ItalianProg: A unique group in the italian scene, Opus Avantra mixed together contemporary classical music with avantgarde and a light progressive rock inflience, giving an original result that's often considered too difficult to listen for straight prog rock ears. Their name was obtained from their three main interests, opera, avantgarde and traditional music. Formed in Veneto in 1973 around the nucleus of soprano Donella Del Monaco (the niece of famous tenor Mario Del Monaco), pianist-composer Alfredo Tisocco, philosopher Giorgio Bisotto and producer Renato Marengo, and aided in the years by many other musicians, the group released their first album in 1974, Opus Avantra - Donella Del Monaco (often referred to as Introspezione, from the title of the first track) on the collectible Trident label.
Usually considered their most accessible work, the album is built on classical-inspired themes with complex arrangements and dominated by the nice soprano voice of singer Del Monaco and good flute playing, with just an instrumental track, Rituale. The band also had a good live activity promoting their album in Veneto and Rome. Donella Del Monaco was absent on the second album Lord Cromwell (plays suite for seven vices), that follows in the same style as the previous work, being replaced by an american chorus. Former Nuova Idea drummer Paolo Siani played on this album, that like the first one contains some interesting passages for the adventurous listeners. Both Alfredo Tisocco (along with Gruppo Italiano di Danza Libera in 1975's Katharsis) and Donella Del Monaco (with 12 canzoni da battello in 1977 and Schoenberg Kabarett in 1978) also released individual albums in the same vein, and the duo reunited under the name Opus Avantra for a third album in 1989, Strata, and a CD-only fourth release in 1995, Lyrics.
ItalianProg:
A six-piece from near Rome, Officina Meccanica deserve a mention because judging from their Bambini innocenti single and the TV clip that was released at the time, they could have been a very important group had they ever had the chance of recording an album.
The band only released five singles, the first three on the elusive Picci label that also produced La Seconda Genesi. They mixed brass rock influences (including in the line-up a horn section) like in Stranger in his country or Signora Marisa, with a dramatic prog feeling, like in the marvellous Bambini innocenti or Un prato e poi sognare.
The band came to its end in 1978, and three of the original members (Maiozzi, Barbati and Bentivegna) formed rock band Stazione Termini (from the name of Rome central railway station) with three new members, being augmented by Officina Meccanica bass player Canini in 1985.
Guitarist Gianni Barbati now plays in Genesis cover band Estro.
01. Anthem: The Unseen Land 0:48
02. Water Spark 6:26
03. Elfy 1:31
04. The Way Back Home 9:29
05. Talybont 2:47
06. On Reflection 4:41
07. Time Out 4:00
08. Conquest Of The Pacific (I. Jester's Pipe) 3:10
09. Conquest Of The Pacific (II. Merlin's Jig) 2:48
10. Conquest Of The Pacific (III. Across The Atlantic) 6:16
11. Conquest Of The Pacific (IV. Ocean's Web) 6:07
12. Conquest Of The Pacific (V. Golden Hind) 8:02
Osanna's debut album L'Uomo is a pretty sensational album. Basically, all the elements of their sound are already present on their debut. The basis of their sound here is original heavy guitar rock often in combination with amazing flute solos. Additionally, more spacey, Pink Floydian parts and quiet interludes with acoustic guitar and flute can be heard as well. Besides the great flute playing, good vocals (if sung in Italian), the excellent guitar playing, and a fairly active drummer are the most ear pleasing features. As a reference point, think of a mix of Jethro Tull, early Roxy Music, the heavier side of Cream, and ocassionally Focus. Otherwise imagine a more sophisticated version of Golden Earring (of the early 70's). L'Uomo is a remarkably mature album and easily one of the best Italian rock albums before 1972 (the year that the Italian prog scene exploded with creativity).
By the time Anderson got around to writing this, Jethro Tull’s tenth studio album, he had moved outside London for a life in the country and presumably gotten over the fact that he was indeed too young to die. Although the subject matter of the album (and image on the cover) may have turned folksy, there’s little folk music on the album. The title track opens with Anderson’s multi-tracked vocals, before breaking into a typical Tull style rocker. The new man finally on board was longtime orchestral arranger David Palmer, now giving the band four hands on the keyboards. "Hunting Girl" and "Pibroch (Cap In Hand)" both featured a good arrangement, making the most of both keyboardists and some great guitar from Martin Barre. "Ring Out, Solstice Bells" was first released the previous November for the holiday season and managed to chart in the UK Top 40. The second side’s "Velvet Green" is primarily acoustic, while "The Whistler" has the folk hook and a great instrumental break. The single managed to chart in the US, albeit in the lower reaches of the singles chart. However, the album charted well, reaching No. 13 in the UK and No. 8 in the US. Jethro Tull completed their first tour of the UK in over three years later in the year.
