Oldish Psych and Prog

genre: prog

country: italy

quality: lossless (ape, cue, log, scans)

time: 41'35" size: 292 mb

1. Introduzione (15:11)
2. Primo Incontro (3:27)
3. Secondo Incontro (3:06)
4. Terzo Incontro (4:33)
5. Epilogo (11:30)
Bonus track on CD re-issue (1994): 

6. La Tua Casa Comoda (3:47)

- Lino Ajello / guitar
- Gianni Leone / vocals, piano, organ, Moog, Mellotron, spinet, celeste
- Vito Manzari / bass
- Gianchi Stringa / drums

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genre: sunshine pop

country: us

quality: lossless (flac, cue, log, covers)

time: 32'11" size: 217 mb

Side 1

"Wasn't It A Bit Like Now?" (Terry Kirkman) – 3:33
"On A Quiet Night" (P.F. Sloan) – 3:21
"We Love Us" (Ted Bluechel) – 2:25
"When Love Comes To Me" (Jim Yester) – 2:45
"Windy" (Ruthann Friedman) – 2:56
"Reputation" (Tim Hardin) – 2:38
Side 2

"Never My Love" (Don Addrisi, Dick Addrisi) – 3:10
"Happiness Is" (Bluechel, Ramos) – 2:13
"Sometime" (Russ Giguere) – 2:38
"Wantin' Ain't Gettin'" (Mike Deasy, Snr.) – 2:20
"Requiem For The Masses" (Kirkman) – 4:06

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genre: beat, pop

country: us

quality: lossless (ape, cue, log, scans)

time: 32'25" size: 206 mb

misc.: 2006

Wiki

Side 1

"Enter the Young" (Terry Kirkman) – 2:45
"Your Own Love" (Jules Alexander, Jim Yester) – 2:19
"Don't Blame It on Me" (Don Addrisi, Dick Addrisi) – 2:30
"Blistered" (Billy Edd Wheeler) – 1:52
"I'll Be Your Man" (Russ Giguere) – 2:48
"Along Comes Mary" (Tandyn Almer) – 2:49
Side 2

"Cherish" (Kirkman) – 3:27
"Standing Still" (Ted Bluechel) – 2:47
"Message of Our Love" (Almer, Curt Boettcher) – 4:06
"Round Again" (Alexander) – 1:49
"Remember" (Alexander) – 2:36
"Changes" (Alexander) – 2:32

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cd2:

1972 ~ 666:    ....

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genre: prog

country: italy

quality : lossless (ape, cue, log, scans)

time: 33`33" size: 200 mb

Review by Matt P. @ Ground and Sky:

At 33 minutes, it's abnormally short. But I'd much rather hear 33 minutes of really good music this way than dispersed across a 70 minute CD (a problem all too common with new releases these days). I think this is where Le Orme finally broke through and made a distinctive, top-shelf album. The previous releases definitely had their strengths, but Le Orme seemed unable to be at their most "progressive" without sounding like ELP. Apart from the title track, I don't find that to be the case here at all, as the band seemed to explore a more deliberate, almost mathematical approach to the construction of their pieces. That this album is dominated by keyboard textures makes this all the more significant, since it was these kinds of songs that the band previously struggled with the most insofar as finding their own voice: Le Orme always wrote superlative short melodic vocal tunes featuring acoustic guitars.

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