the disc, intro of the monumental pianos is very similar to the fact by Triumvirat in its disc Pompeii very symphonic, very dreaming and very poetic this is another one of the basic songs of the disc and I feel that it’s one of the predecessor of the style of another great Italian group: Loccanda Della Fate. Very Good.

6. - Notturno. - Another instrumental of Le Orme and that seemed outtake of Felona e Sorona, excellent sample of the use of moog to create tetrical and bleak landscapes, a very dark instrumental piece, beginning by a very solitary introduction of piano and later is raising in intensity of the dark, I insist that this melody makes me feel as if was in the previous hours of Pompeya before being devastated by Vesubius volcano, as if the city and to the bottom was explored in the dark, in the firmament vesubius on the verge of making eruption. Very Good.

7. - Maggio. - The song that closes the disc and is one of the masterpieces of Le Orme, comparable to Contrappunti, without a doubt competes with this to be best track of the disc... and of the discography of Le Orme, excellent work in the keyboards of Pagliuca, is listened to dispersed elements of Yes throughout this suite, mainly as of the minute the 2:30, very fine really work of the keyboards here. A letter that speaks on the political situation and several topics, typical of Italy of 70's, very good bass work of Tagliapietra and of course the drumming of Michi that is excellent, maintaining the rate on the one hand and adding percussive rings that make greater the song, mainly in the solo of keyboard of Pagliuca as of minute 5:10, the incredible use of the double big drum of this great teacher of the drums. I believe that it is the song that shows the diversity, the dynamism and the magic (like the song) of Le Orme, as well as all the musical, lyrical and intellectual elements that they have like group, if they want to become a general concept of how Le Orme is and they have never listened to them, the this a serious ideal introduction. As a side note is one of the live favorites of the group, unfortunately I have not listened to it, but I have read that Tagliapietra was inspired by the Italian political situation that reigned in those years Excellent.

To way of end of this review, there is no doubt that Le Orme did with this one of its more difficult discs for the listener, but once it studies it discovers that this is one of best discs than they recorded this group with very complex compositions and imaginative and that they was the last of them of this type in 70's... were not breathtaking solo instrumental, but that is more of a group effort, leaving in background their egos to create magnify essential music and if someone want to know this great Italian band.

sublime, one of camel's finest

Dream Theater are sharpening the metallic edge with "Systematic Chaos". I really like the hard edge on this album, which still retains the typical DT dynamics.

First solo album from ex-Skid Row vocalist. Some new studio songs and some solo performances of Skid Row songs. Fans of Skid Row should probably have this; other will probably have no interest.

This is a wonderful debut from perhaps my favourite band commonly labeled progressive electronic (though Heldon defies such easy categorisation).  This album is rather more ambient and hypnotic than future releases.  "Back to Heldon" and "Circulus Vitiosus" are particular standout tracks for me.

"God is Crazy".  I like to think of this album as a wacky and beautiful avant French answer to "Jesus Christ Superstar".  It has definite "musical" qualities, or shall I say "musical theater of the absurd"?.  This ambitious rock opera is jazzy and chanson infused, and replete with delicious contrast and irony.

This is a very good album, indeed, yet it it has not had nearly the same impact on me as Gaupo's Five Suns, Black Oni, or Twisted Stems.  Somewhat let down by a slightly deflated souffle?  Perhaps because this was my most anticipated release from 2008, it didn't quite live up to my hopes.  The music is less dense than Five Suns and Black Oni, and more lightly atmospheric with more pause for ambient reflection.  While pause can be pregnant with meaning, I find this rather less substantial -- more souffle than meat and potatoes, which is fine since I commonly prefer lighter food that doesn't stick to the ribs.

This is an obscure gem, and one of my favourite one-shots.

Steve Hackett from Genesis meets Steve Howe from Yes. I enjoy this more than most seem to. Not as progressive as one might hope coming from two of the elite prog guitarists, but then again Genesis and Yes were both quite poppish even in their proggiest days.

A wonderful album ... a bit short, but also very concise and right to the point. The music is more melodic than their debut, it often reminded me of Aeon Spoke, which is a non-metal side project which is also quite recommended. This album is also a mix of rock and metal, there are some quite heavy outbursts of metal and the rest is rock. I think what amazes me the most is how they combine beautiful melodies and - occasional - highly technical playing with hints towards Fusion.

This is my favorite Jazz album ... the way Karrin Allyson interprets those Coltrane compositions is absolutely amazing. Her vocals sound almost like a saxophone at times, and every little detail fits perfectly. An absolutely essential release!

After the insipid "Thornography", Cradle Of Filth are back to their mid-period dark metal: this release sounds a lot like "Midian" or "Damnation and a Day". More operatic, epic and venomous as ever, the band delivers classic black metal, with the return of the orchestral interludes, choir, female backing vocals, spoken parts... if only the lead singer knew how to sing it would have been a great release, unfortunately the only thing that never changes is the horrible shrieked male vocals.

A very interesting band... Typical extreme metal, blending heavy riffing with dark melodic passages. The vocals are the usual mix of clean vocals/growls, but the originality here is that not only the band is female fronted and that the lead singer sings in french... but she also does the growls.

I have to admit that I really don't like this album all that much, YET. I fully expect that it will eventually grow on me, but I am new to VDGG and I find this hard to enjoy at the moment. I am a bit better with Peter Hammill's voice than when I started with VDGG, but I still don't really care for David Jackson's saxophone playing. At times the sax playing is decent, but mostly it just sounds like he is strangling a cat.

Underappreciated follow up to Abacab, Solid 80's Genesis sound.

Extremely uninspiring record. I could honestly only listen to it a few times before deciding I never wanted to hear it again.

Too much of the same- nothing really new to add!

Debut solo album from Led Zeppelin front man. I think that this is the most Zeppelin-esque of his solo albums and should appeal to Led Zeppelin fans.

Includes Alex Lifeson on guitar and Tony Levin on bass guitar. Lawrence Gowan later went on to join Styx.