From ProgressiveRock :
Jethro Tull had scored another two Top 10 singles in the UK with "Sweet Dreams" and "Witches Promise" prior to the release of this, their third album. "Teacher", the flipside of the later, would become an FM staple in the US. The success prompted their first headlining tour of America (Yes in support). For Benefit, their bluesy jazz took some substantial refinement into what would eventually become the Tull sound. In came Blackpool mate John Evan on piano and organ, but more importantly, out came Anderson the raconteur. Acoustic guitar in one hand, flute in the other, his highly original songwriting soared in such songs as "Sossity; You're a Woman" and "For Michael Collins, Jeffrey and Me". The album is darker and moody, but still exceptional: "Alive and Well and Living In" benefits (sorry) from Evan’s piano, while "Inside" reflects the less aggressive nature of the album. The album would reach No. 3 and No. 11 in the UK and US respectively. One for the books, Jethro Tull was now one of the first commercially accepted and successful Progressive rock acts, on par with Led Zeppelin. Bassist Glenn Cornick departed after the album, to be replaced by another John Evan alumnus, Jeffrey Hammond. His name should be familiar, as he was the subject of many prior Tull songs.
side A:
01 - With You There To Help Me 6:19 02 - Nothing To Say 5:14 03 - Alive And Well And Living In 2:49 04 - Son 2:51 05 - For Michael Collins, Jeffrey And Me 3:52
side B: 06 - To Cry You A Song 6:16
07 - A Time For Everything? 2:44
08 - Inside 3:50
09 - Play In Time 3:50
10 - Sossity; You're A Woman 4:43
cd bonus: 11 - Singing All Day 3:07
12 - Witch's Promise 3:52
13 - Just Trying To Be 1:38
14 - Teacher (Original Uk Mix) 3:49
Songs written by Ian Anderson.
Ian Anderson - flute, acoustic guitar, vocals;
Martin Barre - electric guitar;
Clive Bunker - drums, percussion;
Glenn Cornick - bass;
Piano & organ played by John Evans ... by our benefit.
From ProgressiveRock : Matching Mole was Robert Wyatt’s post-Soft Machine group, its name derived from roughly the French equivalent for "Soft Machine". He recruited a great band; bassist Bill MacCormick was previously in Quiet Sun, guitarist Phil Miller in Delivery, and pianist David McRae in Nucleus. He also managed to draw Dave Sinclair from Caravan, who rounded out the lineup as the second keyboardist. The debut album began with Wyatt’s idiosyncratic and affected "O Caroline", one of two vocal songs on the record. That slides straight into the sublime "Instant Pussy", where Wyatt’s voice was used in a non-singing role. From there, the album was instrumental, flush with fusion-like textures that rely heavy on improvisation. There is a hint of the so-called Canterbury sound, but the playing was distinctively looser and decidedly jazzier. Of course, the performances are all first rate, particularly on Miller’s "Part Of The Dance", the only non-Wyatt composition. The album closed with the Crimson-esque Mellotron fest "Immediate Curtain". Not surprisingly then, Fripp was called in to produce the band’s second album, Little Red Record, released in October of the same year. Absent was Wyatt from the composition credits and Sinclair’s fuzzed-out Hammond, the latter having left for Hatfield & the North. Overall, the sound was decidedly heavier; the first side played right through. The second side started with the uncharacteristic "Gloria Gloom" sounding not unlike its title with guest super-star Eno contributing. Miller’s "God Song" filled the "song" quotient on the album. The debut’s charming cover was replaced with an equally charming play on a Chinese communist post card, a not-so-subtle hint at Wyatt’s politics. In June 1973, Wyatt’s paralysis from an accident led to the group’s abrupt end, shortly before a third album with a new lineup (with Francis Monkman on bass) could be recorded. Wyatt spent the next six months in hospital recuperating.
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